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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
3-1-1919 Volume 37, Number 03 (March 1919) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 37, Number 03 (March 1919)." , (1919). https://digitalcommons.gardner-webb.edu/etude/655
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The “Why and Wherefore” of Grading SELECTED RECENT PWAT10BSWJI™ This list has been selected by experts, many of them famous teachers;. But, after all, names of pieces mean little. The teacher should have o‘h What Shall hand for perusal at least a few pieces and studies. Let us send you our “SPECIAL GRADES I-IV ON SALE” selection. Look the music over thoroughly, learn all about it, make notes of what you » ^te\™rtkHMusic Wol^Publ^bed- need, buy what you require (either for your pupils or for yourself) and return the balance to be credited. Thousands do this and in their own. words “wouldn’t know how to teach without it.” Success comes from knowing how. In our grading a scale of I to X is adopted. This affords opportunity for : By the Theodore Presser Company - 1 Teach? close and careful classification. Grade I represents the very easiest: pieces in easy keys, for small hands, sometimes in the five-finger position, always with¬ out,scales, frequently with both hands in the treble clef, with few chords, requiring little or no independence of hands. Grade II represents an advance on Grade I: additional keys are employed, Albums of passages are slightly extended, an occasional scale of one octave in length Pian° HU»C«™ being introduced, more chords are employed, and more independence of hands, A Selected List of but no octaves are introduced. ALBUM OF PIANO PIECK BY Grade III marks an advance on Grade II: still more keys are introduced, album of descriptive pieces »ESW«™. passages are more extended, including scales and arpeggios, chords are fuller, WOMEN COMPOSERS more independence is required, occasional octaves are introduced. Price, $1.00 Price, $1.00 ^Materials for the Grade IV is in the nature of an enlargement or amplification of Grade Women composers have made wonderful st"^s_ and characteristic of the nuus?te^tti5tin g ,l.-ata in connec- III, making increased demands upon the technic, as well as upon the musical and characterise:- - interesting data in connec- understanding of the student. in the domain of art. There >s.^^’‘f'^positions S' S£' .ht.TSdi,. .nd the, on,™ ,n th. The pieces here listed are graded according to the above specifications. ment, and a tenderness contains some of ?“r?L°s ?s ■ssySA” an introduction. this6album that portray various moods, pictures, of women composers. Ihis a . . z successful First Four Grades the best representative compositions o scenes and occurrences. women composers. STANDARD ADVANCED PIECES GRADE ONE NEW AND MODERN SONATINA ALBUM Price, 50 Cents No. PIECES Price, $1.00 9689 BUGBEE, L. A. Dance of 1 Fairy Queen.. 5688 TROJELLI, / B c ’'w™ R1VER Thi! volum, ‘“m.iSV, n»t 'mm oi A tuneful B A suite for the pianoforte of charming charactery 14410 McDOWALL, Dreamland. 7213 SPAULDING, ( snn.^«^.‘sxs iS'sS'i- 9448 KERN, C. W. In Joyland. Graceful waltz INSTRUCTOR standard, cjass'£ ajJt07art Beethoven. Chopin. Men- Both hands in treble clef, five-finger po 9633 BUGBEE, L. A. ,Stars-a-Twinkle.. PRESSER, THEO. Beginners’ Book for Plano. .75 14083 PALOVERDE, M. Little Soldiers. Bright little, polka, m fi. The very best for young students. of a trip taken by the -^^^0X0 'lor teTchTnPg 12051 ROGERS, J. H. Little Miss Muffet. .. S3SS l'”* 8176 STEINHEIMhERhms. ^Marching Horn? Quaint nursery rhyme, in G. represented. Vigorous 6/8 movement, Key of C, treb 11789 GREENWALD. M. Swing, Cradle, Swi 6948 SPAULDING, G. L. The Whistler. Both hands in bass clef. Good practici OF STUDIES. Vol. I, numbers. 8248 SARTORIO, A. Let’s Have a Song... the average pupil. In lyric style. Vocal Material 14654 STRICKLAND. L. Hop o’ My Thumb. . 6497 KERN, C. W. Sunset Glow. COLLECTION Characteristic march, in G. VERY FIRST PIECES . | Piano-Four Hands] 12160 RENARD, P. Soldiers Marching By.... A book of little gems, by va Teaching Works for standard song treasury MUSIC LOVERS’ DUET BOOK Elementary Instruction Price, 50 Cents GRADE TWO No. PIECES No. PIECES 15107 ANTHONY, B. R. Sound the Bugles.. 14872 LANGE, O. Flight of the Swallows. . con^tSSrs . Taking little waltz in G, with grace-nc CHILDREN’S RHYMES use in ensemble practice, sight-reading practice and 14741 ROLf’e!'W. "Vlantation'Waltz... 14236 DUTTON, T. Lullaby. Melody in the left hand, Key of C. From A to Z 14065 LOEB-EVANS, M. Chinese March.. 11938 FORMAN, R. R. A Dream Song. INSTRUCTOR Characteristic melody, in A minor. • Very expressive. Melody in left hand. By M. Greenwald Price, 75 Cents 8452 NECKE. H. Think of Me. 13953 SPENSER, G. Winter. for general use. Lively finger work, in polka rhythm. An interesting little book containing an attractive 3685 ZIMMERMANN, J. F. Haymakers’ Mai 9732 GEIBEL, A. ~ teaching piece for each letter of the alphabet, the artistic vocal album M Very popular, Key of F. An* InSian' dance,* hf? 7687 CROSBY, MARIE. Waltz of the Flower title of each begins with one of the letters of th A few classics by Mozart, Schubert, Gluck, etc., a e 6 WILLIAMS. F. A. The Merry Elf, OF STUDIES. alphabet,6 and eadi number is in characteristic ge Study in staccato. L This's a 3819 ENGELMANN, H. o the Dinner. .March., with the text, which may be sung. A very taking also included. _ r Well-contrasted tin les. Kev of D. 8279 CRAMM, H. L. Go melody in ieft hand! collection for young folk. 1 Night, Little Girl.. 0 SARTORIO, / | Piano Technic | pretty. Key of G. interpretation studies writers as Ward-Stcphens. Coombs. Galloway. Cad the pianoscript book min, Shelley, Huerter. Douty, Bischoff. Ro«m GRADE THREE FOR THE JUNIOR GRADE By Alberto Jonas Price, $L00 many others. As will be noted the »np a«* No. _PIECES 13090 RENK, L. Twilight oi modern composers. and therefore the Tuneful drawing-room piece. iweet Longini By F. C. Bornschein Price, 80 Cents A distinctive work in musical ped^°^', not of the usual type, that includes so many num¬ book is classified and annotated with special exer 8899 SHACKLEY, F. N. Twilight Song . 14329 MOTER, C. The Jolly Blacksmith. 15268 FELTON, W. 1 Bio ring Bubbles These Interpretation Studies are intended to in- cises in such a way that it maps out a tine course bers found in other collections. Tn vocal style. Key of B flat. 3860 KOELLING, C. Two Flowers . 7101 RENARD," P.VlgI°ri?U?'.. for any teacher to pursue. Special bla«h Pages are Slow and graceful waltz movement, provided, whefeon the teacher may write special 13719 NOELck* A. "llanMofGnomes?.!".! ular. STUDIES exercises to suit the pupil’s needs. This enables the Violin 6738 SPAULDING, G. L. June Roses . MATHEWS’ STANDARD GRADED COURSE 8930 ROCKWELL,
To afford^a better opportumty ofjudging the °To further assist MAIL ORDER SUPPLY HOUSE FOR SHEET MUSIC AND MUSIC BOOKS THEODORE PRESSER COMPANY L%tiSsePlSoToT1ltc weehave italogs covering every classification. We will 1710-1712-1714 CHESTNUT STREET, PHILADELPHIA, PA- 1712 CHESTNUT ST. PHILADELPHIA, PA. gladly send any of these gratis._____ -ANNUAL SUBSCRIPTION $1.75- the etude : Page m MARCH 1919 _ THE ETUDE ' Single Copies 20 Cents VOL. XXXVII, No. 3
All-American Programs the way in which the X-Rays penetrate objects that years ago were not regarded as transluminous but indubitably opaque. Mr. Josef Hofmann has been giving “all-American” Here was one of his experiments. He placed a tuning fork pianoforte recitals with program arranged “to evolve a well at one end of his English music room (40 ft. x 20 ft.). Sep¬ proportioned musical entirety—a musical narrative.” Clayton arated from this room by a hall ten feet wide and two walls of Johns, Rubin Goldmark, Alexander Mac Fayden, Daniel Greg¬ brick and stone of unusual thickness (9 in.) was another smaller ory Mason, H. W. Parker, Fannie Dillon, Mrs. H. H. A. Beach, room. At the end of this room some seventy feet away was and Edward Royce were the composers who were honored by another fork synchronized with the first fork. When a bow was Mr. Hofmann. It is delightfully refreshing to see such a pro¬ drawn over the first fork several times its vibrations became quite gram, as it indicates that Mr. Hofmann has been thinking powerful and were transmitted through the walls across the hall¬ for himself. It has always been a question whether people in way and caused the second fork to vibrate. All doors and win¬ attending a concert merely rented a little piece of real estate dows were closed. This would seem to disprove the commonly for the afternoon for the sake of saying that they had been accepted wave theory. Perhaps we musical folk are dealing in a to this or that recital, whether they went merely to hear and matter-of-fact everyday spirit with a mystery far more marvel¬ see what some one noted performer did or played, whether they were attracted by the fame of the composers whose works were ous than we imagine. to be played, or whether they went for the artistic pleasure of hearing the music itself. A great deal that we want and pur¬ Public Men in Music chase in the world is bought upon its reputation. Play the One of the benefits which must be reckoned when the final most beautiful music imaginable in a manner transcending balance sheet is drawn for the great war, is that music was per¬ Hofmann, Paderewski, Bauer and Grainger combined—-but do mitted to serve as never before, and that the public mind is so not announce who is to do the playing or who wrote the music, altered upon the importance of music in human life that only and we are very certain that.the hall would be empty. Yet, our the pathetically ignorant will hereafter class music with the non- ffirwruumck f r first consideration should be the music itself and the artistic essentials. manner in which it is.rendered. Mr. Hofmann and some other It has also served to bring to light the vast number of im¬ artists have given American audiences a chance to judge Ameri¬ portant men who find in music a re-creation, an inspiration and can music as music. Let us hope that our friends, who have a rest from the serious affairs of big business and the state un¬ clamored for this, will show by their attendance that their agita¬ equaled by anything else—such men as Charles M. Schwab in tion has not been a pose and a sham. America and Arthur J. Balfour in England. The general pub¬ Tv;; lic, however, does not know that during the past centuries a Two New Ideas great many men of note made music a life companion. Among Sound, the Miraculous these was Pierre Augustin Caron de Beaumarchais who played a Being good and dutiful children we swallow all that is told very vital part in the inauguration of the blessed land in which Which Won Millions of Friends to us in our schooldays, just as the little folks prior to the ad¬ we are all privileged to live. vent of Columbus must have accepted all that w'as doled out to Beaumarchais was one of the most versatile men of all time. Indeed, in many ways he was hardly second to our own Benja¬ tone waves, me wuiaw «. — l-ViT-T 7 » them by their teachers upon any subject presented in the light WHEN the now-famous Brunswick was announced. crudities and brought out lovely tones hitherto lost of that dim-visioned day. min Franklin or to the great Leonardo da Vinci. Few people, most people believed that the utmost had already Today The Brunswick Method of Reproduction is a VVe were assured by all our books on physics that, sound however, think of him as a musician—yet he was that. Born been attained in the phonographic art. recognized triumph. It means perfected reproduction was carried by means of waves; and Tyndall among others drew 1732, the son of a watchmaker and destined to become a me¬ Hence they expected, and rightly so, that The to all who know it. And the news is spreading last diagrams to prove this well accepted theory. It is easy to prove chanic—he studied music so assiduously that he became the Brunswick would have to bring out overwhelming better¬ by diagram that certain things are possible or are not possible. teacher of harp to, the daughters of Louis XV of France. He ments in order to win a place among the leaders. married twice—both times women of great, wealth. His wit Two Famous Ideas There was, if we are not mistaken, quite a remarkable book writ¬ And this great expectation was realized. The Bruns¬ ten by a scientist to prove that certain heavier-than-air machines was so keen that he was a welcome guest in all court circles. No wick created a memorable sensation. It commanded The Brunswick Method of Reproduction includes could not possibly fly the heavens. There were carefully calcu¬ one of his time was more quoted than Beaumarchais. Setting instant respect and admiration. The Ultona, an all-record player. This master invention lated diagrams to illustrate the folly of attempting such a thing. out to write plays he produced many successes, among which can be obtained on no other phonograph. The Ultona were no less than “The Barber of Seville” and “The Marriage The Pioneer The Wright Brothers turned such books into waste paper by presents to each make of record, the proper needle and actually flying. Therefore the diagrams of Tyndall and Helm¬ of Figaro,” which provided Rossini and Mozart respectively diaphragm. All at a turn of the hand. It is a unique Of the major instruments, the Brunswick was the holtz and other acousticians are valuable only when they can be with the background for immortal operas. His memoirs aroused reproducer, not an attachment nor makeshift. first to play all records with faithful regard for different proved correct with infinite scientific precision. the envy of all literary . Europe. requirements. This feature alone created thousands of The Brunswick Method also includes The Brunswick There has recently grown up a group of scientific investi¬ It was Beaumarchais who proposed to the king that France admirers. For it meant that a Brunswick owner could Amplifier, an all-wood sound chamber built with scien¬ gators who, while they disclaim knowledge of how sound i§ car¬ lend America huge sums of money to help prosecute the revolu¬ buy and play any record, whatever make. tific regard for acoustic laws. No metal is used because ried or what sound is, hotly refute the wave theory. Dr. G. Ash¬ tionary war. Although the ruler of France had no particular Since different makes offer different artists, and no it muffles sound vibrations.. down Audsley, the venerable Knglish-American architect who friendship for George III, the German king on an English one make offers them all. music lovers saw in lhe Before you decide which phonograph for your home, throne who brought about the revolutionary war, Franee offi¬ Brunswick the opportunity to select their own library of has been interested in organ making and who has built many hear The Brunswick. Compare its tone. Note the Ultona. of the finest specimens of industrial and ecclesiastical structures cially could not help America without injuring her neutrality. records, without restriction. A Brunswick Dealer will gladly assist you in making in England and America, is one of these. In fact, he has made But Beaumarchais (according to a recent book, “Beaumarchais The other outstanding Brunswick betterment was in and the War of American Independence,” by Elizabeth S. Kite), tone production. By a more scientific amplification of it a serious study for years. He contends that sound is a mys¬ i terious force, analogous to electricity and the X-Ray in that acting secretly as an agent of the king, founded a firm known as The Brunswick-Balke-Collender Co. none can tell exactly what it is. His carefully constructed ap¬ Roderique Hortales and Co., which, as a trading company, sent paratus seems to cast doubt upon the almost universally ac¬ huge supplies of ammunition and other war materials to our General Offices: CHICAGO and NEW YORK cepted wave theory. He insists that sound is transmitted revolutionary forefathers when this same material could not have through matter in some inexplicable way not so different from been obtained elsewhere. He claimed that he advanced huge
* 1 ■-:.: :V W.v ' . % ' -v _I MARCH 1919 Page 185 THE ETUDE
, „rPatest spiritual inspiration “At the school of organ,” he said, one day, Huneker insists that Wagner Wescndonck, who HE composition' class at the Prague T “everything smelt mouldy—even the .organ. sums for the French government in aid of America. Indeed, he Conservatory lasted about three hours. I Ij (Tristan and Isolde) cam ^ hatred of t osima. It is, Whoever wished to learn anything had to personally entered a claim of three million six hundred thousand It was divided into two parts by a re¬ accordingly became th* the ambitious management know the German language—it made no dif¬ francs—the claim being settled by his heirs during the Jackson cess of from five to ten minutes. During however, quite certain tha i BilVreuth might have been ference how excellent one was in one’s music administration, when Congress paid over eight hundred thous¬ these recesses it was the custom for the stu¬ of Cosima the material success show m connects, dents to chat, not only about music but about —unless one had a grasp of the German lan¬ and francs. This, moreover, was not until over a quarter of a guage, one could not rise to the top in the lund wanting Shegetting abiU* °f many different topics, important and unim¬ century after Beaumarchais’ death in 1799. . portant, sad and gay. Dvorak rarely left the school. I knew but little of German, so what¬ with such an undertaking, to j,er blood. It -was this Frenchman, who started life as a music teacher, class room. The master would either fall into ever I did know I could not put into words. 4 banker grandfather was not ah * court no less formal than > ; who sent over to America before the great battle of Saratoga, a kind of a reverie, showing no signs of hear¬ My fellow students used to look at me be¬ At Bayreuth she held * k» m or at Versailles in the days ing the conversation going on around him,— 200,000 pounds of gunpowder, twenty thousand muskets and tween their fingers and laugh at me behind hm one might expect to find at P her rctinue was limited to a or he would himself take part in it, and that my back. Their laughter did not cease, for f. * *two hundred guns, yet he never forgot that he. had been a music of the expensive Louis -N\ • ,jorno at the door, and a in such a hearty and intimate manner that it even in later life they persisted in laughing teacher. Who other than a music teacher could have written the seemed as though the severe master had sud¬ gorgeously attired flunkey or J lv|,cn one entered the at the audacity of my essaying composition. delicious music lesson scene in “The Barber of Seville? denly turned into a congenial comrade. This When they got to know that I composed, they tew other servants, *ried manner. were es- was the reason why those moments were very would say among themselves: ‘Lodk at that large central room at Waftn Wairner’s home some years dear to us. Our admiration for his genius Dvorak! What do you think?—he is dab¬ Musical Medicine peeled. When the Edtte ™tod W ^ .„ vcrJ. ,opi,. and personality was so great that there was bling in composition!’ Alas! every one of a wonderful charm in being able to discuss Columbia University, of New York City, in its depart¬ ago, these matters of court d he was advised in advance and exchange ideas fearlessly and freely in those who used to laugh at me has had more ment of Extension teaching, has started a course in Musico- formal and rigorous fashion. I „ the presence of the master, before whose in¬ luck in the world than I. One, for instance, Mi Therapy. It appears in the catalog or announcement as: how to dress for the even o ® • . j jlouse Jn a beautiful tenseness and schoolmaster-like severity we, is now a ‘high counselor.’ But what of that? JJi Musico-Therapy E% Musico-Therapy and re-edu¬ To-day when we meet he says to me, ‘My 1 preserving the at other times, could not help feeling great awe. It is from these moments that I have compliments, Doctor,’ and I say, ‘My com¬ cation. 2 points Spring Session. equipage, attended y . t }icr position demanded, In the announcement there is a statement that the course been able to bring together a few reminis¬ pliments, Mr. Counselor,’ and we are even l! queen-like pose which s w t(u. poctrv and mysticism cences of very precious conversations which is primarily for the reconstruction of invalided soldiers, cover¬ The immense genius of W agnu, ti e I • . •„ # (as in the case of all great men) should be When Others Laughed ing. the psycho-physiological action of music and to provide that he embodied in his ^orfe, the^world - P 1)(.nt preserved. practical training for therapeutic treatment under medical con¬ halo around his memory which is dcstintu dhirustinidv Beautiful naivete! When the Herr Coun¬ trol. There will be lectures, conferences and supervised prob- A Diamond in the Rough selor is an archai'c record in some dusty tome and’broken by in a tottering government archive, Dvorak’s lem-and-demonstration work. The course will be open to singers I may assume that the readers of The Songs My Mother Taught Me will still be and players upon any musical instrument, a high degree of ZytulZ X « peso O? SL who persist in King blind Etude are familiar with Dvorak’s early life, his boyhood, spent around the rural inn of his heard in all the great concert halls of the ^o the Tacts. On thf other hand to decry his genus, so obviou. musical education not being necessary. The prospectus states father whose highest ambition for the future world. that “The subject matter of the course will cover: the. place and so all-comprehensive, is simply provincial small-m,ndednes*. world renowned composer was that he might Naturally these chats meant many a pleas¬ ant hour for us and we often had a good which musico-therapy fills in relation to vocational re-education Let us preserve the god, and forget the man. be a butcher! How he struggled up through laugh. At those times even Dvorak’s features, and occupational therapy; psychoses and neuroses of shell¬ various vicissitudes Until his genius was recog¬ nized somewhat late in his young manhood, which were usually rather somber and sad, shocked men with indication of specific musical instruments for N. B.—Just as we are going to press, we b arn that the how he established the Prague National Con¬ softened into a smile. But the smile was a specific ailments; effects of keys, rhythm, dynamics, timbre, reports of the death of Queen Cosima are—like those of Mark servatory, taught in New York for three years strange one, so that one need not have been color, pitch, and vibratory musical massage for curative results; Twain—“greatly exaggerated.” I* this the so-called leutooic at the National Conservatory, and then re¬ a psychologist to realize that the master still felt the bitterness of his career slumbering at the curative musical workshop; danger of wrong and value of propaganda, and if so, what has it to do with the U-ague of turned to Bohemia to reside in his native land Anton Dvorak in the Class Room until his death. It is thus .well known that the bottom of his soul. Truly a strange smile, /right musical treatment.” . Nations?__ his means of expression was chiefly through An Article'of Rare-Interest by One of His Artist Pupils, which expressed wonderfully the irony and The amazing effect of music in aiding the- restoration of parody of human experience of a good, hon¬ 5,000 Bushels of Potatoes! music and that he did not always employ high soldiers who have been affected by shell shock is, perhaps, the flown language. When he happened to touch Ludmila Vojackova-Wetche est man, full of noble and great endeavors! convincing fact which has induced the great university to insti¬ He was a youth in a midwestem university. He was in the upon a subject that was contrary to his views A characteristic of Dvorak’s was that he could not endure prolonged laughter, so we pupils tute such a course. The instructor, by the way, will be one of university because he had the nerve to work his way through. and feelings he was wont to express himself [Editor’s Note.