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

4-1-1925 Volume 43, Number 04 (April 1925) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 43, Number 04 (April 1925)." , (1925). https://digitalcommons.gardner-webb.edu/etude/722

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ATTRACTIVE MATERIAL FOR TEACHING LIST OF PIECES PUPILS WILL Many Piano Teachers Are Using These Meri¬ The Commencement Award or Graduation Gift! torious Study Works With Excellent Results DELIGHT TO PLAY AT HOME Here Are Some Excellent Suggestions—the Suggestions That Might Be Made Are Many—Our Descriptive Catalogs FIRST GRADE BOOK of Piano. Vocal, Violin and Organ Collections (Any of Which May Be Secured Gratis) Describe Albums That ALBUM OF TRILLS AS WELL AS IN PUBLIC Mieht Well Be Used By Teachers As Prizes or Awards or as Graduation Gifts By Parents or Friends. It Will Be Special Study Pieces—Vol. 1 Price, 75c Mathilde Bilbro Price, $1.00 \ very attractive work for youngang beginnuegumcts Noted Below That Close of the Season Prizes and Gifts For Pupils of All Ages Are Suggested. a valuable technical c It introduces Special Suggestions of Exceptionally Pleasing Piano . playing and in^place of^oldly - just above the kindergart - - T‘ practically all necessary hand position, Compositions for Recitals ing the trilPliold the pupil The effectively developing ability eic.^ t stud and both clefs are used in various forms. Eighteen p : littli It is unnecessary for music to have “strange harmonies or be teaching wofffare ^o Svery successful because throughout they display a practical knowledge “tricky” in order to be good. The musical favorites of the world of how to interest and instruct young pupils. are melodious-and it is such compositions that everyone wants FIRST PIANO LESSONS AT HOME to hear. _ FROM MY YOUTH By Anna Heuermann Hamilton Twelve Character Pictures for Piano Book One, Price, $1.00 Book Two, Price, $1.00 ByR.K rery ynung children and PIANO SOLOS—For First and Second Grades I^wr^ing^book! a^he"wrrtin^C|m°ks^re .. .Virginia Rhodes.Quietude . ' a and time aids and the piano n developing playing abUity.^At ...Richard Cabot.Legend.M hers. WThe ...Arthur Nevin.Minuet.^ .. . Mathilde Bilbro.Playing on the Lawn.4U Plaffi£a . . . Manna-Zucca .Lightning Bug .. • • • -40 Jessie L. Gaynor.Little Shoemaker (words ad lib.). .4U STORIES NOTES CAN TELL . Mari Paldi.Dance on the Green.50 .. .L. Leslie Loth.Warriors’ March . 40 By Frances Terry Price, 75c ning early second grade .. .James H. Rogers.Ariettc.jO ...Nathaniel I. Hyatt... Jolly Tinker.4U players. The key variety ^pieces' use the keys C, G, F, and PIANO SOLOS—For Third and Fourth Grades

.Paul Bliss. Lilies .—. PIANO COLLECTIONS ..Marion Bauer.. . .Arabesque .. . .E. A. Mueller...... Rainbow Roses (Valse Brilliante). Useful Albums That Will Serve the Piano Student in Study or Diversion .. Arthur Nevin...... Wood Sprite. ALBUM OF SIX COMPOSITIONS YOUNG FOLKS’ OPERA GEMS . .Mentor Crosse.. .. Moment of Grace. Price, 7! In Modern Style . . E. Poldini. .. Lyric Waltz No. 1. By Charles Huerter Price, $1.00 . .J. L. Frank. . .Pannier and Peruke. In this set of characteristic pieces for the ano Mr Huerter has handled melody, .. Porter Steele...... In An Old-fashioned Garden. SSI lyth’m and harmony in a very original, but . .L. Leslie Loth. . . .The Garden of Memories. anner. We recommend these pieces . .Jean Philippe... . .In Blossomland.:. . .Ethelbert Nevin. . .Mighty lak a Rose (variations). .. . .Charlotte Davis. . .False in ab. CONTEMPORARY MARCH ALBUM . .H. Bellstedt ... . .Indian War Dance. A Collection of Military, Parade and Grand THE TWO PLAYERS hirty-three Four Hand Piano Pieces . .Chas. Huerter.. ...Melodic Poetique .. Price, 75 cents PIANO SOLOS—For Advanced Grades .Mrs. H. H. A. Beach.Nocturne . .60 s^SonT Czard .Mrs. H. H. A. Beach.Old Chapel by Moonlight. .. .60 , . Ossip Gabrilowitsch. . Caprice Burlesque . .75 .R. Nathaniel Dett-Song of the Shrine. .60 . .Harold Morris.Scherzo from Sonata Op. 2.. .75 . .Harold Morris.Dolls’ Ballet. .75 TWO BOOKS EVERY MUSIC LOVER ..Emil Liebling.Spring Song. .60 SHOULD READ . .Charles Gilbert SprossSchcrzo Fantastique. .75 1.00 Musical Appreciation is Developed Through Pupils Reading Books . .Reginald deKoven.. . .In Minor Mode. Such as These FOR FOUR HANDS AT ONE PIANO MUSICAL PROGRESS SECRETS OF THE SUCCESS OF GREAT MUSICIANS .. Mentor Crosse.Dancing Class .Gr. 1-1)4 By Henry T. Finck Price, $2.00 ..Frances Terry..Witches Flight .Gr. 3 By Eugenio Pirani Price, $2 00 These inspirational life analyses can . .Charlotte E. Davis. . .False in Ab.Gr. 4 makiIgminfOTmativethand entertaining material help but appeal to all who are interested . .Maurice Arnold.The Old Castle.Gr. 3 for anyone interested in music. Beyond 3 music and its makers, because the “suet doubt every student should read ^ this book. secrets” are surrounded with outlines of lives ..John Francis Gilder. .The Acrobat .Gr. 3)4 of the great musicians and enlivened by . ,W. C. E. Seeboeck_Serenata Napolitana.Gr. 4 work6 indecent years that ^ has received so points^whlch make the book readable and ..Albert Gehring.Mazurka Pomposa .Gr. 5-6 thoroughly enjoyable. FOR SIX HANDS AT ONE PIANO THEO. PRESSER CO. &£ £-t17st. PHILADELPHIA, PA. sse.Melody .Gr. 3 1.00 5 Arnold.The Fortune Teller.Gr. 3 .75 imlieller.. .Merry Bells of Morning. .Gr. 3)4 1.25 . .W. C. Barron.Lullalo (Irish Lullabye) . .Gr. 4 1.00 Mother’s Day Program THE JOHN CHURCH COMPANY rZscconaSuilyinMay »£ SSL' Everything in Music Publications CINCINNATI NEW YORK THEO. PRESSER CO. 1710-1712-1714 Chestnut Street Philadelphia, Pa. QUARTET-MIXED 109-111 West Fourth St. 318-320 West Forty-Sixth St. THE ETUDE Page 22S APRIL 1925

Little Albums for Child Pianists Pearls of Instruction in Captivating Form for Young Pupils

The very appearance of these charming collections makes them attractive to children and the little musical gems behind the covers are just as delighttu TEACHERS WILL FIND THESE ALBUMS MOST HELPFUL WITH JUVENILES

Pictures From Nature Woodsy Corner Tales and Tunes For Little Piano Players The World of Music Characteristic First Grade Pieces for the Pianoforte BY Helen L. Cramm Mae Aileen Erb Here is an irresistible appeal to little folks. Real pearls of instruction marking distinct Pictures From Nature is just the sort of advances in elementary piano technic are to book to follow or to supplement any instruc¬ be found in these pieces, yet they are melodi¬ tion book. Miss Erb has the'rare faculty of ous and the interesting little stories and composing teaching pieces that interest verse to each piece captivate the youthful young students and these pieces excel in fancy. There are twelve stories and twelve this respect. The verses are bright and add pieces. Teachers may gain even additional to the charm of the melodious pieces. This interest by having the child color with offering of eleven numbers is bound to paints or crayon the fanciful design within become a great favorite with teachers. which each story is boxed. PRICE, 60 CENTS PRICE, 75 CENTS

Children’s Rhymes From A to Z Sunny Day Songs

Vocal or Instrumental

Helen L. Cramm A really delightful book for the little pianist or singer. It contains a dozen and one sweet little melodies with words, written in the excellent manner that has brought so much success to Miss Cramm’s numbers for little musicians. These pieces will aid the young beginner to read the staves in both clefs and develop most pleasingly at the keyboard without study becoming irksome. PRICE, 75 CENTS

Old Rhymes with New Tunes Birthday Jewels Tiny Tunes for Tiny Tots

Ml mmm PRICE, 60 CENTS PRICE, 75 CENTS PRICE, 60 CENTS

BY GEORGE TOMPKINS Child’s Play THEODORE PRESSER CO. Juvenile Tone Stories1 GEORGE HAMER Ten Miniatures for the Pianoforte Price, 75 Cents Characteristic Piano Pieces First and second grade recreation and study pieces for which Price, 60 Cents Music Publishers and Dealers A half-dozen little characteristic piano pieces just about Established 1883 th\CC™Ms[l3ook*of Knowledge. The*idea of their introduc- whirh^ gr?de tW° “ difficulty. Each has accompanying verse 1710-1712-1714 CHESTNUT STREET PHILADELPHIA, PA. to vivp rh be fSUng lf dlSired’ bUt which in rea,ity is inteQded 1 Of t0.each I,iece- Th' Pieces are very tuneful ana of a decidedly picturesque quality.