—The great revival of interest in all matters per¬ taining to the newly founded republic of the Czecho-Slovak people— had to be very careful not to laugh too long " The Etude contributors, Miss Margaret Anderton, an English- He stood well up in his class, had a fine companionship among in anything but “sopiety terms.” This hap¬ pened only when his honest mind encountered o nation of possibjy 11,000,000 people, until 30,000 square miles of at the master’s jokes, for he easily fancied liis fellow students and he led the large band that marches territory, including the country of Bohemia, makes this glimpse of the Ameriean pianist of ability. something unjust or oppressive. that we were laughing at him instead of at What may be the future of such a departure we cannot at¬ at the head of the University Military Corps on parade foremost Bohemian composer, Anton Dvorak, particularly timely. The his jokes, and this would bring a streak of ill- His way of talking was simple and spon¬ Bohemians have long writhed under the misuse of the name of their tempt to decide. That, under proper supervision, great things How did he get the means to go through the university, taneous, always to the point and with a .fine country to describe people of loose manner and loose morals in the humor into his highly sensitive nature. One of the most frequent topics was Richard may come from it is easily believable. On the other hand, it clothes, books, lodgings, music, lessons, etc. ? By peeling 5,000 and characteristic sincerity. Sometimes he night life of different world capitals. Bohemia has for centuries been was beautifully naive, as, for example, when peopled with men and women of high moral integrity and lofty prin¬ Wagner. On one of these occasions, Dvorak could open the doors to the lowest kind of charlatanry. One bushels of potatoes. It was his only way, and though potatoes he told us about his first music teacher, Lie- ciples. Absorbed in Czecho-Slovakia, together with Moravia, Silesia told the following incident: “Although I am thing is certain—it will provide the wornout humorists with new and Chopin may seem a long way apart—that American lioy mann. This country music-master, whose and Slovakia, this should become one of the bright beacons of the ar¬ not from the bottom of my heart a Wagner- fuel for their smouldering intellects. We shall have pictures of had the spirit of his pioneer ancestors, and nothing could stop name—thanks to Dvorak’s fame—has escaped tistic, scientific and intellectual world. It has already given the world ite, I still love and esteem him, and I am glad a Dvorak as well as a Smetana; and there is no knowing what it may father walking the floor singing arias to the young gentleman him from gaining his object—not even potatoes. Remember oblivion, must have been quite an interesting that I saw him with my own eyes. It hap¬ produce in the music of the future. It recognizes the precious value of pened when I received my Stipendium, on ac¬ over his shoulder bellowing with cholera infantum. We have —he LED the band. personage, judging from Dvorak’s description native ability. The newly elected president, Thomas G. Masaryk-, was count of which I had to go to Vienna. They just talked with a gentleman who confessed that lie always had born of a poor family, apprenticed to a blacksmith, and eventually be¬ “When I first went to Liemann,” said came professor at the University of Vienna and the University< of were just studying Tannhaiiser and Lohengrin, fits when he heard a great orchestra and was obliged to give up Practical Articles Dvorak one day, in one of those unforgetable Prague. The author of the following intimate picture of Dvorak - and Wagner conducted the rehearsals. Of music for that reason. Similia simUibus curantur. The small boy pulled off the metal ends of his shoe laces. reflective moods, “he was teaching the son of Bohemian pianist of distinction, who has toured extensively in her course I heard about them, and although the country, Paris, London and the United •S'later.] public was not allowed to attend, I got in with Then he found that it took him more time than he could spare a foreman’s boy how to play the piano. The boy might have been about eight or nine years another man. The rehearsal was in full swing. to work the laces through the eyelet holes. With true Yankee Cosima of age. He was beautifully dressed. On the back “Liemann,” continued Dvorak, “was a good musician, I spied Wagner immediately. He was in the parterre, If Cosima Liszt-Van-Biilow-Wagner had died before the ingenuity he dipped the laces in glue and let them liardcn. It of his coat there was embroidered a gorgeous big but choleric and old fashioned in his way of teaching. a stick in his hand, and was walking the floor, watch¬ bef inning of the great war the papers in America would have put an end to his trouble. Nobody told him what to do—he flower. I liked that flower ever so much! I- shall never If the poor pupil could not play his piece well, he got ing and listening. But he looked cross, and was all the time discontented. Every little while he would bee i filled with accounts of one of the most unusually prominent thought it out himself. He was practical. forget how I felt when I heard that boy play. He as many blows as there were notes on the paper. In played a polka and never made one mistake.” poke the conductor in the back with that stick. As I careers. As it was, the intense anti-Teutonic feeling caused the It has been the privilege of The Etude to print hundreds harmony he was well versed for his time. He had a “Wait a moment,” said Dvorak. And he went to good knowledge of counterpoint, and read and worked said before, I am glad to have seen him, but I would event to be passed by with rather scigit comments upon the of “practical” little articles from teachers in all parts of the the piano and played ten measures of a characteristic have been still more pleased could I have talked with out at the piano contrapuntal passages for his pupils. daughter of Liszt, the faithless wife of von Biilow, the widow of world who have been placed in a position where one had to invent old work, long forgotten. “You see it made such an im¬ him. However, at that time I had not the courage to It often happened, however, that before we could de¬ pression upon me that I can play these measures still; introduce, myself to him, because Wagner was then Richard Wagner, and the mother of Siegfried Wagner. or contrive the remedy for some particular tilings. These cipher some of the thorough bass figures quickly enough Cosima was bom in Bellagio, Italy, December 25th, 1827. “practical” articles are valued by us when they are short, unen¬ but the rest of the piece I cannot recollect. If I were already at the zenith of his glory and of me the world to try hard, perhaps it would come back to me. The to please Liemann, blows would descend upon our knew very little as yet.” Her mother was the Countess d’Agoult, daughter of the Vicomte cumbered by useless words, and right to the point. Don’t think boy played that piece, and played it so very well that I blundering heads.” Generally Dvorak spoke of Wagner in terms of the de Flavigny, a French Refugee and the daughter of a rich that you cannot write because you are not a professional writer. suddenly felt sad, as though someene had died. I did It wll be recollected that in 1857, when Dvorak was highest admiration and respect. At one of the Wagner banker, Simon Moritz Bethmann, who had been converted from If you have found some “practical” plan, take a few moments not envy him the flower—but that he could play so well sixteen years of age, he went to the capital, Prague, chats, a pupil allowed himself a remark which displeased Judaism to Lutheranism, after the manner of the Mendelssohn to jot it down and send it in to us. If it is not just what we feel —no, I did not envy him that exactly, either—but it and entered, the organ school organized by the Associa¬ Dvorak very much: made me feel so sad that I was so many years older tion for the Support of Church Music in Bohemia. The “If you please, Doctor Dvorak, I heard that Wagner family. After Liszt eloped with the Countess, they lived in our readers need we will return it to you and vou will have lost ; and y^t did not know that polka so that I could play course at this school was three years in length, and his liked a drink now and then, and that when he was com¬ Geneva, and of the three children born of this “unconventional” only a few minutes. If it is what we need we shall lie glad to it, too. I thought to myself, “Oh, dear! when shall I teacher’s name was Pitzsch. It was during this time posing he always had a glass of wine near him.” union (Blandine, Cosima and Daniel), Cosima was the only one publish it and pay you for it at our regular rates. All articles be able to play like that boy?” that he had a severe struggle for existence, which was To which the highly displeased master retorted to achieve international fame. that appear in The Etude, with the exception of reprinted ar¬ Where, oh, where on history’s pages shall we look for helped by playing the viola in a local orchestra that snappily: the foreman’s son with the lovely flower on his back? In Cosima, Wagner found the artistic encouragement and ticles and staff articles, are paid for upon publication. But, was obliged to play in cafes, etc. Dvorak did not seem “That is none of your business—whether he drank Probably he is playing some microscopic part in the to have had very pleasant memories of the Organ advice which seemed necessary for his exploitation. James make your article PRACTICAL. wine or water—but I bet you—black on white—that you world's affairs, while Dvorak is already among the School. In fact, whenever he mentioned the subject it could never compose anything like his musie, no matter immortals! savored of bitterness. how much you drank.” THE ETUDE THE ETUDE MARCH 1919 Page 137 Page 136 MARCH 1919 “Who is the Composer?” World. People possessing millions of dollars work as When Dvorak Received His Degree hard, or harder, than the poor man. And *hat 1 By Mae Aileen Erb The master’s mention of his Cambridge promotion especially there, is that no difference is made be wee was charmingly comical. There was some mention the gentleman and the simple workman. The million, made of a festivity at school which gave rise .to aire comes to the porter and addresses him as M • Ir you intend to play for musical people, there are Dvorak’s expressing himself as follows: “I don t like and the porter, though he may know he is talking t y which you should be prepared to a„- those festivals, and if I have to attend one I am all the a millionaire, calls him also ‘Mr. So both at ‘«° » .!.« «»* of «» Pta. ,« The Question of the Virtuoso Conductor time on needles and pins. I shall never forget how I —with no difference except the millions. Rave lust played ?” and the question quoted in the title. felt when they made me ‘Doctor’ in England—nothing spite of all the good qualities America wasunableto ■ are invariably asked, if the composition has keep him, for he felt very homesick in the Umtca By W. J. HENDERSON but ceremony and Doctors all around me! All the Annealed to the listeners. It is very unsatisfactory States. A proof of this is the following reminiscence faces were so serious,'and it seemed as if nobody could to have the performer, when questioned answer, with speak any other language but Latin! I kept listening of conductor Anton Seidel. _ ,.hrug of shoulders, “Oh, I don t know-I never Who was the first virtuoso conductor and why? Conducting at the Keyboard ing. Wagner tells us that Habeneck searched in every to the right and left, and finally was too confused to bother to remember the title and the composer It is not at all likely that either* of these questions With all of them, keeping time was the main measure of a Beethoven for the “melos>” that end¬ Dvorak and Seidel understand anything. When I realized that they were How very very amateurish that sounds! Anyone can be answered satisfactorily. The virtuoso, or, as objective. Writers carefully explained the advantages less stream of. melody which holds every movement “There in America,” said Dvorak, “I .got acquainted together, that varied instrumental song which is the all talking to me, I felt as if hot water was being poured who is studying music and has to resort to such an he is sometimes pointedly called, the prima donna- of conducting at the harpsichord. The principal violin¬ with a certain Seidel, and he was almost the only man conductor, is here, and he is undoubtedly going to stay. true consummation of the composer’s vision. over me, for I was ashamed not to know Latin. But answer surely can’t expect to create a favorable ,m- ist, whom we would call the concert master, stood with whom I could converse about music. He was very One has only ter consider the gravity of the situa¬ nression Be a little more professional in your man¬ beside the harpsichord and communicated his beat to It is not difficult to bring before the mind the kind of when I happen to think of it now, I have to smile, talented and had had much experience. At one time ner when playing for others—get away from the traits tion in which any orchestra finds itself when it is results obtained by such a conductor. Interpretative, for I say to myself that after all it means even a little he was secretary to Richard Wagner, and he told me the other players. This beat was made by the hands of the amateur. By this I do not mean to advise yon for the moment suspended in mid air waiting for a indeed, his art must have been, since it revealed the more to compose a Stabat Mater than to be able to a great deal about him. Thus I got to know 1 Operating on the keyboard, by the head, or by a loud to adoot a number of meaningless mannerisms, but new conductor. What is the inevitable attitude of the true splendors of Beethoven’s scores, long obscured by talk a little Latin.” manner Wagner worked. It seems Wagner liked a public mind in such circumstances? It demands with and strongly marked accent in the playing. As many sLpfy to be more MUSICIANLY. the clouds of indolence and ignorance. But we should ' Then again there was a discussion about Beethoven s very high desk, much of the kind used in business or swiftness and certainty that the new conductor shall as possible of the orchestral musicians were seated There are three things in studying a composition doubtless exclude Habeneck from the ranks of what Fifth Symphony; and somebody remarked what a fine office, at which he would stand—for he did not like to be a virtuoso, one of those potent wizards of the so that they could see the hands of the harpsi¬ which are frequently neglected by the student (some- we now regard as interpretative conductors. part the ’cellos play in the Adagio. Thus ensued a gen¬ sit. He jotted down his ideas on scraps of paper, and baton, who, in some magical way, galvanize eighty chordist times I fear the teacher does not make them seem To us the interpretative conductor is the man with eral talk on the ’cello and ’cello-literature, on which these he had kept in such perfect order that he could men into vital and communicative musical life and In all this there could be no question of elaborate important enough!) these are: the title of the com- a “reading,” his own individual conception of a work, occasion the master surprised us with his views about put his hand on each single one whenever he needed it. fashion them into a vibrating human instrument for made to stand forth in convincing eloquence through position, the name of the composer, and the style or interpretative analysis. A good, precise ensemble was And if he got into any difficulty in his writings he the expression .of his interpretations of the masters. the orchestral utterance of it. Wagner himself closely his own ’cello concerto. ... form in which the composition is written. all that was attained. In those days it was all that “The ’cello,” Dvorak said, "is a beautiful instrument, would strike a few chords and go on writing again. When did music lovers discover that they needed approached this type of conducting, and his direc¬ Let us compare two students. The one when asked was needed. Even to-day one of Bach’s Branden¬ but its place is in the orchestra and in chamber-music. Seidel did not compose, but he was an excellent mu¬ such interpreters? The experienced observer of the tion of the ninth symphony was, without doubt, what to play, walks to the piano rather hurriedly and im- burg concertos is heard to the best advantage when As a solo-instrument it isn’t much good. Its middle sician and conductor. However, he had his whims. He public becomes extremely skeptical on the subject of might fairly be called a reading. He wrote an essay on mediately oil being seated, plunges into the piece. We it is performed with good balance of tone, just tempo register is fine—that’s true—but the upper voice squeaks was a wild rebel and atheist, and often would say ter¬ the “public demand.” It is chiefly a creation of the the performance of this composition, and that shows will give her the credit of playing fairly well, hut at and well marked rhythm. The interpretative con¬ and the lower growls. The finest solo-instrument, after rible things. If people were to utter the things he said newspapers. Every newspaper man well knows that us clearly that his ideas about tempo and other tech¬ the conclusion, whtn she is questioned with regard to • all, is—and will remain—the violin. I have also written (in the Old World) they would never get out of prison. it is, and the insincere among them, who are far too ductor rises to his greatest artistic height when he nical details were applied in such a manner as to the name and composer, she gives a little laugh and a ’cello-concerto, but am sorry to this day I did so, and But in America nobody takes any notice. They do not numerous, laugh in their ample sleeves over it. Drop refrains from striving to discover anything in it to be constructive of an individual interpretation. In¬ I never 'intend to write another. I wouldn’t have writ¬ even lock up a man who quarrels with the priest in replies lightly, “Oh, I don’t know what it’s called— out of all newspapers for six months the name of interpret, and devotes himself to the business of get¬ deed, Wagner laid down in his paper on conducting ten that one had it not been for Professor Wihan. He church. Otherwise Seidel was a very cultivated indi¬ something about ‘Bells,’ and I’m not sure who ihe Galli-Curci, and the world would cease to know that ting it technically well performed. In those days the fundamental law of the whole art when he kept buzzing it into me and always reminding me of it, vidual, and I always looked forward to discussion with composer is, Mendelssohn—or—no, 1 think it’s Bohm.’’ there was such a person. There would be no pub¬ music was just music. It had no doctrines to pro¬ declared that the first duty of the conductor was to till it was done. I am sorry to this day for it! him- We used to meet often, and I don’t know what Now then, let us see what the second player has to lic demand for her at all. • The virtuoso pianist began mulgate, no psychological problems to -solve, no world determine the correct tempo. This is incontestably Such was the opinion of the composer of a work that would have become of me, had I not found him in« say. She walks to the piano with more ease and lets to be demanded by the public, not before there were weariness to bemoan. Many music lovers in these bur¬ true. The right tempo and perfect rhythm are the is one of the finest in the whole of ’cello-literature. America. I would have died of loneliness. haste than her friend. After taking her place on the any such pianists, but after people had discovered dened days wish that music could return to that happy first requisites of any interpretation, whether with Maybe this opinion was meant more for the actual Colleague Krejza, an American Bohemian, remarked, piano bench she turns around informally and says them and had' seen their wondrous doings celebrated state when it was a proud and independent art, not an orchestra or any other musical instrument. “squeaky and grumpy’’ instrument, than for the com¬ on one occasion, that Anton Seidel died in 1898 from something to this effect: “I’m going to play you Tan,, in the public prints. The virtuoso conductor was striving to be all things to all men. But that is position. On the other hand it may surprise the reader eating some bad fish, and that, before his death, he ex¬ telle by Karganoff, one of our modem Russian com¬ born and advertised before the great world of music aside from the present discussion, or, as Mr. Kip¬ Von Bulow’s Unique Place pressed the wish to be cremated. “You see by that what posers. A Tarantelle is a composition written in the lovers perceived that without him its orchestral con¬ ling used to say, that is another story. if I tell of the favorable opinion Dr. Dvorak had about Despite the achievements of Habeneck, Wagner, Men¬ kind of a man he was,” exclaimed Dvorak; ‘even after form of a rapid dance. There is an interesting legend certs were purely academic, and too frequently not The time' beater, with his roll of music or stick, so-called Turkish (military) music. After all there is delssohn, Spohr and others, the era of modern conduct¬ about the Tarantelle; in Spain and Italy there is a even that. slowly disappeared as monophonic music rose to a good reason for this: Dvorak’s musical nature de¬ death he let himself be singed!” ing must be dated from the high noon of the activity lighted in tone full of warm life-color and energy. dangerous species of spider, the Tarantulla—whose bite supremacy and polyphonic compositions retired. The Virtuoso Conductor a Modem Product of that unique musician, Hans Guido von Billow. One unmistakable proof of this was his own remark: is fatal unless the victim, through violent exercise, can harpsichordist satisfied all the demands of the earli¬ “Canus, a Rhodian musician, when Apollonius was The virtuoso conductor, like the virtuoso pianist, Weingartner tells us how troubled and disappointed “I like to hear good Turkish music. When I hear the est performances, and he persisted in discharging his inquisitive to know what he could do with his pipe, produce a sufficient amount of perspiration to free the he was by the performance of Beethoven’s works in strain of a good military march (and many a military is a modern product. It is true that there were wiz¬ functions long after the time beater had once more told him, ‘that he would make a melancholy man merry, body from the poison. The friends of the unfortunate his student days. Into the arena of Leipsic soon came conductor can instrumentalize mighty well!) I cant ards of the keyboard long before the days of the piano taken his place in front of the orchestra. When Spohr and him that was merry much merrier than before, a person are said to seize him hy the bands and run to a von Biilow and the celebrated Meiningen orchestra, stand still—and if I were not ashamed, I would just recital. Claudio Merulo did not write his organ toc¬ began his first rehearsal with the London Philhar¬ lover more enamored, a religious man more devout. commons or open space where they dance wildly whereupin Weingartner, to his joy, found that his pri¬ march along with all the street boys 1 Some of the very around in a circle. One hy one they fall down ex¬ catas away back in the dawn of the sixteenth cen¬ monic, in 1820, he solemnly drew forth a baton, the Robert Burton. vate studies of the master’s scores had not misled learned musicians pretend they cannot bear to hear it, hausted but if the victim can keep exercising tury just as theoretical exercises. He played them, sight of which caused something approaching a panic among the musicians. But Spohr held, his ground, him. Even the local conductor was awakened, and but I don’t believe them I think they just say long enough, his cure is consummated." Then of course. The fame of Frescobaldi did not rest on and his autobiography proudly boasts -mat the pian¬ soon afterward led the Leonora overture in a quite it to appear still more learned. The other day student number two turns around to the key¬ his accompaniments to singing, but to his solo per¬ ist-conductor was never seen again at these concerts. astonishing way, but, as Weingartner notes, without I went to see a drama, and this appealed to me board, and drops her hands into her lap for a formances. Bach’s enchantments were not confined von Bulow’s arbitrariness.