229 THE ETUDE APRIL 1925 Page 231 Page 280 TIIE ETUDE Ethelbert Nevin ' . - ' 1! iTahe Music Lessons A Great American Composer Whose Works Never Grow Old UNDER MASTER TEACHERS MID-SEASON UNDREDS of the foremost teaehere usually keep a —H supply of NEVIN SONGS and NEVIN PIANO AND nswsa SOLOS on hand because Nevin Music always> Pf?™!®® YOU have heard it said that the “trained man” and the “specialist” are the attractive selections to develop love for GOOD i II Sic COMMENCEMENT ones who get the real money. Some teachers struggle along with small classes in every pupil. and receive scant remuneration for their PIANO COLLECTIONS services. Others cannot accommodate all PIANO SOLO VOICE AND PIANO who would study with them and they are Complete 1 ’5 .65 At Twilight. High, G(d-e); Med. (c-d) .50 well paid. It is the same among orchestral musicians. Many are struggling and wor¬ •7s Dee^r;RM°e8de:8^rHeart-High,A .« -60 Doris. High. F(c-ab); Low, D (a-fH) -50 rying over poor positions with small pay Schirmer Publications while others are enjoying luxurious living 2 $?•Sb (f-g): .50 conditions and are able to provide every so Life Lesson. High Bb (f-eb); Med.. G (d-c) .50 JAROM the very beginning, the constant aim comfort for their families. It is all because one class is willing to keep •60 High. B[> (f^eb); Med., Ab ^ and policy of the House of Schirmer has been to abreast of the times by keeping up his own study and the other does not pro¬ .60 My Love’s Waitin’, Med. F (d-d) .50 gress, so keeps in the mediocre class. 75 Narcissus. Med., Ab (eh-f); Low, F (c-d) .60 supply the American public with the very best ition by ' .60 music, carefully edited, finished with fine accuracy TO WHICH DO YOU BELONG? in every particular, and issued in a thoroughly pke 2 °TK^F^MayinS- HiEh'A .50 No amount of wishing can get you out of the rut—you must be willing tasteful and attractive style. It can be asserted 0,5. .50 to work. Analyze the careers of the biggest men in any branch of industry without fear of successful contradiction that the firm, and you will find that intelligent work was the basis of their successes. Tale, Op. 16, No. 1 (Eb) by reason of this continual striving after perfection The courses illustrated below; show the subjects we offer by mail. Each laprice, Op. 6, No. 2 (Bb) ’^Sa****** Med-A down to the least detail in editing, printing and one is given by an eminent teacher. The service offered will amplify, your Nymph, Op. 13, No. 3 (F) ’TTo»(BS)G(d-g5i binding, have set a standard which few, if any, daily practice periods with suitable and competent instruction; it will map out a constructive and definitely planned program for your advancement; houses in the same line have equalled. Any of these compositions available from your local dealer or may be procured and it will give you the advantage of the compilation of combined experience In the present need of teaching music to supply of thousands of its students, accumulated in its more than twenty years of important demands at the height of the season, and life. from THE BOSTON MUSIC CO. when commencement comes with its manifold and For the teacher who would have his own school; for the orchestra man special requirements, no greater source of help and who would be a conductor; for the band man who would be a leader or or¬ ganizer in public school work—our Conservatory stands readv and willing to suggestion exists than the Schirmer Catalogs. Con¬ help. sult the list below. Any material requested Teachersrs are invited to get the benefit of the sample lessons sent | - - -**•-**• , t will be sent free as promptly as possible. tion.. Get partiirticulars of the course which interests you and the special teachers. It: wwill bring you greater proficiency and in turn more mon happiness. A diploma or degree is a wonderful asset for a teacher. 'For the sake COMMENCEMENT MUSIC AND of your future, check the coupon below and put it in the mail. If the results for you are the same as others you will never regret the step. One Schirmer’s Catalogs graduate of the Normal Piano Course writes: “My class numbered 50 pupils when I SUMMER TEACHING SPECIALTIES began the course and I did not have a certificate. I now have 82 pupils.” COMPLETE CATALOG IN 7 PARTS 2837 FaithI7o5 flv ini n thetla/\ Futureriifnnn (Unison/ T 7„,1 „_ or_O 2-pt. LI Cho.)./’I_\ ByT> LordT _1 r\ r\ An/in ... (Our files are full of more letters—the best proof of all.) „ We Come t0 Greet You (Unison) Bv Lord 2306 Farewell {Ladies Voices). By Kinkel Piano Students’ Course by William H. Sherwood. 124W.C. Hail! ’Tis Vacation Time (3-pt. S. A.B.). By Rossini 188W.C. O Lord, How Manifold Are Thy Works Bv R,raW 173W.C. Lift Up Your Hearts (Sacred). By Hopkins 42wc SruAbrH^hSc1?001 (^) B Rich^Srby 2840 Our Alma Mater (3-pt. Ladies). By Stewart iV%'C Had !AlmaMater (Tannhauser). By Wagner 2578- Our-- Hero (S. 2A.KTL. Cl.2T. B.).D.). By. Strahm 8 Normal Piano Course For Te By'wnii.m h. sh«mood yj By Adolph Rosenbecker and Dr. Daniel Protheroe. This SONGS WITHIN THE COMPASS OF CHILDREN’S VOICES Don’t Count Your Chickens Before They’re Hatched. By Bristow .50 To and Fro. By Hodgkins Harmony course includes Counterpoint, Composition and Or¬ chestration. Pillar Fites. By Bristow SO Land of Nod. By Krogmann Two Very Similar Twins. By BrMo. ]S0 Public School Music by Frances E. Clark. by F. B. Stiven, MUSICAL RECITATIONS Mamie’s Story of Red Ridinghood. By Edwards When We Haven’t Said Our Prayers. By Bliss Nightingale and the Rose. By Bliss Sight Singing and Ear Training In Flander’s Fields. By Louden sity of Illinois. SUMMER! A SEASON WHEREIN YOU CAN ACCOMPLISH MUCH IN MUSIC SPECIAL CATALOGS Choral Conducting by Dr. Daniel Protheroe. “Songs and ‘Prairie Sketches” Voice by Geo. Crampton, noted English baritone. Silhouettes” By Charles W. Cadman “Musical Adventures By L. P. Roegge For Four Little History of Music by Glenn Dillard Gunn. Especially happy in the Hands” A book of easy pi¬ treatment of Indian themes By Rudolf Frind Advanced Composition by Herbert j. wnghtson. ano pieces with attrac- Mr. Cadman has, in this A collection of five charming piano suite, sus¬ very delightful duets, Violin, Cornet, Mandolin, Banjo, Guitar, tained the interest with all Positively the easiest the treble within the the freshness of style so compass of five notes. and Reed Organ by Eminent Teachers. work in print. characteristic of him. The pieces are also published separately in GOOD FOR FOUR FREE LESSONS Price, 60 cents sheet music form. Price, $1.50 UNIVERSITY EXTENSION CONSERVATORY, Order Schirmer Publications of Dept. C-43 Siegel-Myers Building, Chicago, 111. Any of this material will be sent “On Approval.” Write for Pr. T. Co,"P' ” Your Regular Dealer

THE WILLIS MUSIC CO. , G. SCHIRMER, Inc., NEW YORK Street No.. R. F. D. or 1\ O. Bo.t.

. —I Please mention THE ETUDE when addressing our advertisers. THE Page 232 APRIL 1925

: :i' ri-:'.'i :ll : : L- . li _ The Greatest Collection of Plano Music in Uig VV oriel! MASTERPIECES OF PIANO MUSIC This book is established beyond question as the most important collection of piano music ^usfsoprano plead; now you can make the tenor fawn, Minuet (Divertimento) ...Mozart Funeral March .Chopin That never heard of Doctor Blow? now you can make the alto scold. One might play a Bach Minuet in G.Beethoven Glory of God, The.Bec/lioven I would not go four miles to visit Minuet in A .Boccherini Fugue a thousand times and play it very differently every Hallelujah Chorus .Handel Sebastian Bach (or Batch, which is it?).” “Minute” Waltz .Chopin Heavens Arc Telling.Haydn Moment Musical Op. 94. .Schubert time. There is no drill in the world which will put as much Inflammatus .Rossini Whereupon his sister, Mary Lamb, wrote to Vincent Nocturne Op. 9, No. 2.Chopin “intelligence” in the fingers. This is the reason why all of the Nocturne Op. 55, No. 1_Chopin Kol Nidrei .Hebrew famous “Bach Players” seem to delight all those who enjoy Novello thus: Nocturne in B Flat.Field Largo (Xerxes) .Handel highly developed beauty and finish in piano playing. If you “The reason why my brother’s so severe, Prelude in C .. .J. S. Bach Last Hope, The .Gottsehalk Prelude Op. 28, No. 4.Chopin Last Dream of Virgin. ..Massenet cannot play Bach there are excellent Polyphonic Albums that Vincentio, is—my brother has no ear. Prelude Op. 28, No. 6.Chopin Lost Chord, The .Sullivan are simpler and serve the same purpose. His spite at music is a pretty whim; Prelude Op. 28, No. 20....Chopin Monastery Bells .I Rely Try this plan and your work will not tend to grow stale. He loves it not, because it loves not him.” Remembrance .Schumann Palms, The .Pauri We must therefore always realize that there will always Rondo Espressivo.P. E. Bach Paper Edition $2.00 Pilgrim’s Song of Hope.. .Batiste Sarabande .Handel Cloth Edition $2.50 Pleyel’s Hymn .Westbrook The Battle of Sound be some with “no ear,” multitudes with little concern for any¬ Serenade .Haydn Prayer .Beethoven thing but the simplest music, other multitudes with a broaden¬ Serenade .Schubert For years we have been listening to the efforts of number¬ Mazurka Op. 54.Godard Waltz Op. 83. DuratiA Shepherd Boy, The.Wilson ing regal’d for music ranging from Gustave Lange and Sidney slumber Song . Schumann Walt™* n„ ™ .Uurand less composers to catch the spirit of the times in music that Mazurka Op. 40.Meyer-Helmund Waltzes Op. 39 (Selected)_Brahms Spinning Song .Mendelssohn Mazurka Op. 21 .Saint-Saens Operatic Compositions for the present, at least, is known as “New Music.” Smith to that of Brahms and Strauss, and thereafter a com¬ Spring Song .Mendelssohn Melodie .Massenet Light Compositions Anvil Chorus.II Trovatore We have tried earnestly to tune in our cerebrum and com¬ paratively small group of musicians with extended experience, Tambourin, Le .Rameau Melody Op. 18 .Moszkowski Aragonaise .Le Cid Tarantelle .Heller Melody in F.Rubinstein Album Leaf. KirrU,*. prehend the meaning of this music of the revolutionists; but high ideals and advanced ideas, who are ever ready to interest Tempo di Ballo .Scarlatti Minuet 1’Antique .Paderewski Alp-Maid’s Dream ... . . W '. '. '.Ldb^ky Barcarolle .Tales of Hoffman themselves in the so-called “New Music” with open mind and Bridal March .Lohengrin unfortunately, in most instances, we receive nothing but the Traumerei .Schumann Moment Musical .P. Scharwenka Bkcksmith in Woods .Michaelis Celeste Aida.Aida noise of the revolution. Now and then we hear a musical rum¬ eager ears—impatient to discover some new phylactery in the Unfinished Symphony .Schubert Murmuring Brook .Poldini Murmuring Zephyrs .Jensen Coronation March .Le Prophetc pus wliich seems to have mass effects that impress us very soul of a radical. War March “Athalie” ...Mendelssohn c=^V.V.V.V.V^S Dance of the Hours .La Gioconda Nocturne .Borodin For those of the last-mentioned class we can highly recom¬ Wedding March .Mendelssohn Drinking Song.La Traviata greatly. The inevitable clash of tonalities, the interminable Why? .Schumann Norwegian Dance .Grieg cruAar:’.La.;. Cradle Song ... .Beaumont Entr’acte .Rosamtinde complications, the inane wailings and crashes have here and mend a recently published work by George Dyson, entitled, Papillon ..Grieg Evening Star .Tannhauser there periods which reflect the work of some great, but more “New Music,” a work recently issued by the Oxford Univer¬ Modern Compositions Pas dAmphores .Chaminade Petite Valse Op. 10.Karganoff Dying Ppet, The .Gottschalk Gavotte .Mignon often erratic, genius. Never for a moment' have we heard any¬ sity Press, American Branch. Mr. Dyson does as much with A ,la £ien Aim<* .Schiitt Grand March .Aida Polish Dance .Op. 3... .X. Scharwenka Entracte Gavotte . , thing in this so-called “New Music” that has risen to approach words as well can be done to clarify the greatly muddied waters Alla Mazurka .Nemerowsky Poupee Valsante .Poldini Grand March .Norma A^lus N.Massenet Prelude Cif Minor.Rachmaninoff SrS".w:uff£‘ Grand March .Tannhauser in small measure the organic grandeur of the master works of of present-day “musical cacophony.” Amtra s Dance .Grieg Pres de l’Eau.Blumenfeld Habanera .Carmen Arabeske . .Karganoff pi“,rNS,”“ . Bach. Ases Death . Grieg Reverie .Debussy „ Intermezzo .Cavalleria Rusticana Melody there is irrefragably in much of the “New Music” At Sunset .MacDowell Reverie Op. 34.Schiitt r-Fo,! “. lne'u.. Boi Minuet . Juan Age-Old Music Interpreted Reverie (Gipsy Suite) .Wormser Good-Night .Loeschhi although it is very different in its intent from the tunes of other Au Matin .Godard M’sej;ere .11 Trovatore A friend has sent a clipping, from a recent issue of the Romance .tsen TIntermezzo”*“-* Russe . "ty Heart at Thy Sweet Voice.Samson days. It is rarely the kind of melody we like and we are inclined Berceuse ...... Delbriick Romance .Rachmaninoff • •Franke Berliner Tageblatt, which recounts the discoveries of Prof. Berceuse (Jocelyn) .Godard Joyous Life . 0ver‘ure .poet and Peasant to exclaim with Punch.: Romance Op. 2. ■ Raff ■Spindler Berceuse ...... Schytte Loin du Bal . Pizzifato .Sylvia “O, for the good old tunes of Strauss and Debussy!’' Kurt Sachs, the Professor of Musical History at the Berlin Romance Op. 44.Rubinstein • •. Gillei Cabaletta . rnru Longing ." prayer .Freischiitz University, who has been] investigating Babylonian inscrip¬ Romance Op. 5.Tschaikowsky ■Kjerulf What will be the effect of this music upon the men and Canzonetta . Gui Romance Sans Paroles .Faure Longing forror HomeHome_ . r„ ' ‘ Brayer .Hansel and Gretel Love’s Dream .... • ■ ■ Hnngmann tions which had previously baffled scientists. These inscrip¬ Canzonetta .''""'Godard Rustle of Spring .Sinding Quartet .Rigoletto women of our times? Chanson Triste.Tschaikowsky We have a feeling that its effects will be greatly, restricted tions consisted of cuneiformed ideograms on a tablet from Salut d’Amour .Elgar Sdected Melodies .William Tell Chant Sans Paroles.Tschaikowsky Scarf Dance . Chaminade S?*ette .Lucia by its complications. The human mind is naturally simple, in¬ Assur. This crude music evidently came from about 2000 ‘t,1011 .Leschetizky Cradle' .Leschetiskv Scotch Poem .MacDowell lcihana .Cavalleria Rusticana complete, artless. It craves elementary, unstudied things that B. C. There is a tendency to avoid half-tones but there were SonS .Ilyinsky Serenade .Qlscn .fr Pure as Snow....■-Tradier evidences of four different five-toned scales. It was also clear . Fange w*!fLw'. is can understand. It appraises instantly the beauties of Ben¬ For Sale at all Modern Music Shops throughout the VniiTiTc7~l---- ..Faust venuto Cellini, of Christopher Wren, of Rafael, of Schubert. that the music was intended to be accompanied by an eighteen- CLOTH BOUND $2.50 -__ ... . VmM State* W»* Sold Canada) -°r sent postpaid on receipt of price by It values a simple folk-song more than all of the conglomerate stringed harp. In general the music resembled that of the old “* PAPER BOUND $2.00 pieces of the revolutionists. It also yearns for order and sym¬ Chinese. This is supposed to be the first musical translation THE MUMIL PUB. CO. metry and understandable form. The mixtures of colors and of inscriptions Drevious to the music of the Greeks. of books for piano, violin, a 1140 Broadway> New York City ’ °1Ce’ °a*°Phone, ukulele, etc. - ... .B|lilflllll!ll!llllll|||||[||||||||||i Please mention THE ETUDE when addre advertisers. APRIL 1925 Page 255 THE ETUDE to Pen Names in Music How I Came Love Music Courtesy in Successful Music Teaching , , ... loads the composer to take a pen name An Interview Secured Expressly for The Etude, with Is it modesty t? ^ It often happens that some Every now and then we encounter a man who has made EDWARD W. BOK a great deal of money and who has maintained some position for lus compositions. Thev know that the law of compos are extremely pr«M^ t M ^ ^ t|,;ngs „ „ in the world, a man known by many as a successful man who Distinguished Editor and Publicist has been devoid of courtesy. Such a man, however, cannot be supply anil thousand compositions published, called a success. His money may tower up to the skies and taL works may be diminished. Some composer, Biographical his power may be unlimited; yet he is not a success because the and the loftiness of its aims unquestionably author of numerous works, including “The world regards him askance. He is not wanted and never will have “ve^TOO ;m, of a composer Edward W. Bok was born at Helder, The Young Man in Business,” “Successward,” “Why Netherlands, October 9, 1863. He came to the proved of immense value in moulding in prac¬ be until lie develops those qualities of gentleness and consid¬ i he xj i u These were often applied by the I Believe.In Poverty,” “A Man from Maine” United States at the age of six and -alas educated tical ways the living conditions in all parts of eration for others that win for him that most precious of all (a biography of his father-in-law, Cyrus H. K. JlSi^^i^diate knowledge of the compose. in the public schools of Brooklyn, New York. America. Its influence upon the taste of the wealth, the love of one’s fellow-man. Many a man has made Curtis) and “The Americanization of Edward Therefore each name did not represent a style or quality of At the age of nineteen he became the editor of the American people and upon the ideals of its Bok,” probably one of the most -widely read auto¬ money, but in doing so has ruined the chances, dispositions and “Brooklyn MagazineHe then conducted the readers has been invaluable. In 1919 Mr. Bok work The publisher received from a famous New \ ork teacher biographies ever published, and, just published, characters of those who have worked under him. Many Bok Syndicate Press. In 1889 he became editor retired to .devote his time to idealistic projects, a letter complaining that the work written by one composer was “Twice Thirty.” Mr. Bok married Mary Louise teachers have made technicians by heartless criticism and lack of “The Ladies’ Home Journal,” retaining this among which may be numbered the famous “Bok very inferior indeed, and suggesting that the publisher secure Curtis in 1896. Mrs. Bok has recently founded of human courtesy, but at the same time have ruined the musi¬ important position until 1919. During these three Peace Plan” and the Philadelphia Forum. The compositions by the other named composers. All were the pen and endowed The Curtis Institute of Music in cal souls of those who have studied under them. decades the publication rose to the point of hav¬ word “retire” is used in a peculiar sense, since names of the same man. Following are the names of several Mr. Bok has probably zvorked far harder since Philadelphia. Mr. Bok has arranged for nu¬ Courtesy on the part of the music teacher is an asset so ing the greatest circulation of any magazine in weU-known writers, together with their pen names: Robert his retirement than ever before. Mr. Bok is the merous rewards for civil and artistic work. valuable that it is well-nigh priceless. We know' of many the world. The breadth of its editorial policies Franz, real name Knauth; Meyerbeer, real name Jacob He r. music teachers who have failed because they have not had it. changed for family reasons; Palestrina, real name Giovanni Stokowski that there was a very simple remedy, and able. I did not care for piano playing then and there¬ A little brusqueness incurred by unmannerly lack of patience “To be brought up in a home in which there is no fore I thought the orchestra equally uninteresting. The Pierluiri, Palestrina was the name of his birthplace: Max music is a terrible deprivation. Fortunately, in my case, that was to stop it at once and never permit it again. has sent many a good pupil flying from the studio. Competi¬ “Mr. Hofmann was to play a Concerto at the symphony very thought of attending a concert gave me a kind of Mcyer-Olbersleben, real name Max Meyer, here the composer “ignorance was bliss;” and I did not come to realize a chill. Of course I had never been at a concert, and tion in this day is too severe in the music teaching field to permit what I had missed until much later in life. Neither concerts that week. His playing was received with adopted the name of his birthplace because the name Max M<\ cr therefore knew all about it. Then it came to me that a lack of courtesy to injure your business opportunities. There my father nor my mother played any instrument. Cir¬ tumultuous applause. He was called out again and again; in certain parts of Saxony and Bavaria is commoner than John but there were no encores and have been none since that both Stokowski and Hofmann were not long-haired, thin¬ was a time when the curt, abrupt, uncivil, ill-bred habits of cumstances so reduced our means that we not only could brained enthusiasts, but exceedingly practical, hard-think¬ Smith; H. Karoly, real name Carl Heins; Dame Melba, real time. Some of the papers made caustic remarks about certain famous teachers were advertised and exploited as nec¬ not afford to have a piano in the home, but, as a child, ing men, determined upon accomplishing" something for I never knew what it was to attend concerts or the Mr. Hofmann’s lack of the customary courtesy; but never essary factors in their work. Armed with a ferrule or pencil name Nellie Mitchell (later Mrs. Armstrong), named from their fellow men—something evidently very wonderful opera. Indeed, my life seemed to be quite apart from again was a concert of the Philadelphia Symphony Or¬ they rapped knuckles and yelled out their heartless criticisms, Melbourne, Australia; F. d’Orso, real name F. Behr; Marcella chestra wrecked by the encore nuisance. Please bear in and useful. Yet I was so positive about the terrors of music until after I married. Then I witnessed, with attending a Symphony concert that I felt that it was with the idea that only by such means was the pupil to be Sembrich, real name Marcelline Koshanska; Georges Bell, real some curiosity at first, the very keen enjoyment which mind that up to this time I had never attended a sym¬ something to be avoided, like a fever. I confess that I name F. Behr; Pierre Latour, real name E. Mack; Madame my father-in-law, Cyrus H. K; Curtis, seemed to get phony. Frankly I was afraid of being bored. I had properly disciplined. knew it all and I was going to take all necessary pains from playing the organ. With him music had amounted been at the opera a few times, as a kind of social con¬ The whole W'orld of science is now horrified by such Nordica, real name Lillian Norton; Anton Strelczki, real name to see that I was not exposed to it. to a passion from his early youth. How intense this cession ; and it had lasted so late into the night that I methods, which in the light of the far-reaching discoveries of Arthur B. Burnand; Mme. Nevada, real name Emma Wixon; “Mr. Stokowski was entertained by my attitude and was, is shown by the fact that the first money he earned was tired out the next day. In my mind was a firmly Mme. Albani, real name Marie Louise La Jeunesse (debut in was equally persistent in trying to overcome it. One Sigmund Freud, may result in the most disastrous physical was' devoted to the purchase of a small organ. Later fixed idea that the Symphony Concert was probably week he said, ‘At our next pair of concerts we are going and mental conditions. The world is literally strewn with wrecks Albany, N. Y.); Stephen Essipoff, real name Arthur B. Bur he gave to his birthplace, Portland, Maine, one of the something just a little more tiring and boresome than the opera. I was certain that musical people were long¬ to play something I am sure you will like.’ It was the which, if we believe the psychologists and physicians, are caused nand; E. Dorn, real name J. L. Itoeckel; Paul Beaumont, real finest organs in America. Mrs. Bok is also a performer New World Symphony of Dvorak. Before I knew it, upon the piano; and with marriage I found myself m haired individuals who worked themselves up into a kind by thoughtless people, lacking the simple quality of courtesy, name Sidney Smith; Edgar Thorn, real name Edward Mae- I was at the concert with Mrs. Bok. It was a surprise, a musical atmosphere, which through some queer trick of rhapsodical condition neither sincere nor commend- who have rained verbal bludgeons on the souls of others so dowell; Edward German, real name for Edward German Jones; a revelation. I was not only delighted by of fate has become more and more intense the sheer beauty of the playing of the or¬ situated that they could not defend themselves. There is very until at this moment a very great deal of little difference between hitting a defenseless person with a my daily life has to do with some phase of chestra, but I was also surprised to find cruel epithet and hitting him with a blackjack. The phrase the wonderful art of which I was unfor¬ that the concert was over before I realized neasuic nuve may prove the more fatal weapon. tunately so ignorant in my youth. it. It did not last way into the night as did the opera. I had had as much music Courtesy is such an easy thing to cultivate that every Welcome to “The Golden Book,” a new and peculiarly “When music did come to me I was not even in a receptive mood. I had the av¬ as I could comprehend and I could even music teacher should make a daily effort to develop it. It is valuable magazine for the thousands of self-help students that erage American man’s attitude that music have listened to more. This was the first founded on the Golden Rule. If you want to know whether The Etude reaches. This editorial may appear like an ad¬ was a very graceful accomplishm.ent for step in my conversion. The ‘frame-up’ of you are courteous, at your lessons, just put yourself in the vertisement, although it is printed without cost to the pub¬ young ladies whose leisure permitted them Mrs. Bok, Mr. Hofmann, and Mr. Sto¬ lishers of this new venture. The magazine is issued by the to be free from the so-called “household pupil’s place all the time. Do what is just and right and kind kowski had worked; and I was the happy Review of Reviews Company, of New York. One of the editors cares,” I could not seem to realize that it and square and you will be a better teacher. victim. is Prof. William Lyon Phelps, of Yale University: and the entire had a real signifiance in the life of every¬ one who knows how to appreciate it. Un¬ “One thing I noted, which was a very staff is of the highest journalistic and literary standing. How Long Should a Lesson Be? questionably, my wife, with the keen wo¬ comforting surprise to me. There was The Golden Book is a kind of literary Etude. The resem¬ hardly a man in the house. The audience Long lessons are unquestionably a mistake with children. man’s vision, sensed this, and I have always blance lies in the fact that it will republish worth-while articles, had a feeling that there was, what is freely was nearly ninety-nine per cent purely fem¬ Few teachers seem to be able to let their minds drift back to novels, essays, humor, from the great writers of the immediate termed a “frame-up” to compel me to inine. Evidently there were other men the time when they were children and to review their own work and distant past, just as in and among our valuable musical understand music. who were staying from the same convic¬ through the child’s eyes. Do you remember what a strain it “Mr. Josef Hofmann is an intimate tions that had stupidly kept me from a sections of The Etude the readers constantly find these im¬ friend of the family and has been a guest at was just to learn the first few notes? Do you remember what really delightful treat. This at least con¬ portant revivals of little known musical gems. our home for over a quarter of a century. a strain it was to play in contrary motion in both clefs? Do firmed my conviction that music was a We hfve been Poking for a long time for something to We are all very fond of him; but even at you remember how difficult the fingering of the first scale feminine art. But why? The music was recommend to our readers that would enable them to broaden that I could not bring myself to endure a seemed? And then the sharps and flats! Pfew! piano recital. Engrossed in other matters, I not high brow. It was melody; beautiful, their minds along literary lines and still be entertained while Instruction without concentration is literally wasted. In perhaps felt that I could not take time for ravishing melody. I went home refreshed the earliest lessons the teacher who imagines that he is doing doing it. That something had to be inexpensive, practical, anything so esoteric as music. This was and invigorated as I had rarely been before. a fine thing by pinning the child down to one thing for a pro¬ wholesome, attractive, well edited, ami wide in its appeal. The at a time when the Philadelphia Orchestra Two weens passed and I went again. This was undergoing its rebirth under the magic tracted period is vastly mistaken. Variety is the secret of Golden Book, at twenty-five cents a copy, every month on your time the Symphony was Tschaikowsky’s baton of Leopold Stokowski. He too be¬ soulful Pathctique. I liked it even better holding interest. Hammer a little on this and then a little on :ti0"S I"' us”say, Stevenson, came a guest at our home. On one of these than the New World Symphony. Before that and get the lesson done before the child has a chance to °*“ Wister, Asatole visits there arose a discussion as to the I knew it I fcr.r.d myself intrigued by both ranee, Heme, Mark Twain, 0. Henry, or similar writers of abuse of the encore habit at the concerts feel the strain or, worse yet, get bored. Half an hour is plenty Brahms and Bach. I confess that I can¬ of the orchestra. It appeared that when a ‘with the average child. Lessons of an hour or longer may be not as yet find musical pleasure in Bach’s Wid^0ur ^ctual horizon with solo artist had given his best at an orches¬ all right with adults; but the child should be spared the punish¬ Fugues; but I know that it is merely a lack tra concert, he was then expected to appear of musical intellectual development. ment of being pilloried on music for that length of time. again and again and play several other UeaFonhelymZ°J^S PCO£ has promoted the “Shortly thereafter I was invited by Mr. When the lesson time ends, end the lesson. We know that ™ works as a kind of “good measure.” Mr. Alexander Van Rensselaer, President of teachers who have terminated lessons abruptly, as though a cation have been devotedCfn°lS' f°!umns of this Publi' Stokowski rightly realized that this was the Philadelphia Orchestra, to become a guillotine had cut off the periods, have been criticized. How¬ great opportunities thafmay ^om^f9 editor¥l.y the very destructive to the unity which an course of study in the V !? from an intensive artist conductor tried to secure in a well- member of the Board of Directors of ever, it is a great injustice to succeeding pupils to keep them built symphony program. It was as though the organization. The orchestra was con¬ waiting. More than this, with the right kind of a lesson, about fying to note %SSiaSSZSl^ !* grf' fronted with a large deficit every year. a hope, has grown into “S “ ,more t,lan an l(lea’ Hamlet, at the end of the third act, was all that can be absorbed and digested can be given in an hour, compelled by custom to step from his role, The idea that it might become self-sustain¬ many of the master teach™"!!? t'tndertafin9* in which ing if enough people in Philadelphia were with the proper kind of teaching. time and again and recite various other ployed with huge advantage to hJt * j0rZrf are now em' really interested in it had apparently not ge to both students and teachers. poems which had nothing whatever to do with the play. The discussion interested occurred to the directors. Such things were not possible. All orchestras had to me very much and I suggested to Mr. EDWARD W. BOK the etude APRIL 1925 Page 237 Page 286 APRIL 1925 THE ETUDE Education is Learning To Do be maintained at a loss. This seemed all wrong to me. making a trip to New York in order to hear ‘ Tristan I felt that the orchestra deficit should not be borne by and Isolde.” I laugh at myself traveling one hundred Don’t Expect the Teacher To Do It All a small group of generous enthusiasts. It ought to belong miles to listen to the obsequies of a Wagnerian hero. By the Hon. Hubert Work to the whole people of the city. It was a practical pos¬ I confess that the music of Stravinsky, Schonberg and Secretary of the Interior By the Noted Musical Author-Critic sibility and it should be brought about. Varese is still meaningless to me. I do know, however, “My dream was broken by the clouds of war. It be¬ that music has done me a wonderful and invaluable serv¬ HENRY T. FINCK What constitutes education is still an open question. came evident the deficits would be greater than ever. ice. The musical development of the Orchestra, and the courage or the brains to make such sacrifices and The Philadelphia Orchestra then recognized as a great lately The Philadelphia Band, a brass band of 120 men, Ability to make a living is the first necessity for an played Bach. “I do not practice my own compositions,” education. When a man can accomplish this he is edu¬ There is a suggestive story about Mozart, who do such work. They practice mechanically, read no orchestra, might even have to be abandoned. Philadel¬ under the direction of Mr. Stokowski, has been a source he added. „ .. _ , . books, dodge honest teachers and place themselves in cated to a degree. Qualifications of a person to adapt when a youngster wanted to be taught by him how to As a boy, Liszt had lessons from Czerny, who im¬ phia might loose a very precious possession. I went to of unlimited delight and satisfaction to me. So is the the hands of charlatans who promise, for a certain sum, • Mr. Van Rensselaer and told him that if he would himself to the environment in which he finds himself compose, said: “You are too young to compose proved his .technic and taught him the importance of Curtis Institute of Music, which Mrs. Bok has founded to land them in the opera houses in a few months. _ is the test of his intellectual equipment and might be “But you composed when you were a mere infant, attending to details and the charm of expression. But agree to keep the matter strictly confidential, I would and endowed in Philadelphia and named it as a tribute I have emphasized the words “dodge honest teachers make up the entire deficit of the orchestra for five years, termed his education. said the other; and Mozart replied calmly: when he was twelve he left Vienna and went to Paris. to her father. because they are a home thrust which reveals the cause “True- but I did not ask anybody to show me how. There he tried to get into the Conservatoire, but was re¬ with the understanding that at the end of that time So many different factors enter into an education of of more than half the failures in the musical world. there would be a movement to secure an endowment Dutch Musicians in America Altogether too many music students act as if they jected, for two reasons; because he was a foreigner and any sort. Character, mentality, and training, supported It is the charlatans who spoil the business of decent fund sufficient to make the orchestra a permanent or¬ “It is a pleasure to witness the triumphs of increasing by willingness to serve, are the essentials. No man is came from Missouri, “wanting to be shown. because the Director, Cherubini, did not like young Mozarts are scarce. And the more you are in the teachers and flood the market with mediocrities. ganization so that it might continue for all time. I sug¬ numbers of musicians of Dutch birth in America. They great in history unless he was able and willing to serve habit of relying on your teacher for every step you Liszt perhaps went too far when he said that medi¬ gested to Mr. Stokowski to go ahead, sparing no nec¬ have rich musical heritages to bring to the New World. with and for others. Human relations are fundamental ^Thenceforth Liszt taught himself. After hearing Pa¬ take, the farther you are from being a Mozart ocrity in music is a crime, but the activity of these essary expense to make the orchestra the finest in the It is not necessary to remind students of musical history to all other questions in this world. ganini do such wonderful stunts that all the world The late eminent piano teacher, Constantin von stern mediocrity-makers is a crime which ought to be pun¬ world. The endowment fund was to come from all the of that golden sixteenth century when the Netherland Any manual industry has its educational value. It marveled, he shut himself up in his music room and berg hit the nail on the head when he wrote: it is ishable by imprisonment. people, and not from a few wealthy supporters. This masters, such as Arcadelt, Willaert, Orlando di Lasso, for many months worked and worked and worked, with trains the eye and the hand to work in unison, and tnilv oathetic to see our little half-baked amateurs It makes me very sad to think how many thousands was done; and the orchestra now has an endowment and other men of the Flemish school, were the supreme indefatigable zeal; and when he came out again into through them the mind, to direct both rush to Europe under the pitiful delusion that they of young music students there are who patronize these of approximately two million dollars. musical influence in the musical world. The multiplicity the world, he had learned to do on the piano even more Shakespeare, Burns, Lincoln, Rockefeller, Schwab, may learn music there by some miraculous *tspensa- charlatan teachers, in the expectation that they will do it or racial and national influences in America have made wonderful things than Paganini did on the violin. As Hill and scores of other great men of their time were tion which will save them the trouble of hard work all” for them'. For these “teachers” are too sly to ask Money Not the Main Consideration a great music loving people, and I firmly believe it is Tausig, himself one of the supreme players, said: ‘No not college men. College education is not enough. We They go there, by the thousands. How many are ever their foolish pupils to do any hard work. That s what “Money, however, was not the main consideration. A only a matter of time when we shall become in this mortal can vie with Liszt; he dwells on a solitary should not depend upon it. College is an opportunity, makes them popular. man’s interest follows his money and it was easy to heard from after their return?” _ height.” . . country a great music-creating people. but it will not be what goes into us in college, but what How many indeed! How few indeed! I often think foresee that if enough people contributed in small When Liszt became a teacher—after he had become “Meanwhile, I am tremendously happy in the music comes out of us after leaving college, that will fix our of a witty remark by Edward MacDowell, comparing The Delights of Work amounts, the interest in the orchestra would be greatly offered me.” tired of playing in public—his lessons began where place in the world. the debutants and debutantes in our concert halls to magnified. This has worked out wonderfully in prac¬ those of ordinary teachers end. They were lessons Yet work is, when you look at it the right way, the So many college graduates rest upon their diplomas. rows of geraniums in pots—new ones every year. tice. Some seventeen thousand people contributed; and in accentuation, in phrasing, in interpretation, in expres¬ greatest and most enjoyable thing in the world One Graduation does not mean one lias finished. Commence¬ since that time the orchestra has literally been sold out The Piano Keyboard for Young sion, in eloquence. It was his skill in illuminating music, need not go so far as that blase Englishman who said ment means that we have only been made ready to begin, for every performance. There are seventy-six concerts Helped by Liszt and Leschetizky in revealing its poetic side, that made him the great¬ that life would be quite tolerable if it wasn t for the Beginners to start out on life’s journey qualified to look into the a year in Philadelphia. In New York there are several It is true that a great teacher can do a good deal est teacher the world has ever known, as well as the amusements. But it is certainly true that if youi don t phases of life closed to our associates who were deprived hundred people on the waiting list for concerts of the toward guiding a student along the path of SUC“S:“ greatest pianist. work you are likely to be bored (idle rich folk are By Austin Roy Keefer of school privileges. Philadelphia Orchestra. In Washington, there are also