^ “Beethoven spoke to us especially: A tragic scene had just been en¬ Howevet, in 1829, when Mendelssohn conducted, he few seconds before playing. When she to the glories of the “Passions,” and Handel vied without commentary.” acted on the stage; everybody was absolutely sat at the harpsichord. The use of the baton had been with Domenico Scarlatti as a virtuoso of the harpsi¬ And just here Weingartner puts his finger on the unstrung; when suddenly a military band finishes, she once again drops her hands into habitual at the Paris opera long before it became cus¬ joint in the armor of interpretative conducting and passed by outside, playing a delightful, cheer¬ her lap and waits, just a second or two, before chord. But the concert pianist of the virtuoso type is tomary throughout Europe and Gretry jeered at it discloses to us sharply the difference between the ful march. The tragedy did not affect me so getting up and walking away. She radiates of a later date, and so, too, the virtuoso conductor when he said, “Paris is the only place where they interpretative and the virtuoso or prima donna con¬ deeply, because I knew it was only in a play, confidence and poise. Would you not con¬ cannot be found further back than the beginning of beat time without keeping it.” ductor. Dr. von Billow unquestionably practiced some¬ but as soon as I heard the march, I, had to sider her the better musician of the two? the nineteenth century. times those exaggerations which are the stock in overcome myself greatly not to weep.” After His immediate predecessor was the orchestral tech¬ The Beginning of Modern Orchestral Precision trade of the virtuoso conductor, the super-interpreter this Dvorak played for us a few bars of the nician, without whose labors the virtuoso could not The use of the baton, however, is of less import¬ who is eager to interpret every phrase separately and have existed. But there were conductors before march he had then heard. ance than the direction of the thought and labor of individually, often without regard for its place in the The Marvelous Hand these, that is to say, if we are willing to bestow the conductors to the perfecting of orchestral technic. general scheme. Weingartner tells us how Wagner Dvorak and America title on mere time beaters. And yet the time beater Historians trace modern orchestral finish and pre¬ induced von Biilow to make a “slight modification” of is' not to be despised. The first thing every conductor cision back to the establishment of the Concerts Spir¬ He loved to chat about America. In fact, By Katharine U. Mastead tempo between the two phrases in the Egmont over- and without doubt, that was his pet subject. must be is a skillful time beater. How many of them ituals in Paris, in 1725, and the engagement of Johann He told many details and whole episodes of are not! But that is not to be discussed at this Stamitz as director of Chamber of Music to the Piano teachers rarely stop to think, whf11 time. Let us keep to the track and. seek to reach the American life. Dvorak’s well-known liking Elector of Mannheim, in 1745. The latter is cred¬ they watch the hands of their pupils, that they remote ancestor of the conductor in his historic hid¬ for locomotives and the hustle and bustle of ited with developing the long crescendo and also the arc dealing with the most wonderful tools ing place. pointing of some of the more obvious accentuations. a railway station became more and more in¬ in the world. All the marvels of machinery, Heinrich von Meissen was a meistersinger, and he He also accomplished something in the direction of tense through his observations of ships and carried to their highest degree of perfection, lived in the beginning of the fourteenth century. orchestral unanimity, though it was only a faint fore¬ the life in the harbor. He knew by heart arc but feeble substitutes for the work of tl* There is an old picture showing him conducting a shadowing of that which we now expect from even The conductor readily accepted Wagner’s suggestion, every name of every single sh:p that sailed, hand when employed in its higher capacities- group of singers and players. He sits on a platform our inferior organizations. but at once improved upon it by treating the phrase between the New and the Old World, and^ “Hand work” is the mark which distinguished and beats time with a baton and an extended finger It was even later, however, that the significance of marked “piano dolce” as if it were a new andante even knew the hour of their arrival and de¬ of the other hand. Several of the singers are obvi¬ the finer merchandise from the cheaper inn- real conducting came to he recognized. We may instead of a part of the first allegro of an overture by parture. He would describe the confusion ously repeating his beat. And here we come upon fairly date the beginning of interpretative conducting no means capricious in form. Who has not noted hun¬ and weeping of the people in the harbor, if a the matter which occupied the attention of the earliest from th: days of Habeneck, in Paris, in the first half dreds of similar tricks performed by those princely ship was a day or two behind time, and it was The connection between the hand and the conductors and -performers. The players had much of t e nineteenth century. Two composers, Berlioz jugglers of the baton, the virtuoso conductors? not known where she was or what had become brain is a significant and important one Vtrj trouble in keeping time. When young Pelham Humph¬ and Wagner, have testified to the effect, made upon of her; and he would confess how he himself few realize that the use of the hand apparent, reys returned from Paris he ridiculed the perform¬ them by Habeneck’s conducting. Yet, it is a fact, The formidable difficulty which alarms most of felt worried, and then again glad when the has an effect upon the brain. That is. ances of his English fellows because they could not that he did not conduct from score, but from a violin them seems to be that of making a correct reading of belated ship appeared on the horizon and training of the hand seems to react upon t‘ keep time, and he forthwith showed them how his part. This might incline us to believe that he did not a composition without taking thought as to the amount finally anchored safely in the harbor. Dvorak mind. Psychologists and educators lay gR* French master, Lully, conducted at the opera. The understand scores, but his results prove that he did. He of public attention it may draw to themselves. Any composer of “Armide” conducted sitting at the harp¬ was full of praise for the practical and hard¬ stress upon the different mental traits ® gave many rehearsals to great works and attained not vagary which astonishes the audience and causes the working American. “As far as these qualities sichord, just as Purcell and Handel did after him. only precision and unanimity, hut that clarity which critics to write that the composition owed most of its those who are “right-handed” and those *11 are concerned, America is a shining light,” he And that was the way all kinds of music were con¬ comes only with balance of tone. success to the brilliant reading of the conductor, is CZECHO-SLOVAK STROLLING MUSICIANS. are “left-handed.” . would say. ducted for many years. Even Bach thus directed the We have no direct testimony to this effect, but Wag¬ thought to be justifiable, whereas Weingartner be¬ “There you can’t find one-tenth of the lazy Revere your pupil’s hand. It is a Preaj\ performances of his concertos. Dvorak as a child was known to delight in these bands. ner’s account of what Habeneck achieved is convinc¬ stowed upon the elegant director of the Leipsic Ge- ‘good-for-nothings’ that you do in the Old privilege to work with such a marveloustcw THE ETUDh\ 0f his “reading.” MARCH 1919 Page 139 Page 138 MARCH 1919 formance to behdd thaecc^pHshld°by the expansion aL at this point he will do well, whether he be a con^ What miracles can be ac P , %vhat amazing re- wandhaus the highest praise possible when he asserted ductor, a violinist, or a pianist, to give heed to the wise of. quarter ».« ***££%■. ,„lo .b.cu„ that in his “reading” of the Leonora overture, Bee¬ suits are obtain^drh is palpably the m>«Wle voice of a thoven spoke to- us without commentary. W°HjisS first'business is to ascertain the correct tempo, horn passage which P noscenti can be made to sit No conductor can improve on Beethoy««rcrr Brahms and after that to hunt the melody through every harmony! How the introduced for die purpose of or Debussy or any other composer. No conductor has when a sforzando. w proclatnation! a right to ask us to accept his ideas instead of those No interpretative artist is likely to go very far translating an accent m ^ charms m the collec- of the composer. It is unquestionable, nevertheless, that wrong who concentrates his attention upon these tw But the rnostP°ct® conductor is the insidious change a conductor is a performer and that he * tion of the virtuoso co ^ tbat slight alterations of work to us only as he sees it. His personal ty mud mat Astonishing the Audience of tempo. True trifle . purposes of expression, be operative and influential, otherwise ‘he interpreta¬ A certain pianist, who shall be nameless ^ accus¬ tion will be nothing better than a piece of dead mech tomed to amaze and confound his audiences by per BfrSSrand with this ran Wfault. °< abou' ’“,hl" anism But it is his business to use all the powers of forming extraordinary tricks with various c P the bars” no one wiH fi ^ j refer t0 the deliberate But this is not what an
Piano Study Always Profitable, Even for Non-musical Students GARDEN OF ROSES IRENE MARSCHAND RITTER A tuneful and sonorous drawing-room pkce.in the rhythm of ajnodern gavotte. Grade JV. By FERN MAGNUSON BLANCO Motterato M M. J=108
Why All Children Should Have a Chance to Study Music derful instrument than the human hand, in which is simultaneous action to any extent. If an idiot moves Many take music lessons, but few become excellent specialized touch, which has been called the most fun¬ one of his hands the other frequently makes a similar players. Therefore, parents often hesitate to furnish damental and philosophical sense, and which existed motion without volition. The normal person, however piano instruction for any child who does not show before the other senses in evolutionary history. It is can acquire a wonderful power of non-simultaneous unmistakable talent, and piano teachers frequently grow principally through education of touch that the pianist action which stimulates mental adroitness. weary on account of the many seemingly hopeless pupils. learns instantly to locate and play innumerable notes Doubting parents, discouraged teachers, indifferent without so much as a glance at the keyboard. Count¬ Relationship of Manual Dexterity to Mental Powers pupils, and the general public, as well, should realize less nerve filaments connect the fingers with the brain, The mental advancement of a species ‘can be meas¬ that expert musiciaiship is not the only aim of piano therefore, any acquired digital dexterity or tactual ured by the manual dexterity of its individuals. One study, and that regular and intelligent piano practice efficience must develop previously unused associational of the most noticeable distinctions between humans is in many respects as helpful to the prospective areas in the cortex. and animals is the high development of the hand oi mechanic or lawyer as to the future virtuoso. The fidelity of the ear and the quality of musical the former. The dog is considered one of our most The value of piano lessons to the talented is evident, taste are improved by piano practice. A legitimate, but many persons believe the unmusical child should not though unusual harmonic sequence, sometimes im¬ intelligent animals, yet his mind is as far behind the be forced to practice on an instrument which he presses a pupil as incorrect, but as he practices, his human as his paw is inferior in structure and ability does not love and will never master. I am persuaded constantly developing taste and ear will finally approve to the hand of man. Dr. Robert MacDougall says 0f that piano practice is never more disagreeable to any of the passage. Faithful piano practice, which trains the human hand, “In its features and capabilities is child than the study of arithmetic to many. It is the ear and develops a discerning harmonic sense, symbolized all that man has achieved in his long, agreed, however, that for practical and educational rea¬ will gradually lead even the unpromising pupil to an upward march from the primeval ooze.” sons, every child must study arithmetic. Music also is appreciation of the best in music. If the only advantage to be derived from piano study an exact mathematical science, but with a decidedly were a remarkable training of the human hand, that important aesthetic element added. Muscular Character of Piano Playing alone would justify it. The minds of children are first The faithful piano student is benefited by daily mel¬ Piano practice affords intensive training of count¬ awakened and developed through hand culture, and odic and rhythmic experience. Gesell, in the Normal less muscles. There is a relationship between muscu¬ any activity which requires simultaneously great men¬ Child and Primary Education, says, “Rhythm is the lar exercise and psychic processes. G. Stanley Hall tal effort and unusual manual skill is of rare educa¬ best friend of motor activity. It lightens all labor, says, “Muscles are in a most intimate and peculiar tional value. makes for pleasure, grace and poise of movement, and' sense the organs of the will .... Character postpones fatigue. . . . Melodic intervals possess might, in a sense, be defined as a plexus of motor hab¬ Plano Study Advantageous During Formative Yean in a high degree the power to stimulate energy.” Phy¬ its.” If correct habits of practicing are formed every Piano lessons are of greatest benefit during child¬ sicians often affirm that music tends to improve the thoughtful motion of even the smallest finger muscle hood or youth, the opportune time for acquiring funda¬ condition of the sick, and proprietors of many large may stamp on the brain of the piano student impres¬ mental knowledge of any subject, the magic period business' establishments assert that the efficiency and sions of accuracy, conformity to standard rules, high¬ when the senses are most alert, the brain cells most general “morale” of their employees is increased when ness of purpose, determination to succeed, etc. plastic and the muscles most tractable; and when awak¬ good music is provided. The same exercises which promote pianistic skill ening elemental impulses and desires can be deepened, also afford ambidextrous training, and thereby make The Piano Versus Other Instruments purified, softened and dignified by daily access to the for symmetry in the posture of growing children. greatest mukic and contact with the minds which pro¬ There are, of course, excellent musical instruments Ambidexterity also doubly increases muscular effi¬ duced it, noble artists who help us build what Ruskin besides the pianq, many of them more attractive to ciency, for it has been proved by experiment that any describes as “treasure houses of precious and restful some of the boys and girls. If a’child prefers the strength gained through the exercise of one hand thoughts, which care cannot disturb, nor pain make violin or cornet he should, nevertheless, take piano les¬ means an appreciable increase of strength in the cor¬ gloomy, nor poverty take away from us—houses built sons first, if possible. Even a small amount of piano responding muscles of the other. Since muscular action without hands, for our souls to live in.” study will greatly enrich his harmonic experience. Of of the right and left sides is controlled by separate Thoughtful parents, therefore, will provide piano all instruments the piano most nearly approaches the cranial areas, piano playing, which requires the same instruction for their children (and the public school orchestra in the expression of the finest and most com¬ remarkable skill for the left hand as for the right, should make this possible in every case). Our chil¬ plex harmonies,'together with wonderful facility for necessarily induces the activity of many brain cells not tone control in every part. To play a worthy compo¬ generally used. dren will thus acquire a valuable accomplishment as sition on the piano is almost as beneficial as ensemble well as a pleasant occupation for hours which might Piano practice necessitates non-simultaneous action otherwise be unprofitably spent. Their young minds work to a person who is accustomed to an instrument of even the most humble and dependent muscles of the will be disciplined, their powers of concentration aug¬ of meager harmonic possibility. Pianistic knowledge fingers, hands and arms. The beginner in piano study mented and their wills invigorated, their muscles will gives the young musician a clear view of the rhythmic is often inclined to make the same movements with receive valuable exercise, they will acquire remarkable and harmonic relations of parts. Acquaintance with one hand as with the other, but little by little the sense training and hand culture, and also acquaintance the piano is as beneficial to a musician as a knowledge nerves, muscles and brain cells adapt themselves to the of Latin to the student of European languages. ever-increasing demands of the will, and the faithful with our most fundamental, scientific and intimate Quick and accurate vision, a most valuable asset learner is at last able to play complex and widely art. Many great men of all times have considered in our complex modern life, is remarkably developed by varying passages with his two hands, so that literally music a profitable study. A no less eminent philoso¬ the rapid note-reading of the pianist who, through one hand does not know what the other is doing. As pher and educator than Plato, himself a musician, said . ‘Musical training is a more potent instrument than long practice, acquires a well-trained eye and intimate to the significance of this highly developed independ¬ EH ■m— EH Et- ft* 1 UTFf»r- any other, because rhythm and harmony find their way V Eg mm - m coordination of eye and hand. ence of the hands, it is an interesting fact that per¬ into the secret places of the soul, on u-'hich they might¬ F 5= The pianist’s medium of expression is a no less won¬ sons of sub-normal intelligence seldom develop non- 1 ti F ily fasten.” TRIO < rit. h * tempo h ■1 ns i j t (
Making Resourceful Fingers
By Ernst Von Musselman
The fingers are capable of a very high order of in¬ one’s musicianship. To indulge a sort of catch-as-catch- stinctive intelligence. They have the ability to reach can grasp at the notes, with no two renditions ever ?01^ell,s. To° Wild Rose, then how much greater is out and feel for those things sought when really the fingered alike, must develop many awkward positions its need in the playing of any polyphonic work, where mind is inert and unconscious of any act. Such a and shifts such as will prove violently disturbing to * C«US of the different voices is entirely movement might be termed as automatic, but, mark one’s technical and musical poise. And in order that Aifd -flL l'POn an un,jroken fingering of the notes, you! no such movement can ever become automatic, in the pupil may ascertain for himself the importance of fstab C.reat;on ?f res°urceful fingers through the a pianistic sense, until that movement has become thor¬ an established fingering, he has only to turn to the shorter p ofua. fixed fingering is important in a oughly established by countless repetitions, each of simple scale of C major and attempt to play it with Bach Fn"01^ Whe.ther l^at he a fight modem or a which has been an exact fingered replica of the preced¬ utter disregard to the rule of fourth finger in the right learn,no-gUf’ the" ltS imPortance is self-evident in the ing one. Hence, the thinking one can readily see that on the seventh degree of the scale and fourth finger in knows STataS. arui COTlcertos, since one never no dependable automatic flow of finger movement will the left on the second degree; the result should prove works a He W len’ ,n t,le Paying of such lengthy ever establish itself until a definite fingering of the convincing. I™'! sertlon of the memory may leave him a. notes in that particular composition has been adopted. It matters not how modest in pretention a composi¬ tide him "le'”cy °f a former finger training to tion may be, the finger notation is always a matter for PuoiH £ Tr' ,And f°r such as ‘his «•* we advise all The Value of Definite Fingering serious consideration if the pupil would bring it to ing^ first tlr he.mfndates °f an authoritative finger- Aside from its advantages as a resourceful support the highest interpretative point and maintain it at that can oneVfi ’ anda',WaVS: for only by such obedience to the memory, a definite fingering of any composition standard. And if an established fingering be of moment to warrant Jif^5 deveIoP a resourcefulness sufficient is wholly essential as a vehicle in the expression of in a piece, we will say, x>f the simple type of Mac- I T* trUSt we are compelled to place upon them sooner6 or later. Copyright 1919 by Theo Presser Co. #From here go to the beginning and play to Fine; then play Trio. British. Copyright secured Page 152 MARCH 1919 TUE ETVbi AT THE DANCING SCHOOL WALTZ BERT R.ANTHONY
Tempo di V aise m’m. J. = 54 1 8_ * ---- 6 3 - , jp ff ■f-t V /?OCO v p Softly ano l sweetly l.*t p
i 6 8 5 * «tempo 5 8 --- __21_ t. ~ — t\ U C-- i », 4
rail. P Page 154 MARCH 1919 MARCH ±919 Page ±55 THE ETUDE CHIMES OF EVENTIME THE HAPPY MILLER BERTA JOSEPHINE HECXER ♦ MEDITATION ROSE EVERSOLE This number is taken from a new set pf teaching pieces by a well known woman composer. Grade III. “ -M?C0Y Full of color and activity. A good study in the staccato touch. Grade 2 l _ *_ Fine yj dolce fit. & —r*- Copyright 1919 by Theo. Presser Co. Copyright 1919 by Theo. Presser Co. British Copyright securei British Copyright secured Page 156 MARCH 1019 . THE ETUbg MARCH 1919 Page 157 THE ETUDE HUNGARY HUNGARY SECONDO M. MOSZKOWSKI, Op.23,No.8 M.MOSZKOWSKI, Op. 23, No.6 From the celebrated set of pieces, entitled From Foreign Lands, originally written for four hands. PRIMO Page 158 MARCH 1919 MARCH 1919 Page 159 SECONDO THE ETUDE PRIMO THE STAR SPANGLED BANNER » , SECONDO A new ^^ery^ohd four'hand arrangement of the Nationa^ Anthem. Dr. SAMUEL ARNOLD THE STAB SPANGLED BANNER SAMUEL ARHOUJ (1740-1802) rKlMU (1740-1802) Moderato > ^ ^ | j) J Copyright 1919 by Theo.Presser Co. British Copyright secured MARCH 1919 MARCH 1919 Page 161 I'age 160 THE ETUDE INDIAN LIFE PRAYER I Si i *2 A FROLICSOME MOMENT HERBERT RALPH WARD A useful teaching piece with work for both hands. Grade l\\ 5__ iS§— > ^’ ) ^_. •f- t» f- j*.p- t i T T T 2 ^ ^ 3 *s 4^ 3 r 8 »4 CODA / tnf Copyright 1919 by Theo. Presser Co. British Copyright secured Copyright 1918 by Theo.Presser Co. British Copyright steured Page 162 MARCH 1919 thsetjju DOLORES SPANISH DANCE HOMER GRUK» \ Very taking and characteristic: In real Spanish style. Grade 4 i 1 I Copyright 1919 by Theo.Presger Co. British Copyright secured Page 164 MARCH 1919 thrrtvde MARCH 1919 Pc*e 16£ THE ENCHANTRESS British Copyright tscured Page 16/ the etude ZTARCH 1919 SLUMBER SONG Averv pretty berceuse, by a well-known American writer. Grade III. R.HUNTINGTON WOODMAN LEGATO MELODY IKS MARCH 1919 TH*STURi MARCH 1919 Page 169 Rag' TSSITHRU A JOLLY RIDE TWILIGHT HOURS A well-marked polka rhythm, requiring a crisp and light finger action. Grade 2-$ MILTON D BLAKP REVERIE ALFRED PAULSEN Rather fast m.m.J= 92-104 A useful recital piece or soft voluntary, with an effective registration. Also published as a piano solo. Andante m.m.J=72!_— r-^/?\ n a tempo MANUAL Copyright 1918 by Theo.Presser Co. Copyright 1919 by Theo.Presser Co. British Copyright secured British Copyright secured MARCH 1919 Page 170 MARCH 1919 THS Ijtyjjj the etude DREAM SHIPS WALTZ J. F. ZIMMEHIcauj, A dainty waltz movement, easy to play. Copyright 1908 by Theo.Presser British Copyright secured Page 172 MARCH 1919 FREEDOM’S DAY edwinh.lemaRe Frederick L. Myrtle j. sin^imr at all patriotic gathering. The com„0S(., Celebrating the return of the overseas forces and suitable for unison or Y a popular and accomplished concert organist. In march time shouts of loy - al greet ing fill the air: There’s a flag that pro ud-ly flie s, To the sun - lit skies, As the 1 J -J- r |t r J r r j f^ ! - .A.. 8 i 8 ___u. »• i>- A SONG OF JENNY Frank L. Stanton STANLEY R. AVERY ^claims a coun-try’s pride and joy, It is Free-dom’s day. and ev - ’ry moth - er» heart Beats * 8 ^ Copyright 1919 by Theo. Presser Co. Pritish Copyright secure* MARCH 1919 Page 175 MARCH 1919 THE ETUDE TILL A SWEET DREAM COMES TRUE A Little-known Gounod Work ira : When The Tales of Hofmann and Or- earlier compositions. Indeed, for a Edith Sanford Tillotson •WILSON phee et Eurydice were taken down from time, Gounod, like Liszt, thought of be¬ the operatic garret a few years ago peo¬ coming an Abbe of the church. One A melodious ballad, with a good, swinging refrain ple were amazed at their freshness, in¬ of his collections of religious choruses terest and charm; and they began to was brought out with his name printed ask, “What other operatic treasures are ‘‘Abbe Charles Gounod.” there hidden away under the dust of Mireille was produced in 1864; five decades?” years after the first production of Faust, The management of the Metropolitan and three years before the first produc¬ Opera House has announced among tion of Romeo and Juliet. Thus it came other revivals for the season, Gounod’s at the most productive operatifc period Mireille. Gounod has long been known of the composer’s- life, when he was as a “one work” man. The fact of the forty-six years old. ' The ■ opera is in matter is, however, that the remarkable four acts and is based upon a poem by success of his Faust has overshadowed Frederic Mistral. It contains some of other works, sufficiently great to make the most graceful music Gounod ever fame for another composer. penned and is scored with great appro¬ Romeo et Juliette, Philemon et Baucis, priateness. and Mireille are all works of unques¬ Apthorp has pointed out that Gou¬ tioned musical beauty which should be nod was the first pative-born French¬ heard more frequently. They would man since Rameau, to win a higher have been heard had it not been for the reputation at the Paris Academie de Still to-geth-er we may meet. If you’llprom-ise to be guid-ed By a ten-der fan-cy sweet;. immense success of Faust. His Queen Musique (Grand Opera) than at the Tho your voice I can-not hear, I can bring you close be siderne, I can feel your pres-ence near;_ of Sheba once had an unusual vogue. Opera Comique. Meyerbeer had been Many of the numbers from Gounod’s the operatic deity of Paris; and it is little-known works are heard in con¬ greatly to the credit of Charles Gounod cert. In all, he wrote thirteen operas, that he was capable of developing him¬ two of which were posthumous. self as he did—although the influence of The mania for religious music which the spectacular Jacob Liebmann Beer, seemed to overtake him later in his life, of Berlin (who was pleased to be after a none-too-savory escapade in known in France as Giacomo Meyer¬ England, apparently lessened his abil¬ beer), was too powerful for a man of ity to produce operatic works that com¬ Gounod’s plastic disposition entirely to manded public attention as had his overcome. The Inextinguishable Star Love can bridge the dis-tance wea - ry, Bring me close a-gain to you, Bright-en ev -’ry mo-ment dres-ry, The interminable battle of opera, and Present,” says of the reformer Gluck: Sn un-til we’re re - u - nit - ed Plav the lit tie th». Keepthe ten-der prom ise plighted. ever since that memorable wedding day of Henry IV and Maria de Medici “What was new in Gluck was his (1600) when Peri and Caccini produced musico-dramatic individuality, his style their‘first opera, Euridice, has been the —for there was little really new in his battle between those who have con¬ principles. Not only did these date tended for a form of opera dependent back, as far as they went, to the earliest upon the luster of stars, and those who days of opera, but the artistic sins and abuses he stigmatized—the slavish sub¬ have stood for an opera of intrinsic servience of composers to the whims of worth", and not propped up by virtuoso the virtuoso singer, the sacrifice of singers. dramatic interest to irrelevant musical The first step of the operatic re¬ developments—had been pointed out former is usually to turn up his nose and deplored by more than one musician at the so-called virtuoso singer. This before him.” FILL IN YOUR did Gluck, this did Wagner, and nearly Deplore as they will the star system, every one who has sought to make IDLE TIME £. 