William Mason, the foremost piano teacher m J\e horribly bored most of the time) ; and Schopenhauer Sow’s Ears and Silken Purses several hundred, and a large number in Baltimore, the Mentally, the beginner of piano study must know I would emphasize the importance of the habit of York in the days of Theodore Thomas, wrote a book said truly that boredom is the worst of all tortures. only cities where the orchestra appears at regular con¬ the first seven letters of the alphabet. Then, visually, learning. The function of a teacher is to direct and called “Memories of A Musical Life, m which he Yet even Liszt could not make a silken purse out of Hard workers who “strike oil” or retire from business certs. It has proved that where the American people he must locate these respective keys for all time, never correct. We should master something i'.»r ourselves. relates that during the entire time he studied with, Liszt a sow’s ear. Of his many pupils only those won suc¬ for other reasons, usually die soon. They cannot live are given the best obtainable music they support it with again to forget them. The following means of objective No mental discipline comes from being told a fact. That he did not see him give a single lesson m the pedagogic cess who made his lessons a mere starting-point for without labor of some kind. an enthusiasm hard to equal anywhere in the world. presentation is suggested. is hearsay. It is not our own and is worth only what or technical sense. What he did was to reveal to self-study. They never expected the teacher to do it Ergo, ye music students, work, work, and again work. The teacher of children must use every possible the property of another may be. If we can read, the his pupils the soul of music. all.” Mastery cannot be transferred from one person Don’t wait for your teacher to show you what you want Climbing to the Top amount of ingenuity; entirely free from worrisome world is open to us; if we can write, we may convey When Dr. Mason took his first lesson, Liszt kept to another. It must be won by individual effort. to know but find it out for yourself. That will please “If I had my life to live again, I should certainly bother or care. Teaching should be as interesting as our thought to others. pushing him from the piano-stool with the words: Let me borrow from a sister art an anecdote which him immensely and make him take off his hat to you— want to make music a part of my early training. My seeing a newly finished house for the first time or in¬ We should live a part of the time alone—get ac¬ “Don’t play it that way. Play it like this. illustrates this point beautifully. unless “he” happens to be a woman. two sons fortunately have a love for music. One plays vestigating a new town or city. quainted with ourselves, appraise our own qualifications “Evidently I had been playing ahead m a steady, A famous English actor was drilling a minor actor Let me give you a very special reason why it is im¬ the piano and the other plays the trombone. It has Have the youngster meet the “darky twins.” He will and strengthen the weak 'ones, cultivate the habit of re¬ uniform way,” Mason relates. Liszt ‘ sat down and In the delivery of a dialogue with him. After many portant that you should not let the teacher do it all seemed to me that American musical training in the find seven sets of these black twins. To the left of flection, give our minds leisure to receive and record gave the same phrases with an accentuated, elastic fruitless efforts, the great man lost patience and said: for you: You are likely to forget what he tells you, past has been far too superficial. There have been each pair of black keys live all the C’s; to the right, all impressions clearly. Even the sensitized plate of a movement, which let in a flood of light upon me From “Why can’t you repeat the words exactly as I speak even if he says it repeatedly; but what you find out many very fine teachers, it' is true; but apart from them the E’s; between them, all the D’s. Then practice find¬ camera must have a time limit fixed to record the detail that one experience I learned to bring out the same them for you?” , for yourself you never forget. I have found this proved there has been a most lamentable lack of thoroughness. ing these three keys, thoroughly. In like manner the of impressions. The human mind must not only gather effect, where it was appropriate, in almost every piece “If I could,” replied the minor actor, I wouldnt be by my own experience hundreds of times. The students are content with ‘good enough,’ where they little student can now meet the seven sets of “darky its impressions but also record and analyze them. It that I played. It eradicated much that was mechanical, playing for ten pounds a week.” Children who learn how to make their own toys en¬ should demand nothing short of the best. They do triplets ’ To the left of each set of black triplets he is not possible for the human mind ever to understand stilted, and unmusical in my playing, and developed an It’s no use denying it! You must have a natural apti¬ joy them much more than those who get theirs ready not seem to realize that as they advance the intensity finds a 1 the Fs; to the right, all the B’s; between, all itself, but we do know that its first impressions remain elasticity of touch which has lasted all my life, Md tude for acting, playing or singing, or you will never made. Nothing is more foolish than to do things for of their efforts should be multiplied. The nearer one tbe G-A s. To group all the G-A’s is best. Now practice longest; that the character we establish in early life which I have always tried to impart to my pupils. get there. If you have not that aptitude or talent, it them that they could as well do for themselves. It gets to the top, the greater should be one’s efforts. all the Fs, B s and G-A’s very thoroughly, a little later will be ours m old age, and that we must live with it But Liszts are as scarce as Mozarts. Not many is far better to quit and try some other way of making is really cruel, for it deprives them of much fun—the There is too much letting down when they are only a mixing up the entire seven keys. Following this im¬ and, dying, leave it as our tribute to the world. teachers are able thus to let in daylight, so to speak a living. pleasure of finding out things for themselves. short way up the hill. They become satisfied with in¬ press on the pupil’s mind the three outstanding keys— to illumine dark spots with flashes of genius. A few examples of what I mean by finding out things —Journal of Education. A Letter to the Writer consequential triumphs and conceited over trifling suc¬ viz : middle C in the center or middle of the whole Leschetizky seems to have been one of those who for yourself may be desirable. cesses. The man who stands upon the apex of the keyboard and nearest the lock or keyhole of the fall- could That’s why so many of the women and men During my long career as a musical critic I have re¬ At a recital by Paderewski, or Novaes, or Grainger or mountain silhouetted against the sky, is seen by all. He board. Then the highest of all the C's at the extreme ■who are among the great players of our time went to ceived ever so many letters from young girls and men Schelling, or some other great pianist you attended the gains his position by dint of supreme labor, talent, ambi¬ right and then the lowest of all the A’s at the extreme study with him. Leschetizky was great enough to help asking for advice as to what they ought to do. When I other day, you were delighted, I am sure, among other tions and vision. Only the great can rise to such heights; left should be found. Saint-Saens’ “Marche Heroique” even Paderewski in his early youth, especially in the have had time I have answered these letters, although things, by the beauty of tone. Now sit down at your it seemed a useless proceeding, for to give valuable ad¬ and only the very great can maintain them. Now have the child start with the lowest A at the art of securing ravishing tonal colors with the aid of piano and see if you cannot by varying your touch (in extreme left, and name all the keys in order, both up the pedals. vice I would have had to know a great deal more about combination with the right pedal) produce similar tonal By Victor West these writers than they could tell in a letter. Here is “Predigested Results” and back. Bright children should master the keyboard effects. Listen intently and you will soon be fascinated Paderewski and Rubinstein a short extract from a letter of this kind: by subtle tonal differences. No teacher can do this “We try to do things too quickly in America. We in less than a half hour. It should be done mostly by “I am seventeen years of age and have studied but demand finished results without giving adequate time. appealing objectively to the eyes. Let the beginner note From the book on Saint-Saens by Watson Lyle • But even this great teacher could do no more than for you. one year. From as little of myself as I have told you We even want our food prepared so that there may be out loud the key as he touches it, or point it out as n , °wing regarding the composition of c give hints to his pupils. If Paderewski entered more ° _tt,e besLknown works by the ceiebrated French m! do you think there is any possibility of my becoming no work connected with it. ‘Add hot water and serve,’ ca! ed for This movement should be done directly and deeply into the secrets of pedal-coloring than anyone Listen to Great Singers prominent in the pianistic field? As far as liking music has become the modern motto. Art cannot be developed Uun!lg the awful days that began with the si else, it was because he studied and experimented and If you are a vocal student take every opportunity to is concerned, let me say that I cannot enjoy myself in m that way. We must learn tha‘ the habit of rushing EfUS" “,,0W - kS 1870 qf- t°c ?ans by ,he Germans on September practiced by. himself, day after day, week after week, hear the famous singers; and when you get back home anything which is not connected with it. I practice through things can never produce results that are en¬ Until , ns endl,red much, mentally and physical year after year. ,r . . try to produce similar tones—similar, I mean, in qual¬ five hours a day and sometimes more. If I am not at titled to high artistic rewards. r , be ‘err0rs of the Commune, in the follow! Rubinstein, when asked by Alexander McArthur ity and beauty. If at first you don’t succeed, try, try the piano I am thinking about it. I would do anything “One thing that is very stimulating in our present ,„a Cb’pe bec®me a soldier of the National Guard. T ' (who wrote an excellent book on him) if his wonderful again. Edison sometimes tries hundreds of chemical to become a great musician. But as you no doubt be¬ musical growth is the much greater interest taken in touch and tone were of his own creation answered combinations till he hits on what he wants. of whom1^!'14 °f 11S fr'end Henri Regnault, the paint lieve yourself, this does not always bring desired re¬ music by men. Only a few years ago, the masculine Our United States of the was very fond, was a personal bereaveme that they were partly natural, partly acquired. i have The teacher can give you hints, but he cannot do it attendance at the Saturday Night concerts of the Phil¬ spent thousands of hours in an endeavor to find this sults.” all for you, I repeat once more. If you have in your dedicatedIfL comP°sed his Marche Heroique a Quite so; thousands upon thousands feel as if they adelphia Orchestra was less than ten per cent. Now it tone and that, and since I can remember I have been mind a concept of the kind of tone you want (after “Reli L he memory of Regnault. “would do anything” to become great musicians. But is forty-six per cent—think of it 1 The men have found working- at this problem.” hearing it at a recital), as Edison'has in mind what he Words by also possessed^ * painter °f dis,inction’ * unless there is a natural talent combined with an in¬ that music in some ways is more necessary to them, in musical Z”ne Z*tenor voice, and had received So you sec that these men did not expect their teachers wants, you really can in this way gyeatly improve your to “do it all for them.” In truth, Rubinstein writes finite capacity for hard work, it’s no use tfying. undergoing the modern American business strain, than EDWARD W. BOK *' "«■ Conservatoire. He was ab voice. Just as you think of C or E or some other tone it is to women. The war is partly responsible for this. in his autobiography, in speaking of Villoing: “With him Destinn Tells the Truth and then sing it, exactly so you can gradually train the my lessons began and ended. In my eighth year I be¬ During the war, music was realized as a tremendous Music Arranged by organs and muscles of your throat to give you the tone agency for good. jstri* •» sssjfjiASLi gan to study with Villoing, and in my thirteenth my The famous Bohemian opera singer, Emmy Destinn, once said to a journalist that “domestic work may often quality you want. LEOPOLD STOKOWSKI musical education was completed and I had no other This is truly wonderful and it is a point of super¬ Growing Musical Appreciation teacher.” . be drudgery, but it is a picnic compared with the drud¬ days before';?! S3Wie^*1 otller for the last time a f« gery those have to undergo who want to become opera lative importance to every student of singing. On this Then began his self-education, which continued to the method, hearing the great vocalists and trying to echo “My growth in musical appreciation is really a source A New Song of the Nation Pub¬ STout for ?TaI- Regnau,»> ride in hand, was sta, singers.” To young girls who aim at success she says: of personal amusement as well as wonderment to me end of his life. them so far as tonal quality is concerned, the masters of on which rested an^fi^ i,He stopped before his ea5 By an odd coincidence Liszt and Chopin also reached “It is mostly a question of what one is willing to give Only a few years ago I could hardly sit through an lished in the Music Section of the old Italian bel canto (or beautiful singing) based tom of the n . ” unfin,shed water-color. At the be the end of their piano lessons with their thirteenth year up. If you really are prepared to sacrifice all tl* fun opera, or a recital. Now, the Love and Death music This Issue of The Etude. their marvellous successes. means of hLhTndlfe t shapeless mass of color‘ 1 and began to study by themselves. that your youth is entitled to, you may have your re¬ (Liebestod)is to me the most beautiful music ever writ¬ Of course you cannot, in this way, acquire that in¬ ishly worked ™ercb,ef- moistened by saliva, he feve Both of them were practically self-taught. The works ward.” ten. I can hardly believe it, when I find myself actually dividual peculiarity in a voice which makes yoil exclaim and finally there with his disengaged han of Bach were his conservatory. To Lcnz he said that The trouble is that, as she continues, “barely one in “that’s Caruso,” or “that’s Emma Eames” or “Geraldine considerably to th rged f™m it the head of a lie when he had to give a concert he shut himself up and a hundred of the girls who aspire to stage honors has y t0 the awe of Saint-Saens, who stood by TEE ETUDE APRIL 1925 Page 289 TEE ETUDE Page 288 APRIL 1925 One Way to Memorize Farrarbut you do not want that. What you do want It is with music us with books. It “Breaking Off” In Piano Playing is an approximation to the tonal beauty of such great no pleasure in writing them the readers get n p By Sid G. Hedges from perusing them. And this brings us ac voices; and to that you will add your own individual What the Germans Mean by “Absetzen” touch. You cannot avoid that, and it is to be hoped superlative importance of learning to enjoy your The instrumentalist cannot always have a book 0f it is an engaging individual touch. Voices differ—like Life isn’t worth living if you don’t. Almost anything Jsic at hand, and he will lose a good deal of enjoy, The “Luftpause” and Other Important Marks of Interpretation faces. If they are engaging you get engagements. can be made enjoyable if you go about it the rig t and often suffer embarrassment, unless he can Benjamin Franklin’s “God helps them that help them¬ The dryest technical problems set by your teacher ca day from memory. He may wish to play m the twilight By EUGENIO DI PI RAN I Hans von Buelow was also a great apostle of selves” (which, by the way, is a maxim he borrowed be made entertaining if you tackle them your own way, or by the flicker of a fire, to lead an impromptu sing. from Sidney), fits into this literary music lesson admir¬ t0 test a strange instrument, to play an emergency “absetzen.” We see, for instance, in his edition of putting some of our own mind into them. He canno Have you ever watched a thoroughbred horse in the