'l1 °ft1^ Fori know you'll be watching it the trial balance at the end of any mil * tevdlirgSM gT opera better according to his own ideas. opera season shows that human nature $1 FOR EVERY 30 MINUTES The last step of the reformer is usually demands the great voice, the great ar¬ Send us your professional card and we will show you how to spend much of his time finding tist, the great actor. Yearly, opera to teach ADULT beginner and advanced pupils what THEY singers good enough for the roles he impressarii the world over, give star¬ want to learn to play—Popular Music in effective style. creates. Wagner, who disdained stars less opera, or operas in which there is at the beginning, courted them in his no conspicuous opportunity for pyro¬ Winn Method of Popular Music Particular, regarding Bayreuth days until tfle Maternas, the technic display upon the part of the and Ragtime Piano Playing Corre.pondence Cour.e of Fishers, the Lehmanns and others be¬ solo singers. And these operas are al¬ Obtainable at All Dealers 10 ^**|*°"* came Wagnerian assets quite as much most always on the debit side of the as the mysterious building with the awe¬ ledger. The number of such operas WINN SCHOOL OF POPULAR MUSIC gS- 155 West 125th St., New York inspiring name of Biihnenweihfcstspiel- given in America in recent years is, haus. however, unimpeachable evidence of William Apthorp, in “Opera Past the art intent of our operatic managers. TEACHING PIECES By MRS. A. M. VIRGIL ATTRACTIVE, INSTRUCTIVE-FINE FOR RECITALS Adapating Method to Pupil GRADES 1 to 6. GRADED CATALOG “What this country needs is more “I am asked the question, ‘What method ORDER THROUGH YOUR DEALER OR DIRECT diagnosticians who will study the par¬ do you teach?’ I would rather not an¬ THE VIRGIL PIANO CONS. :: 11 W. 68th St., NEW YORK ticular physical and emotional endow¬ swer, but would prefer to give my in¬ ments with which Nature has supplied quirer a printed copy of this excerpt each person. Many a pianist who ap¬ from Channing: ‘ DREAMING OF LOVE AND YOU ’ pears before the public is unsuccessful, Muaicdc by_by ARTHUR F. TATE “ ‘No process is so fatal as that which FOR HIGH, MEDIUM AND LOW VOICES FOR VOCAL DUET—Pi.«,__DUET—P,- — not because of lack of ability or musician¬ FOR PIANO SOLO,DLO, OR VIOLIN ship, but on account of bad judgment in casts all men in one mold. Every human FOR MEDIUm'vOICE/WITH VIOLIN PIANO being is intended to have a character of Price, 60 cents selecting the program. This is often the Send for our Thematic Catalog, and Cite. fault of the teacher, who has not sought his own, to be what no other is, do what THEO. PRESSER CO. PHILADELPHIA, PA. to treat his pupil individually. Again a no other can do.’” (Clarence Adler, in the New York Tribune.) case of adapting pupil to method. JtJUSICEN^^||^^^RINT£^ Mechanical Development Every few years a wave of invention who apply their studies to them. But the breaks over the musical world, of all sorts time has still to come when any real vir¬ West of NewTorkV.^aflSaJJJ^EfeflP.,0.invihin. of mechanical apparatus for the sure de¬ tuoso will step forth who has acquired velopment of the arm, the hand and fin¬ technique through their application.— all processes Copyright 1919 by Theo.Presser Co. gers, which will make great virtuosos of all Maurice Rosenfeld. BANNER DALHEIM fcCoT 2054-2060 W.LakeSt..Chlcaao 111 British Copyright secured Please mention THE ETUDE when addressing our advertisers. Page 176 MARCH 1919 the etude tee etude MARCH 1919 Page ' „ '-Zp'4 ~~1 The motor of the piano is the hammers, tached to the breast-bone, as well as the the vibrator is the strings, the resonator backbone, so that there can be but little — is the sounding-board. The motor of expansion in that region. But in the the human voice is the respiratory appa¬ lower region where the ribs are attached ratus; the vibrator is the vocal cords and to the backbone only, and especially be¬ for Voice and Vocal Teachers larynx; the resonator is the throat, the tween the points of the ribs there is much Department mouth and the nasal and head cavities. opportunity for expansion, and it is here In addition, the human voice has what no that the true support of the vocal tone and Edited for March by Francis Rogers other musical instrument possesses, an its control is located. articulator, which consists of the tongue, The technic of inspiration is much palate, jaw, lips and teeth. It is this easier to acquire than that of expiration. “Thank You for Your Most Sweet Voices’*—SHAKESPEARE articulator that enables us to express When we art silent the air passes in and our thoughts audibly, and so renders the cut through the nostrils, but in singing most human voice immeasurably the most elo¬ of it, of necessity, enters through the The Longevity of Singing both as singer and teacher, died in 1910, tenor to split the ears of the groundlings Leaves from 2 Singing- quent of all musical instruments. mouth. In the course of a song the breath is at the age of ninety. with a high C from the chest (“ut de poi- Tparhpr’c XW , Inasmuch as the voice is, after all, taken in with all possible rapidity, but in Teachers The Garcia family gave to New York trine”) I suspect that he split his voice, 1 t-dcner S lNOie-DOOK nothing but breath converted into sound acquiring the technic of breathing it is its first taste of Italian opera in 1826, the too, for he retired early from the stage, Rossini, is often quoted as saying that waves, it is of primary importance that necessary to take it in slowly, so that we By Francis Rogers birth-year of three famous teachers, Ma- and became a teacher. His best known the three requisites for a singer are Voice the pupil should at once acquire a clear shall be conscious of the entire process. thilde Marchesi, Stockhausen and Delle pupils were Miolan-Carvalho, the best of Voice and Voice. With equal truth it understanding of the construction and We should first fill the lower thorax, processes of his motor, of respiratory ap¬ making an effort to expand it in every di¬ I HESITATE Sedie. Marchesi was born in Germany, all Gounod sopranos, and that perfect vo- may be sajd that the three requisites f„, calist, Pol Plangon. Duprez died m 1896, a teacher of singing are Ear, Ear and paratus. Although one often hears of rection, even in the back, where only that is likely to overcrowd still but sPent most °f her life in Paris. She ” taught wqmen only, and among her “new” methods of breathing, some of slight expansion is possible. Little by lit¬ profession in which supply already aged ninety. Ear. Some years ago George Henschel countless pupils numbered Gerster, Melba, Jean Faure, the baritone, and the com- sajd to m<; MJn fhe m * vocal hel which are dubbed with some high-sound¬ tle the expansion moves upward, the last ceeds demand, "but, -“c M1,lc tlme’ I Eames and Sibyl Sanderson. She sur- poser of The Palms, devoted much time tUm n( tUm _._. vocal ‘fl¬ ing title of Greek or Latin origin, there perceptible movement taking place just feel that I owe it tc colleagues of the vived till 1914, Stockhausen, despite his atter his retirement from the stage I c the object of the singer is to produce are not and can never be any new meth¬ below the larynx. Throughout there noble profession of the teaching of sing¬ German name, was born in Paris. After teaching, and was considered a great as beautiful a tone as his physical means ods of breathing. The students of the should be no movement of the shoulders. ing to share with them my discovery that, a fine career as a concert singer, he es- authority on the subject. He died ii will permit. The public is not interested past have tried out all possible methods, In expiration the expanded thorax con¬ though their labors may. not --receive _ tablished an admirable and much-fre¬ early part of this last war, at the age of in how he does it; it asks only, ‘Does and the method that, in my judgment, has tracts first, at its base, and continues nch material reward, statistics show that quented school of singing in Frankfort, eighty-four. he do it ?’ ” The public, in other words, survived all tests, is perfectly simple and upward till it ends just below the larynx. teachers of singing live longer than the I have included in the above list all forms its judgment on what it hears] has nothing mysterious about it. The As the life of the vocal tone is entirely members of any other profession. ' I will those teachers with whose names I and the public, in the long run, is always human bellows may be likened to the bel¬ dependent on the outgoing breath, it is not here propose any theories as to why familiar, and also whose reputations v right in its judgment. As it is. the__ busi- lows with which we blow the fire. To of the utmost importance that the pupil this is so; I will simply set before my such as to secure them the immortality ness of the singer to please the public, fill the air-chamber of the latter you sep¬ 'should promptly acquire complete muscu¬ readers some names and dates that speak of at least a paragraph in the pages of so it is the business of the teacher to arate the handles, thus expanding the air- lar control, which may be attained by all but unanimously in support of my Grove, Fetis or Larousse. There are teach the singer how to do it. The chamber, into which the air rushes faithful practice. There are numberless good breathing exercises, all of which assertion. sixteen names on the list. The a verage teacher, already the possessor of a keen through the valves and nozzle; to expel serve the general purpose. If the pupil The human voice does not appear to longevity of these professors of bel and discriminating ear, the air you bring the handles together, thus contracting the air-chamber and will remember to breathe from below have been treated by composers of art canto was a little over eighty. Can any pupil’s ear so that it, in its turn, can pass forcing the air out through the only upward, without any movement of the music as a solo instrument until after other profession exhibit so ripe an aver¬ correct judgment on the quality of the exit, the nozzle. To fill the human bel¬ shoulders, any form of conscious breath¬ the death of Palestrina, in 1594. Soon age? pupil’s own voice. lows, the intercostal muscles raise the ing is useful. In singing it may help after this date the names of individual I have little or no faith in so-called ribs, the diaphragm contracts downward. him to remember that, just as the motor singers begin to appear in the musical The Speaking Voice “scientific” methods of teaching. It is This process enlarges the cavity of the that drives the elevator up and down its records of the time, but we know little Anybody who has an audible speaking well for the teacher to have a sound thorax and into the lungs (which, shaft, is in the basement, so the motor that or nothing as to how or by whom they voice has, by the same token, voice knowledge of the construction of the except for some elasticity, are inactive) drives his voice up and down throughout were taught. It was not until the first with which to sing. If he is tone-deaf vocal instrument and of its processes, rushes the air admitted to the wind-pipe its range, is situated at the base of his decade of the eighteenth century that his singing is hardly likely ever to give but he must never forget that the main¬ through the mouth and nose. In expira¬ thorax. Francesco Pistocchi <1659-1726) founded pleasure to others, but dull ears can be There is no organ in the human body his famous school in Bologna and, by so stay of his skill is his car. Manuel tion the diaphragm relaxes downward and made keener by training and unpromis¬ more intricate in structure and more del¬ doing, became the first known ancestor Garcia, the inventor of the laryngoscope, the ribs, compressed by intercostal and ing voices can sometimes be made even abdominal muscles, expel the air in the icately adjusted than the larynx, which, of all of us teachers of singing. He died beautiful. The great Pasta, for whom and the most successful teacher of the lungs. This, in a nutshell, describes the with the vocal cords, forms the vibrator at the comparatively early age of sixty- Bellini wrote La Somnambula and Norma, nineteenth century, in his teaching said process of respiration. seven, as did (approximately) his pupil, began her career with a harsh, inflexible little or • nothing about physiology—he of the voice. It is automatic in action, Every living creature from birth to Antonio Bernacchi (1690-1756) who, after voice, and Rubini, the golden-voiced, the professor not of a science, but being controlled by involuntary muscles. death breathes continuously, usually with¬ a career that won for him the title of when he first went to Milan, was refused of a Any attempt to control it by voluntary THE PRINCESS GRAND out effort. For the ordinary pursuits of “the King of singers,” achieved substan¬ admission to the chorus. The ear being the chief criterion of muscles throws it inevitably out of gear. life no training in respiration is needed, tial renown as a teacher of bel canto. Even when there is no impulse or am¬ vocal tone, it is evident that neither good Exercised without muscular interference Among our numerous grands, the “Princess” has The teachers had hot yet come, so to Francis Rogers. but for singers, whose supply and control bition to sing, the development of the teachers nor good singers can be made it will become perfectly responsive and retained its position of the most popular. Not too speak, into their birthright of exception¬ Francis Rogers is i American baritone, speaking voice is always desirable and by the perusal of books on singing, for of breath is at the foundation of their obedient to the ear. In regard to it, the ally long life. He was born in B small for the largest drawing room, nor too large for on, graduated from possible. The only difference between the nothing is harder to describe in words technic, a thorough knowledge of the the¬ singer’s only aim should be to allow it ab¬ Niccolo Porpora was born in Naples Harvard and studied usic ,inu Europe. His artistic career has been entirely „ use of the voice in speaking and its use than the quality of a voice, unless it be ory of breathing is indispensable. Those solute freedom of action. the tiniest home, it offers delightful tone quality, in 1686. Not only was he, as a writer During the season of 1000-10 he toured this singing is that in untrained speech the an odor. Porpora, the greatest teacher that lead a sedentary life get along com¬ The real test of a teacher’s capacity is remarkable volume, exquisite design and finish at of popular opera the rival of Hasse and ot 1917 "he*1 went6 .Sem,n'i<’h- „In (hi “ ” tb* voice utters words with the tones and ii. of the eighteenth century, wrote nothing fortably without ever utilizing their full to be found in his treatment of the thou¬ Handel himself, but as a teacher of sihg- Rogers Concert Party, the first mi an attractive price. Write for paper pattern show¬ iSthe flection acquired through unconscious about_ _his methods that survives; what lung capacity, but the singer must bring sand and one problems that arise in the ing he was incomparably the best of his soldiers' camps. * tainments i. habit; in all song the pitch and the du- Garcia put training of the resonator and the articu¬ ing the exact floor space it requires. epoch, numbering among his many cele¬ October, 1017, | paper is neither more nor into activity every air cell in his body. lator. In a sense these two are quite brated pupils Farinelli, Caffarelli, Min- First of all, the pupil should form the _ „ composer. It will be seen t once_ that. distinct each from the other, for we can gotti and Gabrielli. He fixed the stand¬ ipecialty of clear treatises on the training of the voice. habit of standing erect in the West Point We build grands, uprights and player pianos— imagine a tone issuing from the resonator, ards of good vocal art for his century, -te has also writti— ....,Cia ...iaI^bVe hed„caSaBi trai"ed Speedl aPPr°*imates closely And yet there are certain general prin¬ fashion—chest high, shoulders back and all of but one quality—the best. Nearly 500 lead¬ articles upon the subject‘ -* .mice produc- song- ju»t as a tone issues from a cornet, un¬ and when, in 1766, he died, at the age of and the art of singing. ciples that cannot be repeated too often. down, and with no protrusion of the ab- Although the speaking voice is usually modified by the articulator. This tone ing Educational Institutions and 65,000 homes now eighty, he established also what we may These are often honored more in the ddmen. To obtain this carriage all mili¬ breach than in the observance by singers tary setting-up exercises are serviceable, may be likened to white light. What the use and endorse the Ivers & Pond. call the standard of longevity for sing- He died in 1906. Delle Sedie, “the voice- ltanndatdsW1mrownrebelienfCeis that^nealf sound of such a tone would be we can¬ ing teachers. of good repute, but they have always I also recommend to pupils to test fre¬ ,no teachers less baritone,’” by means of his art, be- ers should develop their voices as if for not guess, for inasmuch as the articula¬ • Pier Francesco Tosi, the author of an been, and will always remain, the foun¬ quently the perpendicularity of their body Wherever in the United States we have no came famous in opera before he took up singing, which requires a technic cover- tor is not separable from the resonator, often-quoted treatise on singing and a dation on which the art of bel canto is by leaning the back against the edge of the less stirring task of teaching. He ing all the demands of speech. Many every tone is modified by the articulator, dealer, we ship from the factory on approval. A noted teacher, was more than eighty produced built. I purpose in this brief article to ar. open door with heels and head, as well ly good singers, but did not actors have done this: Julia Marlowe just as white light is resolved into its when he died, about 1730; Giambattista quite achieve his allotted four-s touch on a few of these and on a few as all the backbone touching the door. new 1919 catalogue and letter with valuable infor¬ four-score years, whose lovely speaking voice was not the primary colors by the spectrum, and Mancini, a pupil of Bernacchi, and a The Garcias the other matters that have been brought Many people find that at first their backs mation mailed on request. Liberal allowance for Spanish; the most least of her many charms, worked regu- reaches our ears as either a vowel or a widely-known teacher, when he died, in to my attention in the course of my ex¬ are hollow at the base, but with practice famous Italian master of the nineteenth larly with a singing teacher, and consonant. So it comes about that the old pianos in exchange. Attractive easy payment 1800, was eighty-four. perience as a singer and as a teacher of most of them, especially the young and century, was Francesco Lamperti. Sem- Maude Adams. The noble music of David study of resonance is inextricably in¬ Manuel Garcia (1775-1832), the head singing. plastic, can acquire an absolutely straight plans. Write us to-day. bnch, Albani and Italo Campanini were Bisfrtiam’s speech illustrates my point volved in the study of articulation or cf the most remarkable family group of At the first lesson I always explain to back, which, when acquired, gives the among his many pupils. He died in 1892, perfectly: both when be speaks and enunciation. singers and teachers in all musical his¬ the pupil or to the class in simple, un- lungs the greatest possible space for ex¬ in his eightieth year. Luigi Vannuccini when he sings there is the same firm con ,,.rnn„- , , The resonating cavities of the head are tory. is believed to have studied with a ^°_nJ *e_ "lcaI terms how his vocal machine is pansion and activity, besides adding much 0828.1912,. ,h, teacher of S.al.hl, ,,o. the breath. ,h, «,ona”, fixed in size and form by nature, and by pupil of Porpora’s, and so came to be the Myron Whitneyev and other renowned ar- Imovant _ , iHHf u and how it operates. The to the appearance of the singer. This at¬ no means, except by surgery, can we Ivers & Pond Piano Co. link connecting the vocal art of the tists, taught continuously for over sixty titude by itself will often insure a correct T UP|l ™ay a*reat*- ^ familiar with what alter them in either respect; all that we teenth century with that of the eight- years and lived to be eighty-four. Sbrig- Actors, generally soeakino- , teI1 hlrn; ,Jut as in our subsequent work method of breathing, because the high can do is to use them, such as they are. 141 BOYLSTON ST. BOSTON, MASS. eenth. He lived only fifty-seven years, another teacher position of the chest forestalls all heav¬ favorably value of beauty of vocal t™* ■ :* :» -,eF * constantly refer to this g But with the tongue and the lips, the but his son Manuel (1805-1906) the known to Americans, must have been eral theory, my first lesson to all pupils ing of the shoulders and upper thorax tonishing that other professional speak¬ chief organs of articulation, there is prac¬ teacher of his sister, Maria (Malibran), least eighty when he died, in 1916, for he is always the same. and permits the freest possible use of the ers, notably clergymen, should be so neg¬ tically no limit to the discipline to which Jc-nny Lind, Mathilde Marchesi, Julius sang in New York as long ago as 1859. All musical instruments have three co¬ lower thorax. ligent of the technic of speech. All voices we may submit them, and I will devote Stockhausen and Charles Santley, lived ordinating parts—a motor, a vibrator and The process of respiration is always For Gilbert Duprez, a Parisian, Doni¬ may be improved, both in quality and so¬ to the discussion of some of their possi¬ to be a hundred and one. The other zetti wrote the tenor roles in Lucia and a resonator. The motor of the violin is from below upward. The greatest ex¬ nority, some to a suprising degree of bilities the remaining paragraphs of this daughter, Pauline, after a brilliant career, La Favorite. He was probably the first excellence. the bow, the vibrator is the strings, the pansion should be at the base of the tho¬ resonator is the body of the instrument rax. In the upper thorax the ribs are at¬ article. Please mention THE ETUDE when addressing advertisers. the etude MARCH 1919 Page 179 Page 178 MARCH 1919 THE ETUDE For Those in Quest What Practical Teachers Say of a Good Song The Pianoscript Book, by Jonas, is the smartest idea for both piano teacher and Style F them hugely.—S. D. Watson, Kansa pupil that has appeared. The index adds “WHEN THE KYE greatly to its utility.—M. A. Goodnough, COME HAME ” Oregon. GRAND t difficult.—Mbs. H. L. Horne, Maine. I hate read the Standard History of Music through and through with the keenest inter¬ By GEORGE B. NEVIN est and recommend it to others.—C. A. Karl, Pennsylvania. Price, 50 Cents pleased with it.—L. R. Noble. The quality of its tone sS-Ss-i Thirty-two Sonatinas, it used at the right Medium Voice Low Voice enraptures the heart as its Harmony Book for Beginners, by P. W. time, will prove extremely instructive and Orem, is sensible, practical and refreshingly pleasing.—J. A. Klein, South Carolina. beauty of construction de¬ different from the old hackneyed harmony gltitles? books which were often a stumbling-block to Vocal Studies for Medium Voice, by Whelp- ton, are by far the best I have ever seen.— lights the eye. beginners.—D. T. Case, Missouri. Mrs. E. E. Hill, Vermont. I am delighted to receive the album De¬ Am delighted with Interpretation Studies, An Ideal scriptive Pieces, which contains so many of by Franz C. Bornsehein,—E. G. Hand, Wis- Schomacker Piano Co. my favorites in this serviceable form.—F. B. Medium-Size Grand Established 1838 THE HEAD VOICE AND The American Indian Rhapsody, by P. W. Philadelphia, Pa. Orem, is an invaluable contribution to Amer¬ OTHER PROBLEMS j, by Cooke, and find nothing ican musical literature. A thousand thanks By D. A. CLIPPINCER in keeping up the interest of my to Mr. Orem, who has made this original, pupils in music.—F. H. Hill, Illinois. intelligent and attractive arrangement of Indian themes, which I shall prepare at once EMERSON Sung by CHRISTINE MILLER, The Bel Canto Method for Violin is very for my concert engagements.—Elizabeth understandable and exceedingly interesting HORATIO CONNELL and other for my pupils and myself.—L. G. Hender¬ Seihofe. famous artists with great success. son, California. I certainly am delighted with the Little The Pianoscript Book, by Jonas, is an in¬ Folks’ Song Book, by Neidlinger. The music Style B Grand valuable souvenir to the student who has Is melodious, and the words fit into the music THEODORE PRESSER CO. studied with a good master.—Louis Tag¬ so well‘that the tiniest children have learned SYSTEMATIC VOICE TRAINING gart, New York. This beautiful instrument seems PHILADELPHIA, PA. them without trying.—Mrs. Maude Campbell, Nebraska. as nearly perfect as skill, experi¬ I insist that practically all my pupils use Mastering the Scales and Arpeggios, by J. F. The ‘Old Favorites’ Album for piano is a ence, and manufacturing facili¬ Cooke, as the actual results in their playing fine collection of tunes that everybody likes.— prove this book invaluable.—Mrs. N. Brandt, of an untrammeled activity of the lips, ties can make it. Chas. F. Mutter. other vowels are produced by modifica¬ tongue a:.d jaw. The perfectly produced ENCORE SONGS tions in the activities of the tongue and voice may be likened to the pith-ball that Its tone is purely that of the We will Knd th'0'»;;re0[i*tu°rp;tj"t,.0f il “°" s*' dances so lightly on the top of the column Concert Grand, having great lips. To attain complete mastery of all (H. High; M. Medium; L Low.) the vowels and consonants the pupil must of water in a shooting-gallery. In just power and sympathetic qualities. the same way should the resonance of the rely not only on his ear, but also on his GoSilk$0: eye as it studies in. the mirror the1 many voice rest on the column of breath. When Dealers in Principal Cities and varied activities of the organs of the voice can give to its hearers this sense articulation. By means of his eye, too, of buoyancy its possessor may be said to he will get rid of unbecoming grimaces have mastered the art of bel canto. Emerson Piano Co. Boston Mass. Tessitura By Francis Rogers One of the first duties of the teacher classify him as a. tenor. Many a good is to locate the tessitura of the pupil’s baritone voice has been wrecked because IA^nisbae voice, for an incorrect judgment or in¬ a teacher has forgotten, or never knew, difference on this point may nullify com¬ that high notes, even in combination with pletely the value of his instruction. Tes¬ a tenor quality, do not, without a tenor situra must not be confused with range tessitura, make a tenor voice. Often, too, or quality. The range of a voice is its contraltos are similarly misled into be¬ Arranging and Correction of Mss. extent, or compass, from its lowest to its lieving that they are sopranos, and come highest note; its quality is something in to grief in trying to verify this belief. A. W. BORST, Presser Bldg., Phila.. Pa. the sound itself, the result of physical The reverse error of mistaking a high ALBERT ROSS PARSONS causes, and cannot be modified by'direct Studio, Bfceinway Hall, 109 East 14th Street, New York for a low voice is rare, probably because Will You Come to Me? Author of THE VIRTUOSO HANDLING OF THE PIANO- means. high voices are more lavishly remuner¬ Mother O' Mme.M “ .25 THE SONG OF THE HOUR FORTE, J. H. Schroeder, Publisher, 10 East 16th St., N. I. Tessitura is an Italian substantive ated. A Lost Heart.HorL Orem .25 “Ai, •S.Ksl'ymie meaning texture, or fabric, from (essere The tessitura is the vocal, foundation 0 Heart of Mine.H or L Galloway .40 to weave. It has no exact equivalent in upon which the career of the singer is Cupid and the Maiden.M Kroeger 25 English, and is used, first, to indicate how based. A singer may be able to win Cobwebs.M Williams 25 RING OUT! SWEET BELLS OF PEACE the music of a piece "lies” in relation to fame as a specialist or freak, as did The Jonquil Maid M Rathbun 50 Prince Charming.M Parker .50 The Lyric by WM. H. GARDNER is truly sublime— the voice that executes it, and, by ex¬ Tamagno, by means of his sensational A more inspiring and timely message could THEO. PRESSER CO., Philadelphia, Pa. out’ Hint it.8wetbsa.oM tension, to define that part of the range trumpet-tones ranging from F sharp or lJt“* T 1^*7 ^7 hardly be expressed Nadine of a voice in which the emission of the G upward, but such long and wholly ad¬ The music by CARO ROMA is beautiful, simple and voice is the most comfortable and the mirable careers as those of Sembrich, replete with both fervor and melody Face Powder least fatiguing to the singer. The deter¬ Jean de Reszke and Maurel were built on mination of the tessitura determines at a complete understanding of the limits A. PERFECT SONG once the classification of the voice as and possibilities fixed by the tessitura of TWO NEW AND (Sacred or Secular) tenor or baritone, soprano or alto, and DIGNIFIED—YET EASY TO SING—SIMPLY Keeps the Complexion their voices. its subsequent training. EXCEPTIONAL Beautiful The pupil’s exercises and songs should The range of a voice may be high and be adjusted to the tessitura of his voice SONGS IDEAL FOR EASTER its tessitura low. For instance, a celebrated Also for School, Church, Community, Liberty and only little by little should he be al¬ “SWEETHEART I’M male singer of fifty years ago always lowed to extend his efforts beyond its and Glee Club Singing; will fit on any Pro¬ rn of discolorations. A million delighted sang heavy bass roles, because of the low limits. Numberless'good voices have been DREAMING OF YOU” gram anytime and for all occasions s prove its value. Popular tints: Flesh, tessitura of his voice, and in spite of the k. Brunette, White. 50c. by toilet counters irreparably broken by disobedience to Word, by Chas. W. H. Bancroft Mu.it by RALPH KINDER PRICE SO CENTS Solo, Four Keys, Db (Db to Eb) Eb, F, G - - 60c ™'l- Dept. E. fact that he possessed an available high this precept. Teachers must resist the A-flat and lacked the low notes of the temptation to exploit extreme notes and Dedicated by Permission to Mme. Alma Gluck Duet, Two Keys, Db and Eb - - - - 75c National Toilet Co., Paris, Tenn., U. S. A. Octavo, Male, Female and Mixed Voices - - 15c net typical bass. Often a baritone will have postpone all use of them till the tessitura , yCT i Trio, for Female Voices fist and 2nd Sop. and Alto) 10c net an upper range that leads the inexpert to of the voice is firmly woven. Word Slips (complete Poem) 15c per hundred, A Wholesome, Cleansing, $1.25 per thousand Y |"|11 Refreshing and Healing “ LOVE LEADS THE WAY ” Words and Music by MAY M. HOWARD * Lojjori—Murine for Red- KING SOLOMON AND KING DAVID & J.T? COMPLETE COPIES CAN BE HAD WHEREVER MUSIC IS SOLD, OR FROM THE PUBLISHERS W~ ness, Soreness, Granula- PRICE 60 CENTS H tion.ItchingandBurning p”. ty Werrenrath.Bispham and Scott M. WITMARK & SONS, 48 Witmark Building, NEW YORK of the Eyes or Eyelids; he tp>e that would make a hit if i IF YOU ARE INTERESTED IN BEAUTIFUL SONGS (SACRED OR SECULAR) SEND FOR OUR CATA¬ "2 Drops” After the Movies, Motoring or Golf LOG CONTAINING COMPLETE POEMS AND THEMATIC QUOTATIONS FROM SOME OF THE MOST will win your confidence. Ask Your Druggist BEAUTIFUL NUMBERS . 1 ENCLOSE STAMP THEO. PRESSER CO., PHILA., PA. for Murine when your Eyes Need Care. M-13 THEO. PRESSER CO., IN THE WELL KNOWN WITMARK BLACK AND WHITE SERIES FOR POSTAGE Murine Eve Remedy Co., Chicago PHILADELPHIA, PA. Please mention THE ETUDE when addressing our advertisers. Please mention THE ETUDE v tee etude MARCH 1919 Page 181 Page 180 MARCH 1919 THE ETUDE Registration on a Small Organ A majority of the organs in the United with Swell to Great Unison States are two-manual organs and many 16' and 4' Couplers International of them contain not more than fifteen : stops. The problem of obtaining variety Thq same with Swell Oboe in registration confronts the organists Fantasy who play these instruments. This prob¬ Great Diapason, Swell Full (or lem is a vital one, and the following without Oboe) Swell to Great Unison FOR THE PIPE ORGAN suggestions are given with the idea of Department for Organists and Great to Great 16' Couplers inducing organists to experiment with Edited for March by BjT JAMES H. ROGERS their instruments in order to obtain new Great Melodia and Flute 4', Swell combinations of tone color. Good and Beautiful MR. CLIFFORD DEMAREST Full (or without Oboe) Suppose we use as a basis the follow¬ Swell to Great Unison "It is music and picture combined,” Price, 80 cents ing scheme, which is typical of a large was the observation of an artist as he ‘I look upon the history and development of the organ for Christian uses as a sublime instance of the guiding hand of God. and Great to 16' Couplers number of small organs: witnessed the skillful work of a woman the most complex of all instruments, it is the 'most harmonious of all, it is the grandest of all. No orchestra that ei Solo and Accompaniment Stops Introducing the National An¬ Great Swell who was preparing a Jell-0 "exhibit.” existed had the breadth, the majesty, the grandeur that belongs to this prince of instruments—HENRY IVARD BEECHER. Accompaniment That expresses a thought that many Open Diapason 8' Violin Diapason 8' Solo on Great thems of all the Allies, closing Diapason on Swell Dulciana . 8" Salicional . 8' of you have entertained at different Gedeckt, Flute with Star “Spangled Banner” Melodia . 8' Vox Celeste .. 8' Flute, Gt. to Gt. times. 16' Coupler and Oboe Suggestions on Purchasing an Organ Flute .4' Gedeckt . 8' Jell-0 desserts and Jell-0 salads are Dulciana, Sw. to Vox Celeste Flute . 4' as good as they are beautiful, and By Clifford Demarest Playable and Effective Gt. 4' Coupler Celeste or Ge¬ Oboe .8' they have never before been quite so Splendidly Arranged Melodia deckt Oboe or Diapa- popular as they are just now when Each year hundreds of churches are of the European cathedral organs is due organ ensemble. Having selected the number of fancy-named stops for the Couplers Solo on Swell they take the place of more expensive installing new organs. Some of them are to their position, either on the choir list of stops showing the tone qualities, least money. It is needless to state that Swell to Great Unison Diapason Accompaniment musically disappointing, while others, be¬ screen or in an open gallery at the end. the specification should state the name money can be saved by the builder who THEO. PRESSER CO. “ “ 16' dishes that are inferior in all respects. on Great ing poorly constructed, soon require re¬ These unobstructed positions give ample of the* stop and number of pipes in each supplies three stops from one set of pipes PHILADELPHIA, PA. “ « 4' Sw. 4' Coupler Jell-0 is put up in six pure fruit Dulciana pairs more or less extensive and are a room for the issuing of tone. Architects stop. If any stops are borrowed ("du¬ and in doing so hides the fact by a no¬ “ Swell 4' Oboe, Sw. to Sw. flavors: Strawberry, Raspberry, Lem¬ 4' Coupler Melodia continual source of expense and annoy¬ seldom allow sufficient space in planning plexed”) from another manual they menclature which leads one to believe Great to Great 16' on, Orange, Cherry, Chocolate, and is Celeste, Sw. to “ (or Dul¬ ance because of mechanical derangements. for the position of an organ. This gener¬ should be marked “notes” and not “pipes.” that three different stops arc included. sold by all grocers, two packages for Sw. 4' Coupler ciana) A first-class organ should be a continual ally results in crowding organs into re¬ For example: The builder who honestly uses three sets In addition to using each stop by itself, Dulciana 25 cents. satisfaction from the day of its installa¬ cesses with small openings. Fine instru¬ of pipes stands no chance in competition and all of them together, there are several Gedeckt and Great Organ. Austin Qrgansj The newest Jell-0 Book will be sent tion, and under ordinary conditions should ments have been rendered inefficient be¬ with the former, unless the purchaser possible combinations of two and three Flute, Sw. to 8' Open Diapason.61 pipes Sw. 4' to you free if you will give us your not require any repairs, except minor ad¬ cause of this, and the builder blamed for 8' Viole d’Orchestre.61 understands these principles. Also, where stops. justments and periodical tuning, for at these conditions. If an organ must be a stop is employed on more than one name and address. TO the absolute repu¬ Combinations on Great least ten years. Where organs are not placed in a recess the opening should be Swell Organ. manual (commonly known as duplexed) The next two combinations will sound THE GENESEE PURE FOOD COMPANY satisfactory the trouble is not always be¬ the full width and height of the recess. 8' Viole d’Orchestre... .61 Notes the stop should have the same name in tation of this firm for Dulciana and Flute well when playing four-part harmony: Le Roy, N. Y., and Bridgeburg, Ont. “ “ Melodia cause unscrupulous builders have been The recess should be ventilated and the This last (Notes) on the Swell signifies every case. A purchaser seeing “Gedeckt" mechanical construction Melodia “ Flute Great Flute, Swell Vox Celeste selected and allowed to follow their own air inside kept dry and at an even tem¬ that the Viole d’Orchestre is borrowed in the Swell with the same stop duplexed STUDENTS PREPARED FOR THE and console convenience with Sw. to Gt. Unison and 4' Coup¬ desires: frequently the ignorant organ¬ perature to insure the organ keeping in from the Great stop of the same name by in the choir and called "Concert Flute” “ “ Diapason purchasing committee, or organist, are tune and working order. The wind sup¬ mechanical means. The Great stop is is deceived into believing that there are is added strongly of late Diapason “ Flute lers. Play one octave lower than Church Service responsible for a dubious scheme which ply should never come from a damp or marked “pipes” because the pipes are two separate stops. Such cases are not years endorsement of the Dulciana, Melodia and Flute printed music. a conscientious builder should refuse to dusty cellar, but should be dry and clean Melodia, Diapason “ f Great Dulciana, Swell Gedeckt and Recital Work actually there. It is common among some uncommon, and some builders will con¬ most discerning as to and of a temperature the same as the or¬ builders to have all stops throughout the tinue to do this unless they arc made and Flute with Gt. to Gt. 16' and Sw. Combinations on Swell In view of these facts it seems desirable gan chamber. specification designated “notes.” instead definitely to specify these things. Again, tonal blend and quality. to Gt. Unison- Couplers. Play one that purchasers of organs should acquaint if a builder intends to use celluloid or Salicional and Gedeckt octave higher than the printed music. of plainly stating which stops have pipes, There are no better GUILMANT themselves with certain principles of or¬ Specifications and which are borrowed. One is almost rubber cloth where ivory and leather “ “ Flute gan construction in order that intelligence A fine list of stops does not insure a led to believe that this is done designedly, should be employed, he should be willing Organs made, from any “ “ Diapason After working out various combina¬ may be applied in selecting a builder and fine organ. The usual form of specifica¬ as it is a very misleading practice and to state it in the specification so that a point of consideration. “ “ Oboe tions. the organist should carefully study ORGAN SCHOOL Over 150 now holding prominent poeitione planning for the instrument. tion for an organ contains so little detail gives no Evidence of those stops having purchaser could choose these inferior ma¬ Gedeckt “ Vox Celeste the adaptation of them. It will be dis¬ in regard to important points that it gives Unlike most other commodities which actual pipes. Every stop should state terials with his eyes open. “ “ Flute covered that certain styles of music Send tor DR- WILLIAM C. CARL, Director may be examined before purchasing, an an opportunity for the builder to do just exactly whether it is comprised of pipes “ “ Oboe sound better with one combination than Catalog 44 Weat 12th St., New York organ cannot be seen or heard until it is about as he pleases. Would any person Austin Organ Co. or whether it is borrowed. Care of the Organ Diapason “ Gedeckt another. To give just one hint in this completely built. It is not always suffi¬ accept the specification for a house which 165 Woodland St. Hartford, Conn. “ “ Oboe The practice of building 8S note Tubas After installing a new organ, the mat¬ direction: in certain music of a slow sus¬ cient to see and hear an organ previously merely specified that the house would and Diapasons, thereby deriving three “ “ Flute ter of proper care should be considered. tained character a string tone will often built by the same builder to judge what contain a certain number of rooms of stops of 16', 8', and 4' pitch from one An instrument of so many parts, all of 3 Oboe “ “ certain dimensions as shown on a plan? be found more suitable than any other, the prospective one will be like. Unless set of pipes, is to be strongly condemned. which must be continually in perfect “* “ Vox Celeste Of course, this would be absurd. Yet, while a more rapid movement would be the builder employs the same voicer, uses This is a violation of acoustical princi¬ working order to give satisfaction needs Diapason, Gedeckt and Flute when planning for an organ a purchasing Your Music Is Torn! the same scale of pipes, wind pressures, ples, as no two stops of the same quality frequent attention. Piano manufacturers “ “ “ Oboe best with a flutey tone, or perhaps a etc., and the location is the same, the two committee will often accept a mere list It will Take One Minute to _ should be of the same scale. A 16' stop say that a piano should be tuned and Gedeckt, Vox Celeste and Flute combination of both. These matters are organs will sound different, and under of stops with a statement that the organ Repair it by Uting should be of proportionately smaller scale regulated twice a year. How much . “ Oboe and Flute always open to discussion, and each case various climatic conditions will act differ¬ is to be built of first-class material and than the 8' stop. This applies equally to oftener does an organ, with its multi¬ Multum-in-Parvo Binding Tape Vox Celeste, Oboe and Flute will be determined by the good taste of Stronger, Clearer ently. For instance, an organ placed in a workmanship. the 4' stop, and even more so to the 2'. plicity of mechanical parts and liability the organist. building which is damp, or which is not It makes considerable difference in the roUatpuper, *0 cent* each, postpaid. This arrangement allows the 8' tone to to get out of tune because of changes in These combinations can also be used In the foregoing suggestions nothing heated continually during cold weather, builder’s profit if he uses certain grades Voice for YOU! predominate, which is the fundamental temperature, need the same attention. Transparent Adhesive Mending Tissue with the super- or sub-octave couplers has been said about Pedal stops because, will probably develop action trouble; of metal or wood in the construction, or ground tone. Unless this is so, there will For small organs, four times a year lOecnU per package under certain conditions. A little experi¬ in an organ of the size which we are con¬ while another in a dry, even temperature if the size of the pipes is smaller than be too much “top and bottom,” thereby should be the very least number of visits If your music dealer does not carry it, send to menting will quickly show which coupler will be free from this. should be; whether celluloid is used in¬ sidering, there is usually a Bourdon 16' giving the ensemble somewhat the effect required from the tuner. For larger or¬ Theo. Prosser Co., Philadelphia, Pa. is most desirable. After exhausting the and Flute 8' and these stops have to serve This is the first and most important stead of ivory, and rubber cloth instead of a choir with too many sopranos and gans a monthly visit is necessary, while combinations on each manual separately, for both soft and loud combinations. consideration in the purchase of an or¬ of leather. It also makes a vast differ¬ basses. Multum-in-Par gan. The buyer, whether a person, or ence in the musical value and life of the the largest ones require weekly atten¬ Philadelphia, Pa. try the following— This is deplorable. In many of the latest One of the most important things to tion. This plan of regular visits is the corporation, should be morally responsi¬ organ when these cheaper methods and consider is the size of the pedal depart¬ Great Dulciana—Swell Vox Celeste small organs the builders are putting a ble and financially capable of carrying materials are employed. Therefore, a most economical in the end, for when large, heavy Bourdon and a soft Lieblich ment. It is not uncommon to find organs an organ begins to run down it deterior¬ with Swell to Great Unison out the contract, including a guarantee specification should state in detail these Gedeckt, which is a great improvement. of twenty to thirty manual stops with ates rapidly and requires expensive re¬ THE “0RG0BL0” and 4' Couplers for at least five years covering an agree¬ essential points. Any builder who might However, the Bourdon can never take Do Yon Stammer? only three pedal stops. In these organs pairs to put it into shape again. ment to remedy any structural defects object to this would immediately be The same with Swell Gedeckt the place of a good Open Diapason. The the lack of a proper balance in the use of Purchasers of organs should consider which may develop in that period. There placed under suspicion. If this plan were “ “ “ “ Oboe 16' pedal stops makes them lacking in the organ an art product and not a com¬ >ver 12,000 equipment* In nit organist who has an instrument with -as should be a willingness to mention every carried out a purchaser could generally Great Melodia—Swell Diapason majesty and dignity of tone. A very soft mercial proposition of so many pipes for both of these Pedal stops is fortunate. detail of the specification and submit the detect the reason for one builder greatly 16' pedal stop is frequently a vital omis¬ outbidding another in price, and if the so much money. With the end in view of WRITE! completed instrument to an inspection by sion. THE SPENCER buyer chose the cheaper construction he obtaining an instrument which will be a a competent person; to have a record of The poor tonal quality of a large ma¬ TURBINE CO. should be satisfied with an inferior thing of beauty and a joy forever, the fair dealing and to be able to show organs jority of organs has been stated as the * HARTFORD, CONN. The Volunteer Choir product. above outlined matters must be taken into in use which are mechanically reliable reason for the lack of public interest in foe highest awards at and musically pleasing to a discriminating The list of stops is the important thing consideration. First, the builder, who is id Jamestown Expositions organ recitals. There is food for thought an artist as well as a mechanic, conscien¬ By Arthur Traves Granfield, Mus. Bac. musical person. to' begin with. Taste and the purpose of here, and it may be that there is truth These, and nothing less, should be the the instrument will determine these. Bal¬ tious and willing to make a contract con¬ in this statement. If purchasers would taining every detail of construction. Then So much has been written for and 1. Do not accept personal friends in qualifications in selecting the builder. ance of tone should be carefully consid¬ consider these matters of tonal quality a proper location containing an instru¬ Moller Pipe Organs . agalhst the volunteer choir that it seems The position occupied by an organ fre¬ ered, because a preponderance of one and balance more seriously than is done, the choir, simply because they are friends. ment planned upon the idea of musical Twenty-five Hundred in use. The highest grade as (hough nothing of value could be said quently determines its musical value. The class of stops will prevent a good en¬ and demand the very best, they would Much more than friendship is necessary semble, which is the true test of a finely beauty of tone and usefulness. An organ instruments. Gold Medals ahd Diplomas at Six regarding it. However, the following lit¬ ideal location is in the center of either find the builders responsive. The fact Intern,tiona! Expositions. Satisfaction guaranteed. to enable applicants to fill more than a so constructed, located and properly cared tle hints directed to those in charge of end of the auditorium. The pulpit end balanced organ. The possession of a few that so many do not know, or seem to Catalogs, specifications and estimates on request. dummy position in a choir. for at regular intervals, will give that such elusive organization (by one of their has come to be regarded as the most de¬ of the finest solo stops does not justify care, leaves it a matter of competition be¬ M. P. MOLLER Hagerstown, Maryland lasting satisfaction which is always de¬ number) may have value: 2. Jealousy—the green-eyed monster of sirable. The magnificent effect of many the sacrifice of proper balance in the full tween builders to supply the greatest sired and indispensable. Please mention THE ETUDE when addressinz our advertisers. Page 182 MARCH 1919 THE ETUDE MARCH 1919 Page 183 all organizations—must not be side¬ THE etude stepped, but met fairly and squarely. Put those to the front whose ability and ' ' 1 faithfulness merit it—and let the jealous Iy 1© years with a Com . _ element do its worst. ~r 3. Under no circumstances make a criti¬ cal remark to one member of your choir, regarding the work of another. This is 1 woman who typifies aaailMons the caldron into which so many young Department for Violinists directors fall. Beware! 