Bach’s Gavotte in G Minor, the following fingering: ably. make your fingers limber and nimble; you mus o solo,’or to recall a piece of music to a friend or pupil Practicing at Morges moment of jumping over the hurdle? You must have yourself. Nor can he possibly indicate to you every by playing a few bars. noticed then that, after running at a brisk gallop to¬ Help yourself, work by yourself, as the great artists Fortunately, the ability to play from memory can shade of accent and pace which invests playing with i e wards the hurdle, he stops for an instant before jump¬ do. You cannot avoid drudgery—the greatest artists easily be developed by anyone practicing systematically and emotional interest. cannot do that. Twelve years ago I spent a fortnight and perseveringly. The piece to be memorized should ing. The little pause he makes quite instinctively allows It is as unreasonable to rely on your teacher for these at Morges as the guest of Paderewski. He was prepar¬ him to leap over the fence with fresh impetus and clear details as it is to run to your doctor every time you have be played over many times from music, but m no hap¬ ing the great Liszt sonata for his next tour; and he it with security. a headache or an attack of indigestion. Correct your hazard fashion. It is useless to attempt to recall the which necessitates no less than three breaks, thp one practiced daily for hours. He did not play the sonata faulty habits of eating and you will need him only in whole of a long composition, straight off. Only short So does the cat, that marvellous jumper. after B, in order to strike the following A with the 3d, through from start to finish but repeated difficult passages emergencies. So with your teacher. The poor man is sections should Ire learned at a time, and then these can The pianist meets many a time high hurdles in his per¬ the second after B to render possible the striking of the hundreds of times. probably overworked. Do not bother him, with trifling be joined together. formances and he ought to learn from the thoroughbred following D with the 2d and the third after D in order He also played what we call five finger exercises. things that you can find out for yourself. Let us consider an actual example—(Juinson Triste, and from the small house pet to make a little pause be¬ to strike the following B with the preceding grace note. When I asked him if he didn’t find that a great bore he by Tschaikowsky—which everyone should be able replied that it was terrible—that it required all his To develop your muscles you must walk and climb, fore jumping over them. In Schumann’s “Faschingschwank aus Wien” (\ ienna to play without the music. If this piece lie ana¬ iron will to make him keep at it. But that’s what made not ride. Relying too much on your teacher is like The German calls it "absetzen” which means “break Carnival), we need a great deal of breaking off: trying to get muscular exercise by means of massaging. lyzed, as it must be to be memorized, it will lie found him Paderewski. off” and could be explained as a disjunction, a caesura That is all right for invalids—but you are not a musi¬ very regular in structure. The first two measures con¬ Ex.6 I once knew another pianist who always, when prac¬ or a musical interpunction. cal invalid, are you? tain a complete little phrase, and measures three and ticing, played a piece through from beginning to end, The art of “breaking off” is of the highest importance four another phrase. It can very well lie imagined that though he knew most of it as well as he would ever to the piano virtuoso. Sometimes the “breaking off” know it. He always stumbled over the same difficult measures one and two ask a question, and measures three Self-Test Questions on Mr. Finck’s Article must be quite substantial; other times, on the contrary, places, made an angry exclamation, repeated them once and four give an answer. Another and rather similar it should be almost imperceptible to the listener. If the 1. IVhat important lesson did Liszt teach to Mason? The same figure is repeated through the whole first or twice and then hurried on. He never fully mastered question is asked in the fifth and sixth measures; and purpose of the disjunction is not only the convenience 2. How did Rubinstein acquire his wonderful touch movement, and it will be necessary every time to make a the difficulties; while the piece as a whole, after all these measures seven and eight give the same kmd of answer. of the player but also the musical phrasing which re¬ and tone? slight break after the four eighths in order to accent repetitions, palled on him so that he could not play it If these eight measures arc nlayed over a few times, the quires a comma, then, of course, the pause may be quite 3. What was Dcstinn’s recipe for success in opera? properly the following chord. before others with the interest necessary to interest two-measure sections lieing remembered, it will lie found conspicuous. If, on the other hand, the comma has only 4. What is the best reason one should not allow the A similar case will be found in Schumann’s Scherzo them. quite easy to repeat without aid of the music page. technical reasons, that is, only to facilitate the execu¬ teacher to do all the thinking? from his Quintctt for Piano and String Quartette, Op. You cannot fool an audience. If the piece you play In measures seven and eight, the original question is tion, it should be made less pronounced. This distinction 5. How can even technical work be made enjoyable? 44 (dedicated to his wife, Clara Schumann) : bores you, it will surely bore your hearers. asked again, but the reply is not the same as at first, for ought not to be overlooked. every note is an ascending one. Then coinc four two-meas¬ Accordingly the “breaking off” is sometimes not a ure questions, each at a lower pitch than the previous one. decided detachment, but only a discontinuing of the pres¬ That is the end of the first movement. Each question sure which is brought to bear upon the fingers in order to Introduction and Prelude and answer should be tried over separauh, then joined produce a pure tone and for the renewing of this pres¬ together, then added to the next section: and in a short sure on the next note or chord. time the whole movement will be safely memorized. In this case it ought to be hardly noticeable; as it By Orlando A. Mansfield, Mus. Doc. The remainder of the piece will divide with equal is done only for the convenience of the player, that is, convenience. There is the second, or middle movement; to allow him to give a strong accent to the following note or chord, which would be almost impossible with¬ fingering, as the inconvenience of detaching could be To distinguish between things that differ is seldom in C minor and Les Adieux, L‘Absence et Le Retour, and then the beginning is recapitulated, with the addi¬ where a slight detaching after the eighth notes will be tion of a short coda, or tail, to make a suitable ending. out that infinitesimal pause. easily obviated through the following fingering: an easy task when, as in the case of this short paper, in E flat, Op. 81; also the Introduction to the First, a great help toward giving a substantial accent to the Any piece of music should lie dealt with like this. It Only the performer must be conscious of this kind the difference has been obscured by the indiscriminate Second and Seventh Symphonies of the same composer; following chord. is helpful to try to remember, and visualize, the actual of break. I would compare it to the silent breathing use or abuse of terms. Even musical composers of the Introduction to Tschaikowsky’s Pathetic Symphony, A proper interpretation of Chopin’s works would be appearance of the music page, particularly where rests of the singer, where the breaking of the period is not unquestionable and unquestioned ability have not been and that to the late Sir Hubert Parry’s Oratorio, Judith impossible without a great deal of “breaking off.” occur. The mere notes should lie learned before any demanded by the musical phrasing but only by the physi¬ In the first movement of his Concerto in E Minor, altogether above reproach in this matter, many prelim¬ —the latter example being, really, an Overture. cal need of the respiratory organs. attempt is made to reproduce necessary expression. Op. 11, we find the following passage: inary movements, or passages, having been termed In¬ Although the Prelude is employed in much the same It may assist many to know that, most "■ quently, cre¬ As a matter of fact the singer, even if endowed with troductions when they should have been labeled Pre¬ manner as the Introduction, the fact of its ending upon scendos occur in passages of ascending notes, and decre¬ a very capacious chest, can only dispose of a limited Very good, on the contrary, is the fingering: ludes ; while, probably, a much larger number have been the tonic chord and being a separate movement has often scendos where the notes descend. amount of breath; and, if the air is at an end, he is described as Preludes when they were nothing more led not only to preludes being performed as separate One should make a determined effort to memorize such compelled to take in a fresh supply, which of course than short and simple Introductions. movements, but to the production of short, independent short standard pieces as this Chanson Taste. and there must be done with skill, so as not to reveal his mortal limitations. The comparison would also hold good with One of the most easily detected differences between movements to which the name of Preludes has been are a score of similar things for which no musician the silent changing of the bow by a violinist. the two is that the Prelude is generally longer than the given perhaps, in default or despair of a better one. ought to need any music. It is surprising how efficaciously, by means of this Introduction. A more important distinction, and one Here the Preludes of Chopin will at once occur to our slender interruption of the pressure and, immediately of a much more technical character, is that the Pre¬ readers as beautiful examples of the procedure last lude, if true to type, is usually a separate movement, after, renewing of the same, the pianist is enabled to named; while the association of the Prelude with the overcome difficult passages which otherwise seemed in¬ where through the consecutive 4th on B and C the which requires a decided break-off to allow the player to ending upon the tonic or key chord, for example, the Studio Staccatos Fugue will be immortalized by the numerous examples superable. pianist is compelled to break off the phrase before the strike the chord' with surety and with a strong accent. chord of C in the key of C major, whereas the Intro¬ left us by Bach, both in his imperishable “Forty-Eight,”, Liszt, the wizard of the keyboard, has left us many return of the theme, which is technically as well as By C. W. Fullwood And in Chopin’s Ballade in G Minor, Op. 23: duction, if correctly named, is not a separate movement, and in his organ preludes and fugues; by the three pre-, practical hints on this art, in his editions of the classics. musically correct. but one which leads into the principal or following move¬ ludes to Mendelssohn’s organ fugues, Op. 37, of which, For instance, in his edition of Weber’s “Perpetual This expedient of using the same finger consecutively ment after a slight break or pause, and without coming No. 2, in G, is one of the most beautiful simple things Do not practice merely to “kill time." Cause til Motion” we find: is often adopted in order to make compulsory the break¬ to an absolutely definite or decided close. Further, the in organ literature; by the same composer’s preludes pre¬ to go by rapidly by interested practice. ing off of a passage. Introduction, if of classical construction, would end ceding his pianoforte fugues, Op. 35; and by an over¬ Practice with both your head and your fingers, in t upon the dominant chord, that is, the chord of G if in whelming number of other examples, classical and mod¬ order named. An ounce of brains is'worth a pou Another passage in the same piece, which needs the key of C. Hence, an Introduction proper could ern, including such lovely music as the Prelude to Sir of calisthenics on the keys. detaching, is the following: not be used as a separate movement. Edward Elgar’s oratorio, “The Kingdom,” and not The piano will do its part if you do yours. An Explanation of Marks Which Very frequently the Introduction does duty for an excluding a certain well-known and well-worn piano¬ Consider the rest marks in your music with the sa Mystify Many Pupils Overture in that it may be employed to precede some forte Prelude in C sharp minor! fidelity as you do the notes. Pauses in conversati important work such as an opera, an oratorio, or some In the ancient Suites and Partitas the Prelude was a ar® °ften as eloquent as the words. Have you ever noticed these marks which appear more or less elaborate or lengthy choral composition. characteristic feature; and, with Bach and his con¬ Without the use of your brains you might just frequently in some editions? well play on a mechanical piano. Here again, if coming to a definite close, and capable temporaries,’was usually written in what is now known In other works of Chopin, we find the following An half-hour of silent practice is worth two hours of being heard as a separate movement, it should be as shortened sonata or simple binary form, that is Liszt continues through the whole piece to indicate passages: termed a Prelude. A more usual and, perhaps, a more the mechanical. Study your music before going to having two parts or divisions, of which the ’first ends piano. where the Jlnal note of a phrase should be detached, rais¬ ,// ■/ -V proper employment of the Introduction is when it is in a related key, generally the dominant or the relative ing slightly the hand. The staccato dots and commas Scherzo in B Minor, Op. 31: The thumb can, and should be, trained to act w placed before a single movement such as a fugue or a were not indicated by Weber. major, while the second ends, in the tonic key and usu¬ tacihty equal to that of the other fingers of the ha They are known variously as the “Absetzen” set of variations. Sometimes the few introductory meas¬ A striking example of breaking off is given in the ally introduces or develops spine theme-or figure heard indeed, do not think of it as a thumb, but as the fi marks or the “Luftpause” marks and have a very ures preceding a song or ballad are termed an Intro¬ in the earlier portion of the: movement. Like the'In¬ finger. fingering of the following passage. similar meaning. “Breathing marks,” some teach¬ duction ; but here the term symphony or ritorncllo would troduction, a well-written Prelude, when used as a pre The runs and trills are the flowers of your niu ers call them, because they resemble the points at be more appropriate, although, technically speaking, not liminary to some more important work or movement, they arc worth cultivating and cherishing. the end of phrases where the singer would take a breath. They are really little breaks or pauses. altogether correct. But, in all these cases, an Introduc¬ usually introduces or “as -aforesaid,” develops some ractice your old pieces at intervals of a year or t and further in the same composition: tion, when really artistic in conception and construction, thematic material which will afterwards be found to Mr. Eugenio di Pirani has very cleverly shown fii/tT1 SCe new Unites and new possibilities in tin is founded upon, or introduces, themes, figures, or mo¬ be an essential feature of -the composition following how the “Absetzen” mark may be interpreted. So raff y0U are “listening in" to good music over tives, which are afterwards heard in their entirety in thus proving itself to be as,.Shakespeare would prefer many inquiries about this subject have been pre¬ to express it: mcier ramo, try to visualize how the pianist is doing it: the work or movement following. As interesting and sented that we are very glad to offer our readers t™ t0 P,ck out the several instruments in an ordi where the 3d on C is followed by the 2d on C# which illuminating examples of Introductions we may mention Mr. Pirani’s article. “The baby figure of the giant-mass Vni,- !s an'fteresting and profitable game. must lie executed with a slight breaking of the phrase. those to Beethoven’s Sonatas, the Pathetique, Op. 13, Of things to come at large.” I cannot say, however, that I am very fond of this a finished terfoilce"5 ** Composer,s idea THE ETUDE APRIL 1925 Page 241 Page 240 APRIL 1925 THE ETUDE Etude Cross-Word Puzzle 2 And now follows an example from my own “Wood¬ How Sound Differs From Noise Self Instruction in the Art of Touch land Ballade,” Op. 47: By Beatrice Purrington By Orlando A. Mansfield, Mus. Doc. By EUGENE F. MARKS