4. Set a reasonable hour for your re¬ Edited by ROBERT BRAINE hearsals—a time most convenient for the I had, like most women, two or three majority—and see to it that the “major¬ “If AIL Would Play First Violin We Could Get No Orchestra Together.”—R. SCHUMANN ity” includes your principal singers. pet corns, which remained with me year 5. Begin your rehearsals on the minute. after year. This can be done by starting work, if only one member is on hand. If it be a soprano, then go over a soprano part; I suppose that one was ten years old. It A Message from Thibaud if it be a, bass, go over the bass part, etc. had spoiled thousands of hours for me. 6. Rehearsals, to sustain interest, must From an Interview Secured Expressly for The Etude by Mr. Robert,Braine with the Most Illustrious Living French Violinist be practical, interesting, instructive and never tiresome. Of course I pared and padded them, lias come to stay, and will henceforth be The Editor of the Violin Department lic, and bad in some positions, that they, “Without doubt, the French and Bel¬ 7. In assigning solos, always make pro¬ used by the most important artists, and but the corns remained. of The Etude called on Jacques Thi¬ are difficult to tune, etc.?” gian. This is plainly apparent from the vision for a possible absence on the part (following their example) by practically baud, the eminent French violinist re¬ “I do not find them so. It is true that great number of eminent violinists who of one of the soloists. Always provide the entire violin-playing world, it marks cently, in the artist’s room after one of they' would be somewhat more difficult have been the product of these schools. an understudy for a solo part. This is what is really a string revolution. the “safety first” way. his violin recitals; and asked him for a than the gut to tune with the peg alone, I find among French, Belgian, and -Amer¬ / Only violinists can realize what it 8. In every choir you will meet at least Then Somebody Told Me message to the violinists and violin stu¬ but you will notice that I use the popular ican violinists a general desire that these means to be released from the nuisance one member who has at one time or an¬ dents of America. Monsieur Thibaud little contrivance attached to the tailpiece three countries shall have one school of of E strings breaking and getting out of other sung in some other choir, and bears the well deserved reputation * of by which the end of the string is at¬ violin playing, with their best character¬ Then somebody told me of Blue-jay. tune under sweaty, warm fingers, and therefore knows more about your work being one of the greatest living masters tached to a small screw, making it possi¬ istics merged into one.” under the influence of warm, moist air than you do. Use any reasonable means, of the violin, making his views on violin ble to put the finishing touches on the “What are some of the important ele¬ I promised to get it, and did. and high temperatures. The concert vio¬ but silence this individual in short order! playing of peculiar value. tuning to a hairsbreadth. This little tun¬ ments of good violin playing?” linist, playing important works at large 9. It is wise, even in a volunteer choir, The great violinist thought for a mo¬ ing contrivance is coming into almost I applied it to my oldest corn, and it Importance of Position public concerts lives in mortal terror of to have a select quartet upon which you ment, and then said; “Tell them that universal use with the users of steel E can depend for the bulk of the difficult “The position is one. The violin breaking his E string, and this must in¬ their string troubles will be largely over strings. In the case of the best steel Es work. When vacancies occur in this never pained again. In two days I re¬ should be held high. If held low and the fallibly be reflected in his playing to if they will but conquer their prejudices 1 do not find that they are false; and the quartet, fill them with the most promising back of the violin pressed against the some extent. If he feels confident that moved it, and the whole corn disappeared. on the subject, and use the steel E string harmonics ring clear and material in the choir. This stimulates ._ body, the effect is his E string is equal to any strain he in preference to gut or silk.” as you heard to¬ the members of the choir and gives them to mute -a certaift may choose to put upon it, he will natur¬ The violinist pointed to his violin, a night in the compo¬ a chance to win a sort of promotion. It was amazing—two days of utter portion of the tone. ally play with more confidence, energy superb Stradivarius, valued at $15,000 to sitions I played 10. Never, under any pretext, humiliate If held high, prac¬ and abandon. The nervous strain due to comfort, then the corn was gone. $20,000, on which he had just played an where harmon¬ a member in an effort to show your au¬ tically the entire the fear of breaking an E will also be exacting program of violin music, cov¬ ics are used. I find thority. If you show . capability, your surface of the back lifted, and this will be reflected in all choir will recognize it and will be guided That day I joined the millions who ering every phase, from works requiring that they rarely of the violin vi¬ phases of his playing. by your judgment. Anticipate courtesy tremendous tours de force, to dainty bits break and the tone brates, while if held The steel E is not a recent invention by by being courteous. keep free from corns in this way. If a played with the mute. . “Note how it is is excellent; other¬ low and pressed any means, but its use by many of the 11. Exercise tact. Tact is not hypoc¬ strung.” he suggested, “a steel E string, wise it would be im¬ corn appears, I apply a Blue-jay promptly, against the player’s great violinists of the .day in their most risy ; neither is it spinelessness. It is a gut A, a gut D wound with aluminum possible for body, that portion important concerts is comparatively re¬ merely exhibiting commonsense in an and it goes. wire, a gut G wound with silver wire. the my of the back of the cent. There has been great prejudice emergency—and emergencies are arising work, You have heard the tones produced by my violin pressed continually in a volunteer choir. quires above all against this string in the past, owing to I’ve forgotten what corn aches were. Stradivarius when strung in this manner, against the shoulder things tone of the a variety of reasons. Many violinists do and you will note the fact that I was not has its vibrations finest quality on the not like the feel of the string under the “ priests for Their Art ” troubled with breaking strings, or with checked. I have told these facts so often that not E s t r i n g. The E fingers, others claim it has a metallic the violin getting out of tune once dur¬ “It i By Charles W. Landon string which I used tone, and there are other objections a woman I know has corns. Now I gladly ing my recital program, which was of a portant the to-night was made which M. Thibaud has met in this inter¬ character to produce an extremely great bow should be held A good organist is first of all a priest write them for this wider publication. in your own coun¬ view. However, with many of the great¬ strain on the strings of the violin.” correctly. It should of his art. He ministers to humanity in try, and was one of est violinists using them, it is probable a way which often times surpasses that Converted to the Steel E be held naturally that their use will increase by leaps and Certainly corns are unnecessary. Paring a half dozen given and easily, with the of the priest in the pulpit. It is his “How did you come to be converted to me by a friend.” , bounds. mission to lift the minds of his hearers thumb held opposite Some violinists will, of course, never and padding are needless. Harsh, mussy the use of the steel E string ?” was asked. to a different realm through the inspiring Great Violinists Turn the middle finger, use anything but gut or silk strings, but “Well, the great war, which has just power of music. treatments are folly. to the Steel E or possibly a little at the rate at which violinists have been ended, made it increasingly difficult to get towards the third The business man who comes to his “Is the steel E adopting the steel E within the past year, good gut strings; and that fact, coupled finger, bringing it pew on Sunday morning with his mind winning its way they will soon be in a small minority. When a corn can be ended by apply¬ with the great range of climate and tem¬ Jacques Thibaud nearly opposite the filled with the threatening clouds of busi¬ with other well- The breaking of an E string by a con¬ peratures which a violinist meets with on second and third. The fingers should be ness troubles, notes coming due, delayed ing a Blue=jay, surely everyone should end known violinists?” was asked. tour, turned my attention to the steel held comfortably on the stick of the bow, cert violinist in a violin recital is dis¬ shipments, violated contracts, tricky deal¬ “Indeed it is. Among the famous vio¬ agreeable enough, but when he is playing ings, misrepresentation, dishonest em¬ them. And anyone who will can prove .string, Last year when playing in New neither.! squeezed together, nor too much linists using it, whom I can recall on the a concerto with orchestral accompani¬ ployees or any of the hundred and one Orleans, the air was very moist and the separated. In bowing, care must be taken the facts tonight. spur of the moment, are Ysaye, Zimbal- ment, it is little short of a calamity, things which may be undermining his temperature high. At one concert there I to raise the elbow when bowing on the ist, Kreisler, Eddy Brown, and a host of while breaking two or more E strings in health and his chances for business suc¬ broke seven E strings. You can imagine back strings. When bowing on the E others. I have also heard that Mischa one concert spells ruin for that particular cess may hear just a few chords at the the trouble and inconvenience which this string .the arm is held comparatively clo$e Elman has used the steel E at some of concert. A simple piece can often be beginning of a prelude that will transport caused, and the difficulty of achieving to the body, not squeezed against it, but his concerts. naturally and comfortably. As the bow is finished more or less effectively on three him to another world. Beautiful melo¬ artistic results under the circumstances. “The use of the steel E is growing all used successively on the A, D, and G strings, if the E breaks, but in a concerto dies, rich harmonies coax the tired brain How Blue=jay Acts I decided to investigate the merits of the the time as fast as violinists conquer their strings, the elbow is gradually raised, or piece of any importance the E is abso¬ to rest, just as the pillows of pine needles steel E strings, and was surprised to find A is a thin, soft pad which stops the pain by prejudices against it.” until, when playing on the G string, it lutely necessary, and the artist is obliged in the forest bid the mountaineer lay down relieving the pressure. that they were equal to every demand re¬ is quite a distance from the side. to retire and put on a new length. The and refresh his worn-out body. Unless the Blue-i Aluminum D the Best B is the B&B wax, which gently undermines the quired of them for my work.” organist is really a priest of his art and corn. Usually it takes only 48 hours to end the corn jay Sevcik for Technic new string, if of gut, is bound to stretch The Scientific Corn Ender “What of the aluminum D?”> more or less while the piece is being com¬ lenders a real service to his congregation, completely. Wffl Never Return to the Gut E “Do you consider the works of Sevcik “I have used the gut D, wound with how can he expect the business men to C is rubber adhesive which sticks without wetting. “Do you intend to go back to the gut for technical instructions of value in pleted or repeated. The general tuning Stops Pain Instantly aluminum wire, for about twenty years, realize what an indispensable blessing It wraps around the toe and makes the plaster snug E when the effects of the war are over, attaining a large technic on the violin ?” of the other strings is also affected by the and comfortable. and consider it superior to the plain gut music is to them. and it is possible to get first-class gut “Sevcik has made some most valuable F snapping. Not the least injury is the Ends Corns Completely D. The tone is wonderfully solid and Blue-jay is applied in a jiffy. After that, one doesn’t airings ?" 1 asked. additions to' technical works for instruc¬ injurious effect on the nerves and com¬ feel the corn. The action is gentle, and applied to the vibrant, full and rich. This string is A Motto for Church Choirs “No,” replied M. Thibaud, “I shall tion; and the violin student can employ posure of the violinist as a result of the corn alone. So the corn disappears without 9 especially good in producing harmonics 25 Cents—At Druggistc never go back to the gut E. The manu¬ them with great profit. His exercises breakage. Not a few concert violinists "See that what thou singest with thy and flageolet tones which ring out clear facture of the steel E strings has reached cover almost every conceivable phase of who still use the gut string take two vio¬ lips thou dost believe in thine heart, and and true, and of especially fine volume. such perfection that they can be safely violin playing, and, if faithfully studied, lins to a concert, leaving one in the dress¬ that what thou believes! in thine heart For the A string, plain gut can be used thou dost show forth in thy works.”— BAUER & BLACK, Makers of Sterile Surgical Dressings,etc., Chicago, New York, Toronto used by any violinist, from the concert are bound to produce excellent results.” ing room ready for playing if a string and for the G. gut wound with silver Tenth Decree of the Fourth Council of artist to the humblest amateur.” A String Revolution on the one in use breaks. As a rule the Carthage, A. D. 398. “What about the objections that the If, as Mons. Thibaud predicts in the extra violin will be of much inferior Please mention THE ETUDE “What do you consider the leading addressing advertisers. wire E strings are false, that the harmon¬ above interview, the use of the steel E quality to the regular violin of the artist, ics are not true, that the tone is metal¬ violin schools of the world?” Page 18U MARCH 1919 THR ETUDE the etude MARCH 1919 Page 185 for very few violinists can afford two Orchestral or Piano Accompaniment—Which? LET US SEND YOU SOME OF OUR violins of the first class, equal in all re¬ spects. Putting the matter in a few The orchestra, with its great variety of with either piano or orchestra, except Master Pieces words, it is evidently to the .interest of tone color, aids my performance in many perhaps in the quicker movements the and Modern VIOLINS the violinist that he come through each ways over that of the pianoforte, namely : impetuosity of the ensemble might make AT NON-PROH1BITIVE PRICES for the The string section which works in direct it seem a trifle more hurried, performance with unbroken strings. One VIOLINS ££ T. W. P.—Ebony Is a very hard wood, and breaks. It is a great convenience for the or more mishaps with E strings will cer¬ sympathy with my violin as solo instru- I have observed that the solo violin in find either*. Conv ffiUyeZlL “d C°“'d "ot if your violin has a fingerboard of some softer violinist, as it is very annoying to have the VIOLIN wood. It would be an advantage to have tail gut break, the bridge fly off and possibly tainly detract from his success, for, while meht; woodwinds giving contrasting orchestra sounds better while playing ebony fingerboard put on, as tm the sound post come down. This nr- ’ flavor in its various registers, generally with the string section. The sympathetic pleasure to send them tor trill and ’i'upjojo” U' the fingers on the strings’ wears litthTgutters while playing, and puts the v1' the audience is well aware that' violin in the surface of the wood very rapidly in written away from the strings; brass vibration of strings seems to have a cap¬ The world-renowned “Gemiinder strings will break, it does not enjoy the Art” Violins $200.00 to $500.00each. the case of ordinary hard wood. Even in the s of little u— „ - - section offering still greater contrast illary attraction, so to speak, and sound case of ebony these gutters appear in time, delay while new strings are' being ad¬ Old family relic, repaired and restored. ARTHUR HARTMANN and the fingerboard then has to be scraped to ____, .... e^constant stretching justed; nor does it relish listening to a the heavier passages, working up the cli¬ better when played together than other eliminate the gutters. A good violin maker of the tail gut, 13025 Adagio and A.I.gro, Archangelo.Corelli .6 could no doubt improve the tone of your vio- “— *—- violin more or less out of tune for the maxes and indispensable in the tuttis; systems of producing tone with combina¬ 13026 Caprice etlo, . . . Alfonso Cipollo— « lin, if you took it to him. It would be pure balance of the concert. Even if the and the percussion, many points of neces¬ tions of the reeds and the brass. Of „ (Prayer From “Mosea in Egypt” 1 guess work for me to try and suggest how G. M.—You can get many Ideas in regard 130271 ( Variations for G String Soto) / this could be done without seeing the violin. to improving your ability to play in time E string does not break, it is likely to get sary utilization of which, are obvious. course this is in reference to passage ai- Paganini .75 I could not advise as to your progress without from the article “Keeping Time’ in the 13220 Serenade, . . . . . h-Schu more or less out of tune under the influ¬ In playing with orchestra I find it has playing. hearing you play. December number of The Etude. 2. To HUEU5T GEMliNDER 8\ SONS 13753 Romance, . Johau o. ... improve your fingering get Shradieck s a tendency to draw on greater technical I prefer the concertos of Brahms and 13782 La"' . . Gabriel-Marie .SO ence of sweaty fingers or high tempera- n Cradle Song,. . A. Cipollone .60 Mrs. J. B.—The violin is usually consid¬ Scales and Sevcik’s School of Violin Technic, resources than playing with piano. In' Beethoven with orchestra to any of the ered by musical authorities to be the most Part 1st. 3. For pieces of about the style , Berceu.. Schutt .40 diflieult of musical instruments to learn in and difficulty that vou wish, you might get the slower movements the orchestral ac¬ other numerous violin works I know of. , Op. 39, No. 8, P. I.Tschailcpwslci .40 its highest perfection. It is not so difficult fantasias from Faust and Bigoletto, arranged Effect on the Popularity of the Violin 14298I RakoeziKakocai March. ..40 to learn to play violin music of moderate dif¬ bv Singelee; Six Little Fantasias for violin companiment is full and sustained, offer¬ Playing with orchestra necessarily re- I4489 Neapolitan Dance Song,^ Tschajkowgj£; .50 If the wire E comes into almost uni- . Something new—special offer to Music Teachers ficulty passably well, if one has talent and a and piano, by Dancla ; Berceuse from Joce¬ ing greater possibilities in repose, sos- * quires a stronger forte on the parf of the good teacher. 2—You ought to get music es¬ lyn, by Godard : Minuet in G by Beethoven ; versal use, the effect on the popularity of “CORRECT SCALE BUILDER’ 14685 Italian Song, . . P. L Tschaikowald .30 pecially written for the violin, and not try to Intermezzo Sinfonico, by Mascagni; the tenuto and shading from the softest pia¬ soloist in the heavier passages, in order 14fi84 Berceuse.o Barmotifle#.5U Swan, by Saint Saens; Berceuse, by Renard. the violin will be marked. Many ama¬ 14898 Playera Op. 5, No. 5, Spanish Danc.,^ ^ get along bv trying to use the melody part of nissimo to the very heaviest forte. Also, that the solo part can be discernible piano music. Wohlfahrt's Easiest Elemen¬ 4. It is impossible to do good violin playing teurs give up the violin or fail to do suf- tary Studies for the Violin would be a good with a 'cello bow, as it is too heavy. 5. the snap and bound, probably better against the accompaniment, but this does 15156 Mi Teresita, . . . Teresa Carreno' .60 book to commence with. 3—The age of 35 is Write to the publisher for coUections of easy ficient practice owing to the breaking of known tQ the Americw; musician 15205 Orianlale.Nicolas Amani .40 i gin¬ rot necessarily mean that the pianissimo 15206 Tambour in, . Jean Phillipe Rameau .40 too late to commence to learn the violin if string quartet music. E strings and their tendency to come out you expect to become a finished violinist. ger.” is found in the orchestra rendition, passages are louder in the same propor¬ SoKCrrd, w.ri.n.cil In Pfif. A vrr, iilruin, grt'rf Here is a splendid series of violin solos, selected Starting at that age the best you can expect R. G. P.—The idea that a piece of silk of tune. Anything which lessens this evil tp^hln. ^I^p..—Fatta.^KtoJo. and edited by^the well-known artist, Mr. Arthur whereas the piano, played by a single per¬ tion. In fact, the delicate breathing of is to learn easy music in a more or less crude placed over the strings of the violin when not must certainly operate to cause a great Hartmann. ” ' . — - style. 4—The better tone your violin has, the In use would improve the tone is one of the former, is practically incapable of repro¬ the strings, particularly when con sor¬ uuu...... eluded. These pi more interesting your study will prove. You many bits of superstition which are so Pi'e™' increase in the number of students of the played in recitals with grer l,y Mr Hart- ought to pay at least $25, even for a first In¬ ducing exactly what the composer dino, offer opportunities for delicate maim and by other viol,nr AH a lent among people who do not understand the violin. One reason of the popularity of strument. Violin thoroughly. The idea probably rose intended. shading, rubato and .nuances that the Chut Music Pub. C... 26 Quine? SitMl, Chica,.. I the most careful and p from the fact that a quilted silk pad kept the piano is due to the fact that it is i send any of these for exarainatior over the top of a violin protects it from For instance, when playing with piano, pianoforte sometimes fails to inspire to A. J. P.— Not having beard you play, or always ready, requiring to be tuned without any means of judging your talent, damp, changes of temperature, and dust, thus certain tutti passages are frequently “cut” so minute a degree. THEO. PRESSER CO. it would be pure guess work for me to try preserving the violin and keeping it in better only at comparatively long intervals, and OUR “SPECIAL” playing condition. in order to render more effective an As mentioned before, the technical ef¬ to advise you how long it would take to learn that the strings rarely break. pieces of any special grade. 2—The Sevcik otherwise flat or otherwise tame con¬ fect is more difficult to bring out with the 9Cr 10 Tested Lengths, OF- method is designed to be studied with a good Altogether this silent revolution to¬ teacher, familiar with Sevcik s theories, and densing of the original orchestral score. orchestra, and I usually use a slightly ^D^Silk Violin E, for LOl wards the steel E (though to the non¬ I know of no book which describes in detail cards printed, giving your name and address Of course, some accompanists 'do not heavier bow. This offers opportunities Send/or Violin and Cello Catalog the method of studying all of Sevcik’s works. as a teacher, and give a certain number to violinist it might seem a matter of small 3—As violin prices go nowadays, you would each of your friends, asking them to distrib¬ “cut” the piano solo parts, but in utilizing for a wider range of tone color. I also ute these to any one of their acquaintances importance) is nevertheless destined to MUSICIANS SUPPLY CO. have to pav a dealer from $100 to $150 for the services of an orchestra there is no believe that the artist, as a rule, plays such a viollr-as youJ describe.-J A good violin who might be interested in violin Instruction. have an enormous influence on the art of a be bought far below value, but it You might also let It be known in jour i doubt left in the soloist’s mind whether it with greater abandon, relief and prom¬ n expert ti ;nize such a bargain. violin playing and of music itself. The will sound better one way or the other. inence when he has the accompaniment more violin players and .students, the In regard to tempi, I will say I do which the composer intended—the apartment, as a teacher of the violin, more work there will be for concert vio¬ could also advertise in the dally or mu change it perceptibly whether playing chestra.—Toscha Seidel in The Violinist. E judging of your taleut. You also fail press. After you have once obtained a linists, orchestras, and composers of state whether you expect to study with a go- „ 111 onma in nf Use violin music. teacher. It is a fearful waste of time to try and learn violin playing without a teacher. Due to the War One may learn to play easy music In a crude manner-..ij with sself-instruction,elf-instruction, but to do artis- There are few things in the world MAKES EASY tic work, a teacher, and—- a —very good teacher which have not been affected by the great Bow Guides at that, is necessary. __/ H8IF ETZ, VIDAS. violin study, will be of great benefit.. I war just closed. Who would have Every little while some one invents a ■violin was to be used in public. While G0D0WSKY. THIBAUD. BETTI and others. H. K. K.—Wohlfahrt’s Easiest Elementary not sec why piano practice should injure your dreamed that the war would have an Demand exceeds supply. Avoid waiting by send¬ Method for the Violin, published by the Theo. fingers for violin playing as you suggest. \F the "Wurlitzer contrivance to be attached to the violin some of these devices seem practical Presser Co., of Philadelphia, is as good a Election of old effect on the way the violin is strung? Learn Harmony and Composition ing now. $2.00 each or $5.00 for 3 post prepaid. Most of the famous violinists of theed®-Jep^r to keep the bowing parallel to the bridge, enough, violin teachers will have nothing FIXXEY 8881.83 WrlgUHvood Avc. CHICAGO work as you could use to start a pupil. The — violins Eugene^Ysnjre, Yet it has had that very result, by making Henning Method, which you mention, is used complished pianists. 3. I do not know of any to keep the left thumb at the proper place to do with them, and as far as I know by many teachers. The Kayser studies are solo works of importance for the violin by markab^thing about your collec- it difficult to get a good supply of gut E on the neck, the left elbow under the i ‘ >f them have ever come into gen- not intended as a complete instruction book, Franz Lehar, the Viennese composer. You >n, my dear WurUtze^ t^tlrayt buf are more useful in supplementing such a can, however, get selections from the ‘Merry strings. Concert violinists turned in de¬ lin, etc., etc The most elaborate of these eral u It is likely that the use of these -.Y'ou might use the first book of Kayser Widow,” and his other comic operas, arranged violin.’^The same high standard rales spair to the steel E, and now say they inventions which I have ever seen contrivances would have a tendency to ie Ballad Classic the pup 11 has completed the Wohlfahrt for the violin and piano. Write to the pub- the Wurlitzer assortment of modern . 2—The higher positions should not violins. In its wide range you will find will not go back to the slavery of break¬ a Russian device exhibited at the World’ induce stiffness, and also that the stu- ing and stretching gut. Their example ’ A. B. C.—Not being a violin player yourself, price you wish to pay. Fair in Chicago in the Russian Depart- dent would relapse ii bad habits when and having no violin player In vour commun¬ threatens to be followed by practically ment in the Fine Arts Building. The in- they were laid aside, they would have ity who can play well, 1 do not see how you the whole fiddle world. . Kill The Hair Root ream A pupil who has really mastered the Y can choose the best-toned violin of those vention consisted of a contrivance of to be when practical playing was done. fahrt method mentioned above, and the nrs offered to you to purchase. Your only course Trials wooden rods, screwed to the sides of.the An earnest, careful pupil, who practices book of Kayser, would be ready for a star would be to take several of the violins to the in the third position. The teacher must, how nearest large city, where you could get the at Our Expense violin opposite the bridge in such a man¬ in the right way, can learn all the correct ler.f 7S3-Sc? "mK ParL ever, be the judge in this matter. A pupi advice of a good violinist as to which was the Musical Putterers ner that when the bow was placed be¬ with n sensitive ear, who naturally plays ii best. If you decide to buy from a music motions and positions involved in violin ___ would be ready for position worl house outside of your home town, there is Have you the habit of puttering? Of tween the rods it could be drawn across playing without mechanical apparatus to sooner than one who plays habituall: nothing to do but trust to the judgment of : of tune. the firm in sending you a good instrument. doing a very great many unnecessary the strings only at right angles, and paral- hold his arm and fingers in position, and 2. In the matter of violins not made by noted things under the belief that you are, lei to the bridge. The contrivance - a pupil who is too careless to learn them J. H. K.—For the better class of orchestral makers, the price is largely governed by the designed to be used only in private prac- work, a violinist who desires to-such d-“ play- state of preservation and the tone qualities really accomplishing something? If so could never make a success of the art _ing,__ should be familiar _the violin parts of the instrument. Of two violins, one made the following clipping from the Journal tice, and was to be taken off when the with any amount of apparatus. of leading orchestral works. There are sev¬ by an obscure maker, and one by a noted eral collections of such violin parts. One of maker, but both possessing equal tone quali¬ WuruTze^ of Education should help you: the most complete is the Modern Concert- ties, the one by the noted maker will have a Joe was an enterprising workman, the Master, in three books, by Gustav Saenger. higher value. In the case of violins made by SIX MINIATURES The three books cover respectively, the the great masters, such as Stradivarius, Rosen and Breeskin are amonfe pride of his employer. classic,■lassie, romantic,romanuc, aim--.-—-and modern eras, and “ Guarnerius, Amati, etc., the instruments have masters who bought their recital violins Jim was a putterer. It took him a For The Piano - - - $1.00 rain difficult, prominent and characteristic „ very.... large.... historical value, apart from their from the Wurlitzer collection. Wonder¬ A Violin Scrap Book violin passages from symphonic and operatic tone qualities usical instruments. ful instruments also are obtainable at low third longer to do anything than it took Excellent melodious compositions for works of the leading composers. A violinist prices from the modern collection. No Joe. Imagine their employer’s... surprise A violinist subscriber of The Etude goodly size, and he often loans it to his grades 3 and 4. Have the approval Simplified Shorthand who has studied this collection thoroughly violin purchaser can afford not to send of the leading teachers: will be well equipped for general orchestra ing In yourjvu. v-- First grade: Ha.- for the Wurlitzer catalog. when Jim came and suggested that Joe be writes that he has for some time been violin pupils and friends who playing. Flowers, bv Weiss; Juvenile Violinist, by dismissed lor inefficiency. terested in violin playing. The idea seems “ Your miniatures are most remark¬ Franklin. Second grade: School of Melody, Convenient Monthly Payments filling a scrap book with the articles Op. rn (three books), by Dancla. Third “What makes you think that Joe is to be an excellent one. In the course able - ADOLPH IFEID1G” You may pay the low, directprice at rates from the violin department of The grade: Arabesgues, by Bobm; Six Little Fan¬ as low as a few cents a day. we do every¬ inefficient?” asked the employer. of even a single year a vast number of Order from your dealer or send 50c over*”!) reeJ'and ’four strings, prpbabiy c tasia, Op. 86, by Dencla : the Standard Violin¬ Etude, as it appears from month to ist (Presser edition) : Fantasias from Faust thing to make purchase easy and simple. “Why, he always drives a nail with one for Teacher’s Sample Copy at half from using _ too much b— ' ‘ month. He finds the book valuable to topics of interest to the violinist are and Rigoletto, arranged by Singelee. Fourth blow.” treated of, and it is an excellent idea price direct to composer. ' grade: Kuiawiak, Polish Dfiner, by Wieniaw- Illustrated Catalog On Request refer to, and to read over as a whole at ski; Concerto Vo. 1, by Aecolay; Call Me “Well, what harm is there in that?” to have these gathered together in a Write your name and address on ISACE LEVINE, kimcbh^cLagoDC Thine Own, fantasia bv Mollenhauer. All of the dotted lines below and wewill.send “A nail will never ‘hold’ that is not stated intervals. He nt book of single handy volume. these pieces are for solo violin with piano H. de A.—To fasten the tail piece to the accompaniment and ci ' ie obtained' ' ’ from‘ the you free and with no obligation on your driven with three blows” button at the back of the violin, get a little jjart, our valuable fully illustrated catalog ENTERTAINMENTS, ACTS piece of gut string at the music store. This publisher. with all details of the free trial and small Jim actually thought there was virtue WRITTEN out is thicker than a D string, and nearly payments. Mail the coupon today. VIOLIN STRINGS the sLe of a 'cello A Put the ends of the , R.—Sorry I cannot help you f in his puttering He thought the third of TERMS for a stamp. — The Rudolph Wurlitzer Co., Dep.2303— IW by the leading artists of the Philadelphia Orchestra Catalogs of Plays, Acts, Wigs, gut through the holes made for the purpose time and energy he wasted were really Over 1,000 Strads in the tail piece, leaving a loop of the proper E. 4th Street, Cincinnati, O.—So. WabaahAre., Chicajo virtuous B! PLUS size at the end of the tail piece. Then hold the flame of a lighted match against the ends iutejy of no use In determining this matter. Is it possible that musical putterers It has been computed that Stradivarius 540 of these have been located up to the of the tail gut, which will swell them into 2. Most of the great violinists started the two little knobs. Tie the two ends together study of the violin at from five to ten years think there is virtue in the time and produced during his long, industrious life present time by an English firm Sfcv.v with a piece of stout black linen thread, and of age, some even younger. 3. Many students effort they waste in puttering, that a nail more than 1,000 violins, violas, ’cellos and Stradivarius was born about 1644 and the job Is complete. Y’ou can get a patent hare commenced violin. study as late as six- Name “holds” better if two blows wasted other instruments of the fiddle tribe, says • died in 1737, many of his instruments are NO TEACHER 2^32^ifc££* vulcanized rubber tall piece which is curved desired without first writing our Service Department nt the end so as to fasten over the end in driving it? London Musical News. No fewer than over 200 years old. theo. presser co.Ar of the violin on to the button. This requires THEO. PRESSER CO., Philadelphia, Pa. no tail gut, as It is all to one piece and never “ addressing advertisers. MARCH 1919 Page 187 tee etude junior Etude Blankets out these resolutions, my teacher will be Page ISO MARCH 1019 the etude well pleased and my lesson will be a t 4St month we told you that some of pleasure to us both. 0Ur blankets had been put on board rans- Eleanor Jackson (Age 8), ts and now we quote parts of two . Du Bois, Pa. which have been received from Ctt on board the “U. S. S. Siboney,” Sh Show how much our blankets have MY NEW YEAR’S MUSICAL RESOLUTION been apprec|tes siboney) January fifth. On New Year’s morning when I awoke, mMM the first thing I did was to make my New '"‘Treceived to-day the afghan and really Year’s resolutions. I made several, one fin not know how to thank you sufficiently, of which was a musical resolutipn as fol¬ d it is of greht interest to me to know lows : Zt dear children knitted the squares. I am determined to make my music les¬ junior- sons as pleasant to my teacher and my¬ May you rest assured that it will be self as if it were some great musician 0f' great service. “Yours very respectfully, playing beautiful music to us. etude; I am also going to practice one hour a day. 1 have kept my resolution so far suc¬ “U. S. S. Siboney. cessfully. Gladys Bass (Age 10) "^LasTnight Mr. Johnson, our Y. M. C. Wingate, N. C. A secretary, handed me a splendid afghan which you had donated. Kindly accept Honorable Mention Quality First and First Quality A Little Ladder of Progress Long Ago Music Scales mv thanks for yourself and the devoted Margaret Allen, Florence Barley, Myr¬ has created a demand for Jesse French & Sons Pianos from girls and boys [readers of the Junior tle Mae Ditty, Sylvia Levy, Edna Spatz, the homes of a score of foreign countries as well as the Are You Climbing It ? Etude] who contributed the squares. Phyllis Phyler, Gertrude Smeyers, Eliza¬ They Down states of this good old U. S. A. Even after the staff was settled, 'they “It is a privilege rather than a service beth Anne Sweeney. Up And could not sing very well together, for they to be on duty for the U. S„ a country Music makes the home happy and the selection of the And Down had no way of indicating time, and that where such generosity and kindness are right piano has much to do with how long that happiness Up And was the next thing to be arranged. t shown. Answers to January Puzzle lasts — Tone Quality — Action — Durability — Design and And Down ‘Yours very respectfully, They began to write notes—regular Up 1. Add. 2. Adage. 3. Ace. 4. Bag. 5. Finish all combined in the Jesse French & Sons as m very They Badge. G. Bead. 7. Beg. 8. Babe. 9. Bag¬ few makes. For Free Catalogs and full particulars regard¬ notes, something like ours—only they Scales! gage. 10. Cage. 11. Cab. 12. Cabbage. 13. Go I leaf. 14. Kgg. 15. Kffaco. 16. Fad. 17. were of various shapes, and the different Playing Always Feed. 18. Face. 19. Gaff. 20. Fag. ing easy terms, write The “Siboney” had on board, when shapes meant different lengths of time. Always -—THE MAKERS- these letters were written. 430 officers and By this time (about the 13th century) Scales! PScal«! 3,010 soldiers, of whom 616 were PRIZE WINNERS everybody was singing and everybody wounded; and Christmas day was spent m JESSE FRENCH & SONS PIANO CO. ? i n loved to sing; and some of the best sing¬ mid-ocean. It makes us happy to think "A Name Well Known Since 1875” ers wandered into France, carrying their ?? Who Knows ?? that our blankets helped a little, does it little instruments with them, and sang to 1902 R Avenue New Castle, Ind., U. S. A. 1. Who wrote the “Messiah”? not? _ t S the people there; and some went into 2. What is an oboe? Puzzle ♦ % 624 E. Adams St., Germany and sang to the people (here. 1. What composer’s name means to 110 Montgomery St., 20S East 3rd St., 3. When did Bach die? Junior Etude Competition Montgomery, Ala. Richmond, Va. Springfield, Ill. They did not want to sing church songs 4. Of what nationality is d'lndy? talk? This improved the singing very much The Junior Etude will award three all the time, so they made up their own 5. Who were the troubadours? 2. What composer’s name means a indeed. In fact, the people began to sing pretty prizes each month for the best poetry and sang it. And the French 6. For what is Palestrina famous? meadow? so well together that they found it rather original stories or essays, answers to mu¬ people loved these wandering minstrels 7. What is meant by “a cappella"? 3. What composer’s name means a dull to have everybody in the chorus sing sical puzzles, or kodak pictures on musical the same tune, so over half of the chorus and called them Trouveres and Trcuba- 8. When was Verdi born? part of the body? rMp Hair Pins I subjects. 4. What composer’s name means hon¬ would sing a tune, while the other half dours; and the German people loved them 9. What is the difference between a note and a tone? Subject for story or essay this month, est, outspoken? would sing something entirely different, and called them Minnesingers and Meis- 10. What is this? "My First Music Lesson.” It must not 5. What composer’s name means a as a sort of decorative background, and tersingers. And from that time music contain more than ISO words. Write on spread rapidly all over the eartli and shore? Keep the Hair in Place that was the beginning of polyphony and one side of the paper only. 6. What composer’s name means one 5 Different Sizes-Kand KX Packages Everywhere i.; everybody learned to play and sing. Then, Any girl or boy under fifteen years of who works with stone? ^UMP HAIR PIN MFC. CO. Of c’ourse, they used organs in the of course, they soon wanted better instru¬ age may compete. 7. What composer’s name means churches in those days, but they were such ments and better music and so the instru¬ All contributions must bear name, age something for holding? funny little things that we would not call ments were improved and the composers and address of sender, and must he sent 8. What composer’s name means .a them organs at all. Some of them had wrote beautiful music for the people to to "Junior Etude Competition,” 1712 memorandum? play and sing. Chestnut Street, Philadelphia, before the Save Magazine Money HundrlS'"? lu^dm the etude-s very wide keys and were so stiff that they ' 9. What composer’s name means new 1919 magazine guide. Send a postal for your copy to „ had to be played with the elbows! Answers to Last Month’s 20th of March. an ailment? THE ETUDE, Theo. Presser Co., Publishers, Philadelphia, Fa. The names of the prize winners and 10. What composer’s name means Questions their contributions will be published in the something in natural history? _ Mental Scales 1. x when placed over a note, is May issue. _ Get your pencil and paper and ‘make out” this puzzle. It is easy. Send your Did you ever do “mental arithmetic” an ornament; written thus -P— , played MY NEW YEAR’S MUSICAL answers to the Junior Etude Competi¬ in school? I am sure you did, and 3— RESOLUTIONS tion. (Do not forget to look over the sometimes it is quite hard, but it is a CARVING OF ORGAN FOUND ON OBELISK This New Year’s I made several resolu¬ directions carefully.) very good exercise for the brain, is it not ? ERECTED IN CONSTANTINOPLE, 300 A. D. tions which I hope will help me with my Perhaps some of you can invent a good “Mental Scales” are good exercise too. puzzle. If you can, send it in, and if it But little by little they improved the or¬ When you practice, look at the piano- sini. 3. Four; the highest one is A be¬ My scales and chords I have resolved really is a good one we may use it for look at it good and hard, but do not gans, too; and outside of the churches low middle C, and they go down in fifths. to learn perfectly. These I formerly the competition. It can be any kind of touch the keys. Take a scale, an easy they used stringed instruments such as 4. A composition for chorus, solo voices played carelessly, not noticing whether a puzzle at all, but of course it must one to begin with, say E Major, and lutes and small harps. and orchestra, generally set to a religious the fingering was correct or not, but I will relate to music in some way. Put on your name the keys of that scale out loud to text, and performed' without action, try to overcome this bad habit. thinking-cap and see what happens. yourself, up and down without a mis¬ scenery or costumes. 5. Little-by-little I have also resolved to be more patient take. Then play it over once to see if decreasing in power. 6. Alto is the low¬ in learning difficult passages and exercises. est part sung by women's voices in a you named the keys correctly. Junior Etude Blanket I am not going to glide over a note Twinkle, twinkle little key, chorus or quartette; contralto is the Then take a much harder scale—G# Thus far, seven blankets have been. Peterson, Carroll Prince, Frances Prince, carelessly, nor strike a note twice, as I How I wonder what you be! name given to women’s voices having a Cedarberg, C- have so often done in the past. Are you A or are you C Minor, for instance—and name the keys made and turned in to the Red Cross for- low register. 7. A present-day English son, Ida Johnson, Charlotte Grover Juli in In fact, I am going to try to overcome Or maybe you are F or G. the same way. Can- you do it without a the soldiers and sailors. That is splen¬ Strand. Myrtle Strand, Helen Birkholtz Mrs composer. 8. 1732. 9. A style of com¬ Schoolcraft. Iloel, Rude. ('. Lunde. Ileiumcr' all of my musical faults. mistake? Go to the piano and see. did ! Many thanks for your squares. position in which two or more indepen¬ Lovell, Tucker, Gleisner, Hands, Fish, HvL Ellen Foster (Age 14). Dickery, dickery, dock. The last three were put on transport for tested. Cox, Whittier, Swenson, Airs G Pf-iff dent parts are used simultaneously. 1ft The metronome goes tick-tock. the returning wounded to use. Albert Bibbe.v, Joseph Renville. M. Olsen’ Clarinet. F. .T. Richardson, George Gunn. S. .1. French’ The scales go.up. The following is the continuation of MY NEW YEAR’S MUSICAL p,air-ry C: Rpetl- Xor'a Nelson. Mrs] The scales go down, Exercises the list of names of those who sent Pulis, Mrs. Ida Pulls Buck, Bessie Buck Cog¬ RESOLUTION Dickery, dickery. dock. gins, Anna Pulis, Ruth Braden, E. M Baker Difficulties Zaiiel Hit others Exercises are queer things— squares for the blankets: Joel X. Martin, the Girl's “R. & p. •• club’ First I intend to practice one hour every They haven’t any tune. Margaret Eipn, Regina Biggs. Margaret Did you ever try to play day. I will count when practicing and Little Miss Linnet MUSIC PRINTERS and ENGRAVERS Bernice Wanselow, Ida Shulz, Vivian Hor¬ I practice them quite hard though, d- Kathleen Coulton, Eric Coulton Three notes against but two? watch my fingering and time. I will try Sits by her spinet, SEND FOR ITEMIZED PRICE LIST AND SAMPLES ning, Inez Norwick, Verna Schmidt, Gladys Edith Holtzman, ....Mildred Stratton, Maeda Practicing day after day. And hope I’ll finish soon. Orton, Anna McLaughlin. Elmer Peterson, Elmer, Alice Snyder. Leland Hulhoi, Really, it’s the hardest job at all times to know my lesson, to please Along comes her teacher— Gladys Phillipson. Ituth Nelson. Hazel Nel¬ °~lt Hattie Madolyn Bagwell, bVflyn I ever tried to do. my teacher. I will pay special attention son, Geneva Nelson, Elsie Lee. Engria Swen¬ A clever young creature— COLUMBIA AVE. AND RANDOLPH ST. PHILADELPHIA, PA. My teacher says that they are meant son, Tillie Larsgard, Ella Larsgard, Signa to memorizing, to practicing scales and to I ve worked and worked and worked at it, And helps Miss Linnet to play. To make my fingers strong; finger exercises. I think that if I carry Please mention THE ETUDE when addressing our advertisers. And I’m sure that you’ll agree And so I practice them each day— There’s only one thing quite as hard, But I’d rather sing a song! See Letters on page i8j from our Troops on the U. S. S. “Siboney” And that’s two notes ’gainst three. Page 188 MARCH 1919 MARCH 1919 Page 189 ? ETUI JJB ETUDE World of Music The Musical Digest Used More Extensively Than Any Other Elementary Instructor (Continued from page 129.) .an in overalls, who has The Scola Cantorcm, with aa membership The Best from All Kinds of Sources Tw„r in high war-time wages, continues of 200, Is the largest cappeila choru: Music Lovers’ Duet Book reveliiRg^^tHjyej. 0f pianos and mechan- world, excepting the Orfeo Catalan, in —_ j JV-.and the Leeds Chorus in England. In TWENTY-SIX FOUR-HAND PIANO PIECES THE BEGINNER’S BOOK j^faasic makers. addition to their two subscription concerts in Don’t Box the Children’s Ears ,,iano mover—the first in January and April, they will be heard in pro¬ Price, 50 Cents is absent, A is1 a novelty in Detroit, Mich. grams at the nearby eontonments. Children’s ears ought never to be boxed. when repet_.. 9__ ...... _■ School of the Pianoforte All Book Prices Temporarily Advanced Twenty Per a that t assage of tbe e: originality is merely the intensified con¬ tte CT„nlv wrestles with tbe ungainly in- The Free Clinic for Speech Defects, 143 By THEO. PRESSER East 47th St., New York City, treats imper¬ One of the Best Piano Duet Books Obtainable | adapted to be iflflueneed by sciousness of such weakness and tedium as ®,ruml 4 drives the m0V“S TSn “ W#U' arises from repetition and imitation.