Sound is produced by the air being set into vibration Each figure of this extract has been marked with the ous sonatinas, which arc likely to remain with us for or rapid movement by the action of some elastic body; In discarding the old, we hear much about the use¬ bind and numbered for easy reference. This figuration, that is, a body capable of departure from, and return lessness of the etude; and then following closely upon years as desirable and favorite material with teachers. with many attractive modulations, extends throughout to, its original position. These rapid movements of the this idea lingers the statement, emanating several years the entirety of the first and second movements. air are termed air waves. Now the distinction between since from a well-known pianist, concerning the futility This opus, we well know, is familiarly termed “Polo¬ sound and noise is not exactly absolute or arbitrary; of studying technic. However, this particular artist had naise Militaire,” and one likes to view it with the militant but, in general terms, the difference between a musical the advantage of having previously studied the violin, idea. The first and second movements, together with the tone and a mere noise is that in the production of the so his left hand (the weaker one) was strengthened repetition of the first movement, may well represent the already before lie turned his attention to the pianoforte. former the vibrations are regular, rapid and sustained mobilization for war; the necessary hustle and bustle of Thus, he had only to devote his energies for a short the various troops hastening to formation being ade¬ for a definite period; while in the production of mere time to the development of the right hand, the natural In the original example only a p at the beginning of quately portrayed by the musical figures embraced under noise the vibrations are irregular, intermittent and predominant employed in the daily routine; so we can the movement and the slur combining the first two notes the first and second binds in the given extract, and the confused. readilv understand the underlying incentive of his state¬ are given as marks of expression. However, in order smothered fears and whisperings of the populace depicted The pitch (the height or depth of a sound) depends ment, because in his case it was not necessary to apply to give the correct idea of the numerous touches required by the triplets under the third bind. The third movement In the preceding example the break should be almost upon the rapidity with which the vibrations follow each himself strenuously for a great length of time to tech¬ by this simple excerpt, the phrase must be separated into —the usual trio—should convey the idea of the entire imperceptible to the listener. The break is made only other. The more rapid the vibrations the higher will nical attainment, which he already possessed to a large its motives; and in doing this the precept, that the tin- army “en masse” or “on the move;’’ and in the fourth for the convenience of the player, as it would be difficult be the pitch, and vice versa. The lowest audible sounds extent. Nevertheless, Liszt, one of the greatest, if not the accented portion of a beat belongs to the following ac¬ movement we have the idealization of a spirited battle- otherwise to give a strong accent to the D and after¬ have from sixteen to twenty-four vibrations per second; greatest pianist the world has ever seen, struck the sub¬ cent must be constantly borne in mind. We imd the fray culminating in the triumphant fff with the repeti¬ ject of technic squarely on the head, when, in presenting wards to the F, the more so because this task devolves the highest audible sounds from thirty-two thousand to division into motives is made as indicated by the binds tion of the third movement. So far, concerning the his two-finger, much in little, exercise (fully exemplified on a weak finger (the 5th). forty thousand vibrations per second; although, as the placed beneath the notes, which gives us four appear¬ conception of the general character of the composition; It would be impossible to give in the limited space of in William Mason’s Touch and Technic,) he stated that late eminent scientist, Dr. W. H. Stone, remarks, “The ances of the motive, the last one containing four notes now for the dissimilarity of the touches to be employed an article an exhaustive treatise on the “break-off.” inasmuch as all pianoforte pieces consist of the scale, extreme upper limit of audible sound appears to vary bein'* a variant of the original motive of two notes. The in the rendering of each figure in the example. Every piano composition requires here and there the arpeggio and octave passages, the practice of these materially with the individual.” Approximately, however, two "beginning notes, forming the initial and predomi¬ use of it. Students and teachers ought to find out where essentials could never be dispensed with wholly. Observe the Rests audible sounds attain to a compass of about eleven oc¬ nant motive, are the most important throughout the it should be put into play. phrase. Therefore, they receive a decided and clear-cut The first chord must be given with a touch of decision, taves, those used in music extending to only seven or Free Finger Action eight octaves. The sound known in vocal or instrumental touch of unaccent to accent, or a softer touch to a demanded by the characteristic sharp accent on the strong Self-Help Questions on Mr. Pirani’s Article parlance as “middle C” requires, theoretically, 256 to Taking a hint from the above statement by Liszt, we stronger one, ending in about mp degree of power; the beat of a polonaise, which, however, must immediately 264 vibrations per second; while “middle A” has now, can readily perceive that the subject of technic for the degree of intensity changes for the next motive to p, decrease ahd fade into the second beat of the measure, 1. How shall wc determine the different degrees of by international arrangement and consent, 435 vibrations pianoforte can be easily arranged into a systematic order yet still retaining the touches, unaccent to accent “Breaking Off?” given also with firmness, but preceded by the sixteenth per second. of technical exercises for daily use under five di¬ for the two notes forming the motive. Uncon¬ 2. Compare the art of the pianist and of the singer in note softened, as if it were a grace or introductory em¬ Among the principal factors in the production of musi¬ visions (finger-exercises, scales, arpeggii, chords, octaves) sciously, these two motives, through the influence of the this accomplishment. bellishment to the second beat. By the judicious employ¬ cal tone, we may mention the vibrations of strings, of Across as a foundation, thus covering the entire field of technic bar-rhythm, connect and form themselves into a unit, 3. By what technical action does the pianist secure this ment and discontinuance of the damper-pedal, one can rods (for example, the tuning fork), of plates (gongs in a concise, agreeable and understandable manner. Those motific phrase or section; so that the motivity of music effect? 1. A living pianist. and cymbals), of membranes (the kettledrums), of who desire to make advancement through self-instruc¬ exists with such incredible cougruents or incongruities make the rests of this first measure very expressive and 4. Study tivo works by master-composers and dis¬ 5. First two letters of an Italian musical term meaning reeds (the clarinet, and, to a certain extent, the human tion by using these technical divisions, in the exercise as, motives within motives, phrases within phrases, and strongly exemplify the processional form of the polo¬ cover the places where the “Breaking Off” will be both voice), of columns of air (organ pipes), and even flames for five fingers must pay careful attention to the curve even measures within measures; for this example, al¬ naise, which would lie lost entirely if the pedal is sus¬ technically advantageous and artistic. 6. Sixth note of the scale. and electricity. of the fingers and endeavor to obtain free action of the though marked 2/4 time in the signature, is in reality tained throughout the connection of this first figure, as 7. Wood wind instrument. If, however, noises become periodic, and sufficiently correct joint (the first joint, where the fingers unite 4/8 time (two 2/8 measures thrown into one). 8. A Scottish dance. indicated in the printed copy. The connection of the rapid, they merge into a more or less distinct musical with the palm of the hand, physiologically termed the 9. First note of the scale. notes of this first figure is more through that of touch sound. This may be observed by carefully listening to metacarpal joint), and must allow no articulation of Connecting the Motives The Ingredients of a Great Pianist 10. Latin word for a musical work. (loud to soft) than by the legato gained through the use the roar of distant traffic, the rumbling of cart wheels, the joints forming the curve. Someone has tersely It is not unusual to designate 4/8 time as 2/4, as it 12. A vocal solo with instrumental accompaniment. of the pedal. However, this latter use is demanded in con¬ What are the outstanding qualifications which one the rapid movements of the wings of certain insects, the described this as a caving-in of these joints. saves the drawing of many bars and prevents confusion, 13. A composition in which the first theme returns . fter must possess in order to become a great pianist? Prof. clapping of hands, the sharpening of saws, the mowing In scale passages, the thumb joints must be kept loose apt to arise through the compactness of the numerous necting the first to the second beat in the second measure. each new theme. George Smith, of Syracuse, discusses the ingredients of of lawns, “the schoolboy's pencil jarring against his and flexible, in order to allow the thumb to pass measures. One may well ask to what degree of softness At any rate, Chopin has given us the rests—evidently for a great pianist, and, in the Syracuse Herald, gives these: slate,” or even “the purposeless rattling of his hoopstick easily and quickly under the palm. The correct posi¬ should this second motive descend in comparison with a purpose—so let us observe them. Talent against area railings.” Down tion of the hands in scale playing may be secured by the first motive; if one will listen attentively to the di¬ But, in order that noises may approximate or merge placing the third finger of the right hand upon any minishing tone-power of the final note of the initial Expression Marks Perseverance 1. A stringed instrument. into musical sounds, the conditions producing musical white key and the thumb upon the adjacent white key motive, and make test from different stages of the weak¬ Taking up the second figure, the sixteenth notes in the Health 2. A musical magazine. sounds are essential; namely, that the noises must be above it, reversing the position for the left hand, which ening intensity, he will discover that the most impres¬ first measure, introducing the figure, are begun with about Taste 3. A German composer. continuous, regular and periodic, and sufficiently rapid positions result in the hands pointing somewhat inwards sive and desirable degree of potency is to enter the sec¬ the same degree of force used on the sixteenth note Temperament 4. A modern Italian opera. to produce a sound within limits audible to the human and the wrists rounding out. The same position is ond motive at that strength to which the first motive has 11. A tune played or sung by one person. gracing the preceding second beat, and through regular ear. When we begin to discuss or question whether the desired in arpeggio playing. In such passages the fin¬ decreased during the period of regular tempo. This, Right thinking. 12. The lowest female voice. gradation gain the strong climactical accent of the second sounds produced by rapidly and regularly reiterated noises gers will not maintain the full curve. However, it is notwithstanding the change of power, keeps up the con¬ We should like to rearrange these thus: Health, brains, measure; which in turn descends and fades into the sec¬ really constitute music, we enter into the subject of tone best not to straighten them entirely, as the resultant nection of the motives in a lucid manner. talent, right thinking, temperament, taste, perseverance, quality, and leave the calm realms of fact for the dis¬ touch is weakened and the tone colorless. Chords and The next motive, the climax of the phrase, is delivered ond beat, similarly to the first measure, but closely con¬ hands. The writer’s remarks are interesting, none the octaves call for the full curved fingers (the little fingers in the same manner as the second motive, but with a nected and with the open pedal. The third figure, falling less. turbed regions of fancy, and commit ourselves to a discussion impossible to treat adequately in the limited Solution to Puzzle No. 1 In Last Issue especially are to be kept firm and with the curve) and slightly greater degree of force. The last motive, varied upon the weakest beat, partakes of a nature obviously “Talent is to my mind the prime consideration and space now at our disposal. For the time being we can are played with a combined relaxed movement from the into a turn (motive within motive) consists of two un- different from the preceding two figures; therefore, it the absolute vital necessity in all art effort. For, without go no further than old Sir Thomas Browne (1605-82) 2 4 elbow and wrist. accent to accent (At), Bb and CBb) each to be played talent, one may ‘persevere’ in the best of ‘health’ till 3 is to lie played with a touch and power peculiarly its with decreasing power to the end of the phrase (a one dies in happy mediocrity. who, in his “Religio Medici,” has assured us that “there R E E D M C A Touch Exercise own. As the former figures have been delivered with A R phrase usually ends softly). In rendering the entire “As to hands. It is undoubtedly true that if one has is music wherever there is harmony, order or proportion.” a forte degree of force, let this last figure appear in a To exemplify that touch, I give a short phrase of a phrase (long slur) each motive must be clearly defined unusually small hands the problem of big piano technic U O A A simple scale run, which according to the expression de¬ (binds), also, the delimitation of the sections (shown contrasting p power, gradually diminishing in force to becomes mountainous. A normal hand, however, can I sired calls for a different touch with each note: the aid. The expression marks written beneath the 5 ■ 6 ■■ by the two short slurs), and yet display a connection of most certainly be made to meet all pianistic requirements Needed Musical Innovations all parts forming the whole. All this is attained through excerpt give the final result of these different touches. within reason. The so-called ‘piano hand,’ with fingers B E E T 7h O V E N the most exacting discrimination in touch. Impossible, like macaroni, is a good deal of a myth. Regard the Ex.l By Sidne Taiz says someone; but it is not impossible, and the final re¬ A Different Touch on Each Tone hands of such technical marvels as Josef Hofmann. P Thus, if we examine the different degrees of force They are not unnaturally long and thin. The same is X Z sult of the procedure is shown by the expression marks Won’t-go-fast music, for use at practice time. x x written beneath the staff in the illustration. However, we have employed in this short phrase, irrespective of even more true of Bauer and even Paderewski, whose A good $100 piano. hands are rather normal in appearance. While it may some of the signs are over-lapping in order to exemplify the legato or staccato movements, we cannot hut con¬ A sure-shot system of picking teachers. N [u~ M O Thus, a downward stroke or fall upon the first note he true enough that long, thin fingers help in stretching ■ the hidden connection. note that we have used as many touches to secure these A non-skid mefnory. 8 C; the second note B demands an accented finger touch, over long chords and figures, it can be shown plainly various degrees of power as we have notes in the melody, Musjc which knows its way home after being loam as it is on a beat (even if a secondary one), yet not From the Later Romantic Age that sometimes the very length of these fingers is a D A non-losable pitch for singers. N N stressed as much as the preceding primary or bar-beat; We will now .leave the classic period and test our and that no two successive notes or chords have the same handicap to the owner. The main item, in my opinion, is ■ _L ■ touch given them. One can easily perceive by this con¬ A toboggan to scoot students to the piano stool f the second division of this beat, a sixteenth note, the A, thought according to the later romantic age. Naturally, the independence of the fingers and the width of the practice. 1 ■ calls for a lighter touch, an unaccented touch. These we will make our selection from the writings of the stant demand for a different touch on each tone, and arch of the hand—that is across the knuckles. And V E S | E. A V the varied expression of each phrase, how essential the A non-rustable technic. H last two touches are employed in decreasing degrees on pianistic Chopin, and will deal with figures in music the. real root of hand power and. finger brilliance lies in p ; 12. the remaining second beat and its secondary divisions instead of motives. Let us take one of the popular study of technic becomes, and how this same demand the capability of relaxing in the mind. A phonograph gag which works automatically at t E neighborhood bedtime. A A T as elucidated by the binds; and finally the last note numbers'of his easier compositions—the Op. 40, No. 1, compels every student of the pianoforte to make tech¬ A self-starting program. receives a soft touch, one peculiarily adapted to the final in which the figuration is clear-cut and easily discernible, nical attainment the permanent acme and desideratum 16 '7 '8 “When wc gain our proper bearings wc shall begin A sure-fire system for striking notes on the instrume, 13| L note of a phrase. However, in addtion to the employ¬ and the composition is liable to be handy to almost any of his endeavors, more than the study of any other with that phase of music study into which everyone Non-breakable viohft strings. 19 fc]V s O R T ment of the eight different touches demanded by the player of the pianoforte. The treble of the first section instrument. may enter whether or not he has a voice, creative ability p 20 varying degrees of intensity, the entire phrase must be Piano fingers which dish-washing will not spoil ( stands as follows: or technical ability—that is. Music Appreciation. With¬ daughter’s imagination).. N delivered with the legato connection. O E L “I want to sec a monument erected in this country out an intelligent fundamental understanding of music Non-breakable corners for sheet music pages. A R 1 A In order to show still further the intricacies of touch i to the zvomcn of America. It is the women of this itself, all other superstructures of music education that A self-blowing organ. and that no two adjacent notes are struck alike, let us nation who have given music to the people. Let the zee may build are as a Tozver of Babel.” A permanent fixative for repertoires. examine an illustration from Clementi, who, we know, ieaiures mar picasc t foreign artists pay for the monument and I shall be —Annie Marie Clarke. A tonic to take the “tire” out of practice. readers best ' Tf "°W the fe; preceded Beethoven only about eighteen years and has Puzzles in T Ifny°U W0Uld ^ to among the first to subscribe." —Louis Graveure. n The Etude please tell left us his indispensable Gr adus ad Parnassum and numer¬ Page 243 THE ETUDE APRIL 1925 THE ETUDE Page 242 APRIL 1925 How to Become an Expert in Piano Technic “The Father of the Pianoforte By the Noted Teacher and Critic By HERBERT JVESTERBY MAURICE ROSENFELD