—Cybil fect speech from widely varying point for general use in ensemble practice, sight’ reading practice, and recreation pl^ng- ;f| - the air, and with nothing but the air t Scalt, in the London Musical Standard. PRICE 75 CENTS . ure coming from Japan in support it Internally. What, then, . __ 'numbers, and have practically dls- The*duets are both original four-hand pieces and transcriptions from clas'lc> "j, b6? | more likely to injure this membrane than a ALL BOOK PRICES TEMPORARILY ADVANCED TWENTY PER CENT. l^Te German violins in the world and contemporary writers. They are largely of intermediate grade and well bal- | sudden and forcible compression of the air naturally deaf, a in front of it? If any one designed to break This elementary piano instructor has had an unprecedented market. anced throughout. «| or overstretch the membrane he could scarcely devise .a more effective means than success, being welcomed by teachers everywhere as just the thing blic schools In various scc- Includes excellent numbers by popular writer? ^dh a3 ^uaa* | to bring the hand suddenly and forcibly down for the young beginner; the next thing to a kindergarten method6 • . arif adding orchestral work to their mechanical defect to be ’’cured." Holst, Stults, Morrison, Lindsay and others. A few classics by « upon the passage of the ear, thus driving tbe Not that I “don't” appreciate”... ,m and purchasing the necessary Mozart, Schubert, Gluck, etc., are also included. a European atmosphere. After a pianist Send for a copy for examination through donations and by con- air violently before it, with no possibility for The musical season In Chile Is to Include 1 There is much pleasure and enjoyment as well as beneficial practice gamed by our- . its escape but by the membrane giving wav. -—b— j| is very_ necessary, 'as‘rlimjat Oakland, Cal., the public schools a number of operas to he performed at .the And far too often it does give way, especially THEO. PRESSER COMPANY, Philadelphia, Pa. certs, m regular conservatory course Teatro Municipal. Among these are Louise, ! hand playing and this book will delight the players who use it. M if from any previous disease it has been retJe students. Which includes credits for weakened. Many children are made deaf by Thais, Damnaeione of Faust, Samson et Da- h"" gn the ear in this way. Nor is this the with"whom they wanted to stndy7 was'of*no lila, 11 Matrimonic Segreto, and La Fioraia. *1 -■ -e thing which does Chestra and band., . WSt0ry mU8H'’ The last mentioned is the work of the young I THEODORE PRESSER CO., PHILADELPHIA, PA. | than almost other side, and, of course, nothing was e Chilean composer, Ortiz de Zarate. . any other, it is a sudden jaror shock. ~ Chil¬ heard afterward—artistically speaking—of A SUCCESSFUL SEQUEL TO THE f#nM>ns carillon of Bruges found Already the following operas have had a dren and grown persons alike may be en¬ most of them. To establish yourself here T t ain when its official city cartlloneur, hearing in Santiago de Chile: Wertha, =0 tirely deafened by falls or heavy blows upon was to put a nail in your coffin. To show “BEGINNER’S BOOK” T01v Saefts, visited the Tour des Halles Xonna, Gioconda,' Ziza, Fedora, Lakmc, Aida, the head.lead. And boxing the ears produces a you to what an extent this prevailed, I’ll 11" after adjusting and connecting the Juritani, Lucia, Barbiere di Saviglia, Rigo- lilar effect, though more slowly and in take the case of Xaver Scharwenka. He had its made the bells peal out to the waiting letto. - degree. It tends to dul....sensibility had a great number of American pupils - is. below, in such songs as God Save the of the_,~ [* . m If It does not hurt the abroad, so he very logically thought that if S Lion of Flanders. Music as an aid to order has been ii..v,vokedUcU Beginner’s Book for Adults membrane. I kr h“ ""- here a very large “-’J -’ ’ THE STUDENT’S BOOK In Grand Forks, North Dakota, where the poor youth who d from a terrible disease be open to him. He started a school i School of the Pianoforte program of a recent symphony concert bore Suggestive Studies for Music Lovers rge from it city (New York), financed by Behr, the piano the motto (short and to the point) “More _, bis bearing maker, and it was a complete fizzle. Tbe By CAROLINE NORCROSS dull; and what had happened was irony of it all was that when he went back By THEO. PRESSER PRICE, 75 CENTS Music—Less Police. A Concert for the Peo¬ that his father had often homed Ms ear for to Europe, American pupils again flocked to ALL BOOK PRICES TEMPORARILY ADVANCED TWENTY PER CENT. ‘h-S.“L’m ple." An interesting reflex from the war con¬ inattention!on! Most likely that boxing,__ on the him. The one exception was Joseffy. He eag0, As the little ten-year-old singer was ditions was to he noted in the fact that nine Price, $1.50 STaBtatot artut with‘Ole Bull, the great of the members of the orchestra are women. r, diseased as it was, hi do with managed to keep the public Interested, by Intended to follow THE BEGINNER’S BOOK or any other All Book Prices temporarily advanced twenty per cent. his dying. And this _ ■ond appearing very seldom. violinist. The composers represented on the program point. Children should never be blamed ... d’Albert came over and couldn’t make it first instructor, this volume has met with a flattering reception. It were Tscliaikowsky, Weber, Wagner, Haydn, This admirable book is based upon the principle that being inattentive, until it has been found out pay. To-day pianists who can't hold a can¬ . sni,e for Four Vlolonoelll, by Verdi, Wolf-Ferrari, Herbert and Sullivan. bridges the gap between the instruction book and the graded course The Adult Beginner needs the quickest, surest path through the whether they are not a little deaf. This is dle to him crowd a hall. Rubinstein, who rmu miel Moor, the Bohemian composer, was elements of music and does not tolerate being bothered with easily done by placing them at a few’yards’ was shortly before my time, got only *200 a or the conventional series, of studies and exercises. Kdti in the program of a recent concert The Davis and Elkins College of Elkins, distance, and trying whether they tan under¬ concert. The first pianist to make big money bv' ”be MacDowell Club at Boston. Mass. West Virginia, has added a department pt juvenile methods designed for little tots who do not even know stand what is said to them in a rather low was Hofmann. The box office receipts were The suite is dedicated to Pablo Casals. Antou music under the direction of Mrs. W. H. tone of voice. Each ear should be tried, $6,000 every time he played. lie was a boy Wilcox, of the Koyal Academy of Music, of fractions. THEO. PRESSER CO. Philadelphia, Pa. Betting Dlran Alexlnian and Joseph Salmon, The Adult Beginner must be gratified with melodic pieces of while the other is stopped by the finger. I prodigy and a great sensation. Whole front rUgnltioa^of their London. do not say that children are'never guilty of pages of newspapers were devoted to him. mature but not necessarily complicated character. Inattention, especially «•-* i Li.t-v uu Contrary to most boy wonders, he devcl- ce on June 10, I960. ‘ not particularly...... wishVV131, tu , „UL I douo sayaay oped, butUU. UlOhis CH1IJearly U1JPe(1IHlisappearances handicappedUandlC The Adult Beginner requires rapid.technic developing studies, so , that he can acquire playing ability in a short time. ery many children are blamed and pun- him. For years’ people spoke of hi C. A. has spent for inattention when they really do not “young Hofmann.” Now the audleneienees^ap^ The British T. M. The Adult Beginner wants to know the ‘why of music and wants And there is nothing at once more predate him as they do everything elsi 172,555 for soldiers’ mu ic in camps and cruel and_..... TCTOR RECORDS- n less than it explained in the simplest possible terms, children than to be found fault d will longer tolerate the'virtuoso'type ffl Caroline Norcross’s “Suggestive Studies” does all this in excellent fashion. The that was once in vogue. Look We will send Victor Records (2 or more) The price of seats at the New York STm- ...... V Heifetz has been welcomed, plionj-, following an Inverse ratio to the high pieces are from great masters, the technical exercises are short and interesting, the boy is wonderful, but I think he would cost of living, has been reduced to fifty The Metropolitan Opera Company bad explanations on harmony and form are given so that the musical appreciation of time, are very common among children, espe¬ ’ equally great had he taken lessons to any part of the United States acme forty or fifty operas by American the adult in concert, opera, or with phonograph records is greatly enhanced. cially during or after colds. 2. That a slight from some' fine teacher in this country. We for the cheapest c-"* "r,n brine 1 composers offered to it during the past year. deafness, which does not prevent a person have a numbei _„.. The w FREE OF TRANSPORTATION CHARGES concerts tr”'"- From these two have been selected. The Copies of this unusual book will gladly be sent on inspection. from hearing when he is expecting to be will benefit the Amerk„, artistic world. first is by Joseph Charles Brett and is en¬ - PUBLISHED BY - spoken to, will make him very Bull t., ni.i European study has been i. sung at the titled “The Legend." Tbe second is by he is not expecting. 3. That tl and the people^have learned that We Carry a Stock of 12,000 Records Metropolitan Opera House on Columbua Daj, John Adam Hugo and is entitled The Tem¬ THEO. PRESSER CO. PHILADELPHIA, PA. of deafness in which a person ct r pretty versal and not a matter of location. Geniuses was composed in his youth, many years ago, ple Dancer. Both of these composers have II while listening, t are born, not made, and a teacher can onlv Victrolas and Brunswick Phonographs and heard for the first time In America. done creditable work in the past but are t listening.—Popular be a guide. Do you think it would have comparatively unknown in any other field m ence Monthly. “When the war made any difference what good master, artists SEND IN YOUR NAME FOR. OUR. MONTHLY BULLETIN LIST than that In which they have worked. hke Godowsky, Bauer, Paderewski, Hofmann is ended, the work of n will be only just Among other novelties which Mr. Gattt- Originality as a Sense and Schelling had studied under?—Alexan¬ begun. The times that -otnlng upon the Casazza will bring out are three new operas There are certain people who seem to der Lambert, in the Musical Courier. Theodore Presser Co. T*jEK*EBh'»« Philadelphia, Pa. signing of the peaceW os—.-cutagreenn will demand by Puccini. They are -Gianni Schiccbl,’ an be born in the caul of convention, and great cheerfultn and patience. The life r opera bouffe, “Suor Angelica, a ■ mystery whose entire personalities are thus en¬ .ave less excitement pin v, and “II Tabarro," a tragic opera. veloped with an aura of the banal and Sounds That One Cannot Hear There are also promised the following nov¬ essentially ordinary; and these people, how- In the sense of hearing, numerous problems attendant upon it than heretofore: and music elties : “La Rlene Fiamette," by Xavier have interested the experimental psychologist. is one of the immensely important factors that La rout, and revivals in America of Ml* Among these mayn he mentioned the range of will enliven the dullness and keep rellle” (Gounod*. “Oberon* (Weber), La . for t FOR THE ,„r the things they have to requisitei to artistic creation ‘is lackmg'within_ f£“Pds iS‘balat vea.1 _be, heard by an individual. solidly togethe ' Forza del Destino” (Verdi), ’1 Crispino And that prerequisite is a certain do. If y< e worked to get music into romare” (Ricci brothers), “-Petrushka” (Stra- PLAYING TWO NOTES AGAINST THREE ,_ ... _ certain no sound can^'e heardbel°W aDd above wbicb First Grade Studies PIANOFORTE the trenches, work doubly hard now to get bea-uty, ”of“ symmetry)8©!* color or® of^refine- .Tb?. solut„io11 of these problems, the deter¬ By L. A. BUGBEE music into the barracks aud to keep It there. Written and Compiled by ment, though more difficult of definition “mation of the upper and lower limit of The citv of. Hartford, ----- wilt give than any of these. For as G. K. Chesterton £?u, ’ haa occasioned a great deal of careful In all tbe cities of tbe United States the credits for outside music. study___ -j students • CHARLES W. LANDON has pointed out, there are certain things, tb® construction of many forms of An Unusually Popular This set of studies has on its own merits attained news of the signing of the peace pact was the in the Hightl ICTll Schools.ISCnOOlS. DEV«I1JURalph“'"h L.U. DOlunn.Baldwin, Price 80 cents which, although neither mystical, vague, nor aPPa>atus For determining the upper limit _/ Cf J • a great popularity. All the exercises contained signal for every musical Instrument to get able director, will hold examinations nebulous ; things pertaining to everyday ex- Sf«.a?und a°y individual, and individuals •3ef Of Studies m it are original and many of them have accompanying into action, even though it was only four twice a year. istence perhaps, offer extreme difficulties d,.„,c, considerably, the Galton whistle is gen- o'clock in the morning. Everyone who pos¬ Enable the pupil inquer readily the rhythm when any attempt is made to express them eJaT“y usedv so nearlv lilre -if**’ 1 ’.<;y ar f to a rut or a p A 2 msiMMiJSSs hs“Sr£57hfHaH£S .1! tion “ d=5i'l_ As the. time signature Is 3-4, aSL: V1WLUN AIN U JTIA1NU ,53.3 ass*..5 ,5 15393 EStfWLF .3 ,0 lUii ,53,3 STWa .334 .40 15849 l!IrMERMAN’ J’ F' iSS 3 VOCAL ■ i 1 ISS IHtSlfS■■::: :::! 3 Z SaZIIIt Z IS ! 3 IS 3 SHERWOOD PIANO LESSONS IS R^SfY :.3 I sSIHwS, for JUVENILE LYRICS * SsSSr' Your Vacation 3 STUDENTS AND TEACHERS I ,7, Kiy SACRE 15911 :i&:; MEN’S VOICES—SECULAR mm m Harmony Teaches You To ,5884 tSEEWSIF..3 .50 ! FaEtK«AtLoDThHe We Look in All Our i sawr^ough Another week:::::: 1 M ' "SSlisssL,.. ancsai £§CBSSS3g Unprecedented Special Offer! w- ;h0anc'''\ fro™ E to f£. that is, from 4 4 to To*:,„TX"^»r^nisn !s sr- Tlj 7°7! r°rjT~'i THEODORE PRESSER CO., PHILADELPHIA, PA. «SSfVSfi to te* —the <"»at MARCH 1919 Page 193 Page 192 MARCH 1919 the ETUDE TEE ETVDE Grove’s Dictionary Trial by Jury Birthday Jewels Premiums Given for (New Edition) Gilbert and Sullivan Rv Geo. L. Spaulding Etude Subscriptions TWENTY-FIVE QUIET Grove's Dictionary has gone through a This classic of light opera, a musical This is an attractive new volume in the To those Etude readers who devote new edition. In this new edition all the comedy parody on justice, has been given bighh- successful_ series lifaded by. Tunes sunje of their spare time to securing new ROOT’S DEVOTIONAL PIECES typographical errors of the old one have byiinnunierable amateur groups with great A illumes, Souvenirs, and other popular subscriptions and renewals, useful and val- f" . S uable articles are given. Among the Technic and Art of Singing been corrected and the dates of deaths success, because it is of such extremelv books. have been put in the last volume. practical character. It requires careful T||t new book consists of twelve pieces, premium! nclud.’d_ articles for per- The price of the work lias been in- rehearsing but the demands of the solo h named f()r one 0f the months of the sonal and householdehold uciuse, and desirable This progressive series of vocal studies, creased somewhat owing to the tremendous and chorus parts are so completely within r with its corresponding birth stone. music works. We list a few of them be¬ by Frederick W. Root, represent the col¬ advance in paper, printing and binding, the grasp of the average group of youne • f are all piano pieces, but, each one low; many more are shown in our new lective work of one of America’s ablest The teachers’ price in the future will be men and young women. Good fun, bright I ° verses which may be sung ad lib. illustrated Premium Catalog, sent free on te.chers of voice-Frederick Woodman $17.00 instead of $15.00. This advance is happy music and real humorous dramatic The special introductory price is 20 request. Root—a son of Georee Frederick Root, only part of the additional cost of manu- opportunities have made “Trial by Jury” cents, postpaid. For ONE Subscription. (composer of the Battle Cry of Freedom). facturing the work at this time. just the thing for young folks who want Album for the Young. Robert Schu- It is a work that every teacher ought to to “put on” an interesting show without Pedal Book much time, effort or expense. In fact A Book of Compositions by Chaminade Album. NEW WORKS. Easter Music the costumes and scenery may be very By Johann M. Blose Modem and Classic Composers Sunny Day Songs inexpensive indeed. The same’_ Xhis work is now complete and in the Mathews’ Standard Compositions, Vol. We again call attention to our five ex¬ Advance of Publication Offers— By Helen L. Cramm, Op. 27. made “The Mikado,” “H. M. S. Pinafore” hands of the engraver. We are more con¬ I, Grade 1, to Vol. VII, Grade 7. Any These pieces are suitable cellent Cantatas for use at the Easter fident now than ever, since the work is one volume. Those who have used Helen L. Gramm’s “Pirates of Penzance,” and other operatic for Sunday evening gath¬ March, 1919 services. successes made “Trial by Jury.” Sir Sed, that it will fulfill all we have Salt and Pepper Sets. Small, light and Victory Divine, by J. Christopher works previously published by us will nave Album of American Composers. ~ ~ hesitation in ordering this new book. Arthur Sullivan was one of the greatest for it It is a systematic expo- durable. These shakers would grace the erings, or religious meet¬ 60 Marks, containing a number of well En of all the possibilities of the pedal. Birthday Jewels, Geo. L. Spaulding. _JJ IIU „ musicians of England and W. S. Gilbert’s table of any home; convenient for picnics ings of any kind. It is trasted numbers “for solo voices "and tor $7 % It begins very simply and progresses grad¬ and outings. Bohm Album for the Piano. chorus. ists and “also'* Pleasant ^Pastime *have librettos are published as good literature a valuable volume for proved remarkably successful. This new i*J many editions. Gilbert was an admir- ually with the practical studies. It is not Hanger Sets. Something new; collapsi¬ I. Methodical Sight-Singing. Qp. 21 The Wondrous Cross, by Irene Berge. Celebrated Compositions by Fan » tv , | , , workwuiis. seems iiuno leasless bu,so. aeIt consists uiof a ahle playwright. — He— died* a hero from a book of theory, but a book of study. ble coat and skirt hanger; comes folded Parti. The Beginning..50 church purposes. The Composers. This cantata is one of M. Berge’s latest 1 Each chapter has an introduction, showing ... ___ _ Part 2. Through the Keys ■ • .50 * H * ■ the life of i small, compact case. Can be carried in Part 3. Progressive Musicianship. .50 music is of the interme¬ Difficult Four-Hand Album. and finest works, rich5L*iiWB in melody and stfsLft!j“S£:JSST-SSi the practical carrying out of the instruc- i,an HERBERT WITHERSPOON OSCAR SAENGER DAVID BISPHAM s MEHLIN PIANO USED EXCLUSIVELY Noted Singer, Coach and Vocal World-renowned Teacher of Voice Teacher and Coach OF NEW YORK CITY Mr. Bispham, aside from his private instruction The Way to Make Players SUMMER SCHOOL to students, will offer two special features i e COMBS CONSERVATORY PHILADELPHIA JUNE 30th to AUGUST9th (SIX WEEKS) Repertoire Classes for Professional THIRTY-FOURTH YEAR RUDOLPH REUTER LEON SAMETINI Singers and classes in Recitation to Noted Pianist and Teacher World-famed Violinist and Teacher Music. u A Residential and Day Sch^l of^unp^^le^d Fac^p^es for Uie attainment of a complete ALEXANDER RAAB FELIX BOROWSKI Distinguished Pianist and Teacher Noted Critic. Composer and Teacher of Theory A SCHOOL OF INDIVIDUAL INSTRUCTION HAROLD von MICK WITZ Only a limited number of students accepted "Virgil Method LOUIS VICTOR SAAR Well-known Pianist and Teacher Well-known Composer and Teacher of Theory Apply early. _ a feu of the well-known mt ihers of the faculty leaching this Sun Teacher’s Course $125.00—Enter any time I Course and Violin. Organ. Theory. Public School Music. School II of Opera. Oi —JUPB -—*--m . School=-■—*-«*- of — Normal Training for Teacher, For explanations mite Mrs. A. M. Virgil --..oun. Public Recitals. Unrivaled freL__mtages. SUMMER SESSION >ns. Complete Summer announcement on request. Complete Catalogue on All branches Normal Training Course for Teachers. Public School Music Supervision. CARL D. KINSEY, Vice-President and Manager, 620 S. Michigan Ave., Chicago, Ill. June 23rd to July 26, 1919. ^'m“ hiilitary Band Department. Four Pupil, ’*a w«k 'e /IRGIL PIANO CONS. 11 West 68th St., New York Pupils' Symphony Orchestras. Reciprocal relations with University ot Pennsylvania. FELIX BOROWSKI, President Fall Term Opens Sept IS, 1919 DR. F. ZIEGFELD, President Emerit Special Course in Public School Music *Ghe only Conservatory in the State with Dormitories for Women of Six Weeks. A School of Inspiration, Enthusiasm, Loyalty and Success Illustrated Year Book Free All Departments of Music and Dramatic Ait GILBERT RAYNOLDS COMBS, Director Studio._.nd Dormitories £ IsRmmiedasOneof the and Reed Strei /DOIOLUPIBIA Ninety Artist Instructors SCHOOL/ OF'"’ DAVID BISPHAM Among the prominent artists may be mentioned: PIANO: Henior Bevy, Allen : ZECKWER-HAHN Garwood, Siivio Scionti Louise Robyn* I ™fORY COMPOSITION, Adolf PITTSBURGH yi -—Ear Rlair™. r-urik .. r, IX/—l.w amecic. ' I Weidig. Arthur O. Andersen, John Palmer, 3- MUSICAL INSTITUTE, Inc. YOICE: Karleton Hadcett, Ragna Linne. E. Warren . , L'° SoweJrb*’ PHILADELPHIA Academy s courses in Piano,Voice,Violin,Organ. Ml „nr, K. Howe. Charles La Ferge. *• *=" W Professional Directory THE ETUDE . . . j $350 THE ETUDE . . .1$450 McCall’s Magazine . / Solid Gold La Vallieres THREE SUBSCRIPTIONS Sacred Secular Modern Priscilla . . j Save 75c Review of Reviews . • j Save $1.25 This La Valliere — Diamond shape, with amethyst CONSERVATORY THE ETUDE . . . ) THE ETUDE . . . J $450 and four pearls and one large baroque pearl—has been Songs BEECHWOODi AMERICAN Christian Herald . . , Woman’s World . . j $3f! World’s Work . . • 1 Save *1.25 selected because of its elegant simplicity of design. Pen¬ In the Dawn of An Indian Sky My Shadow dant measures 1 inch. Warranted solid gold, fine in COMBS,” ARNOLD' THE ETUDE . I $450 Published in High and Low Voice Medium Voice Price, 50 ce manufacture and finish. Price, 50 cents American Magazine ’Cello Obbligato for High Voice words of Robert Louis Stevenson'* Price, 15 cents BROWN “ Violin Obbligato for Low Voice DUNNING i The Peerless Manicure Set Price, 15 cents THE ETUDE . . . ■} $475 The words of this impassioned love song are This Peerless Set consists of Nail File, from the pen of Olga Petrova and the musical ; Modern Priscilla . . • / r A D D I 2™HS0H?°,F Voice training for Church. 1 Save 50c setting is such as to make it a^number worthy 1 A D fl I 68 W. 82nd St.,1?. Y. City.8 OrcnlMs e CINCINNATI-^ ' Woman’s Home Companion . J Scissors, Cuticle Knife, Nail Cleaner, J THE ETUDE . . . .\$475 Buffer and Button Hook, each handled Woman’s Home Companion . • • ( To Horse ! To Horse ! ra Oaborne Reed. Director with best quality imitation ivory, packed Bass Song Price, 60 cents HAWTHORNE COLUMBIA’ Vn,,tk’. Femnsnian (new) .Jsave$1.00 j THE ETUDE . . . ,$525 in roll. DAHM-PETERSEN" for use in Christian Sc* «Q.jp«me KRIENS Woman’s Home Companion . •>1 Save 50c You’ll Love Me Yet! FOUNTAIN PENS Low Voice in Devotee inch Love’s Flashing Eyes DETROIT bO IU nls 1 '-L.SJSS r»» --- $2.50 I Motion Picture Magazine . . $2.00 MOULTON “fraa; Collier’s Weekly . . . 1.00 Musician . • • • • D’Artagnan’s Ride KNOX Country Gentleman . Good Housekeeping . 2.00 Popular Science Monthly 2.00 Three Subscriptions. This pen is of a very attractive design, being especially NEW YORK •SSa.'SSSfe MARLOWE Ladies’ Home Journal . 1.75 ! Saturday Evening Post • Z UU suitable for ladies. Has 14kt. gold pen, with two gold bands. Send all Order, to THE ETUDE VIRGIL THE ETUDE, Theo. Presser Co., Pub's, Phila., Pa. WESTERN THE0. PRESSER-CO., Pub’s, Philadelphia, Pa. THEODORE PRESSER CO., PHILADELPHIA, PA. nnuftuT conservator oFM™,n I — , .J'MTANT -vat-.-;: | CONVERSE mi I nresa. Jcicjociete desjConeerh du Conservatoire departs 'V\7rHEN the French National Orchestra, called the most nearly perfed musical organization ▼ V in the world, came to tour America during the war, they arranged to borrow instruments from The Rudolph Wurlitzer Company. The reason was that the French musicians, while willing to risk their own lives, feared to subjed their heirloom instruments to the danger of submarines. Later the orchestra was brought to America on a battleship. No finer tribute could have been paid to WurliTzer than that these famous musicians were glad to rest their great reputation on instruments borrowed from the WurliTzer warerooms. 200 YEARS OF MUSICAL INSTRUMENT MAKING For nearly three quarters of a century the musical house of Wurlitzer has been identified with the musical growth of America, manufacturing all musical instruments, including pianos, player pianos and harps. WurlHzer is the exclusive representative in the United States and Canada of Caressa 6? Fran^ais, of Paris; Violin Makers and Collectors, successors of Nicolas Lupot, established in Paris, 1796 Branches Are in the Following Cities: ILLUSTRATED CATALOG OH REQUEST CINCINNATI CLEVELAND LOUISVILLE Write your name and address on the dotted lines below and mail it for the special catalog NEW YORK DETROIT SYRACUSE ofWuiy.nzE*. complete musically perfecft outfits Also catalog of Old-Master Violins, CHICAGO KANSAS CITY ROCHESTER Violas and Violoncellos. PHILADELPHIA BUFFALO SAN FRANCISCO BOSTON DAYTON MILWAUKEE ST. LOUIS PIQUA, O. NIAGARA FALLS Name.,.,... A< PITTSBURGH HAMILTON, O. SPRINGFIELD, O. ALBANY COLUMBUS, O. MIDDLETOWN, O. Musical mstrument^you are specially interested lr THE RUDOLPH WURLITZER CO NEW YORK CINCINNATI CHICAGO 115 WEST FORTIETH STREET BAST FOURTH STREET SOUTH WABASH AVENUE DEPT. 9303