(The following historical estimate of the position of cago News,” ‘‘Musical America, and others.) Clement! in musical art is reprinted from “The History of ’‘""try J“tU"yB»Sl«'«bi" 1ST-! distinctions for liis proficiency. He has been affil¬ Pianoforte Music." published by H. I*. Dutton & t'n.) The Maurice Rosenfeld, born in Vienna, Decem¬ In 1916 he opened his oWn piano school in author is an English writer of high standing. iated with leading music schools of Chicago, and, ber 31, 1867, was brought to America at the age Chicago. This authoritative and practical article On the other hand, there are whole passages in Beet¬ since 1913, has been one of the foremost music of six and graduated in music from the Chicago will serve as a guide to many readers. It is significant of the rapid rise and perfection of the hoven’s earlier works which can be traced to s.milar Musical College in 1888, winning different high critics of Chicago {“Chicago Examiner,” “Chi- youngest of the arts that the life-time of one man should danger, when practicing finger exercises away from the witness the transition from the skeleton Sonatas of Scar¬ ^STthe Sonatas of Haydn and Mozart, those of and giving specific advice as to how and what to prac¬ Musicians are accustomed to consider more than the piano, of straining them in over-doing, as the muscles Clementi may be classed as (1) technical, (2) educa- tice to attain technical facility, would be just what I wish latti to the perfection of that art form by Beethoven, mere mechanical manipulation of an instrument as its of the hand and fingers are more delicate than some of dnnal and (3) artistic. As regards features of general to avoid, namely, to exploit some private method, or so- and that this man—Clement!—should (1) have been born technic; but in this article the discussion of this sub¬ the larger muscles of the body. Still they are capable ^ - principally r . Op 9 10 called system of my own. while Handel and Scarlatti were alive, should (2) have ject will deal only from its mechanical side. Technic of considerable muscular training; and the more supple contain “foreshadowings of Beethoven, Op. 1- (No. 2) However, general directions regarding the physical em¬ survived the decease of Beethoven as well as Schubert is defined by Webster as, “The method of performance the wrist and the more agile the fingers the greater and and Op 14 (No. 2) developments of form, and so on. ployment of the forearm, the wrist, the hands and the and Weber, and (3) should have been living while Liszt in any art,” and Dr. Hugo Riemann goes more deeply more fluent the technic. It o-oes without saying that some of dementi's works fingers, might he ventured and in this connection we was at work on his “Paganini Caprices.” into the definition in his Musik-Lexicon. He says in Thus dexterity and agility, could therefore first be have been overshadowed by the richly harmonized and might say, that in the first place, as the piano is played The “Father of the Pianoforte,” as he is styled in his part, “Technic is the mechanical in art. It is that ele¬ developed through exercises away from the piano, as e reflective works of Beethoven and the Romantics, while the body is in a sitting and easy position and that epitaph in Westminster Abbey, left Italy at the age of ment which can and must be acquired by the student of preparatory to the regular practice at the piano. but there are still si e works of his which dese any instrument for the adequate expression and repro¬ the only exertion necessary besides a mental one, is that fourteen, in 1766. Already a youthful virtuoso, he had Teachers in general are perhaps somewhat si»perfi- tention. The famous “B minor Sonata,” the Lb, Op. 12 duction of artistic thoughts. The high standard of which employs the forearm and its extremities, that is also written several contrapuntal works as a pupil of cial in their instruction of technic, ignoring almost en¬ (No. 4), the "F Minor,” and the “Didone Abbandonata” modern virtuosity demands of the virtuoso, a proficiency the wrist, hand and fingers, we have to produce musical Cordicelli. sounds by a downward motion of the fingers. This mo¬ tirely the physical training of the hand. They confine —“one of the finest Sonatas ever written”—should be in in technic which takes years of effort and an iron-like themselves nearly always to the teaching of certain The rest of his life, with the exception of visits to the every student’s library, dementi's early Op. 12, No. 1, will and perseverance to acquire.” One may say that tion is a certain striking of the key, so that the mechan¬ Continent, was spent in this country, where he was scales, broken chords, and arpeggio exercises, and then is notable for the variations which are in advance of this resolves itself into the acquisition of a dexterity, ism of the instrument, taking for granted its perfect con¬ trained at the expense of a “Sir Beckford” (as Mar- dition, will respond accurately to the touch of the key follow these up by such well-known etudes and studies anything written in that style for some time a iter wards. which is in reality the technic of the instrument chosen as those of Bach, Clementi, Czerny, Cramer, Kullak, montel terms him), the cousin of the author of The Op. 47 (No. 2) in Bb, with Toccata, is the one and will exercise its functions properly.' For this inde¬ “Vathek.” by the student. Tausig. These, with some so-called daily studies by played by dementi (then nineteen years of am ) at the Technic may also be defined as "The physical exertion pendent motion of the finger, a perfect accord and con¬ sequent communication with the nerves and muscular ap¬ Herz, Pischna, Schwalm, Plaidy and others, are sup¬ Variety of Nuances Court of the Emperor Joseph V. in 1781. .\B • " t, then which is expended in the rendition of the merely mechan¬ paratus of the arm must exist; and when that is so, we posed to give the pupil the physical development neces¬ For four years young Clementi studied most assidu¬ fifteen, who was also present, played alternately with ical in art and the results which it produces.” sary for the artistic execution of the piano literature Clementi at sight, and both extemi>orized on a given will find that the forearm, the wrist and the hand rests ously at the house of his benefactor in Dorsetshire. Here as it exists. theme—the palm of victory lieing undecided. It seems on the tip of the finger after the key has been struck. he had a rich literary and musical library at command, Dexterity and Technic Ambi-dexterity that Mozart, after this (being always prejudiced against The performer communicates his will on the piano in a and it is said that Bach, Handel, Scarlatti and Paradies That many piano pedagogues have considered dexter¬ Italians), derided dementi's superior teclnn while seemingly indirect way. The striking of the string by Few have given the subject of ambi-dexterity much —the leading lights of his day—were his favorite com¬ ity as technic, is evidenced from the fact that such a vast means of a hammer, through the agency of a key, makes posers. Added to these, no doubt, were other Italian Clementi generously praised Mozart’s singing tmich. The thought and fewer still, have studied the possibilities number of exercises and studies have been invented for the piano a mechanical instrument, which has only one composers for clavecin that he had known in Italy, in¬ theme of the Sonata played by Clementi was afterwards which this field of technical development opens up to the attainment of this dexterity. To become an expert on nearly related companion—the pipe organ. It is, there¬ cluding Martini and Marcello. The works of these com¬ taken by Mozart as the subject of his ZatihiTlI t< over¬ both the student and the teacher. One of the first piano the piano, one ought to be ambi-dextrous. Leopold fore, the more surprising that so much individuality can posers he is said to have played with ideal perfection, ture in which his superiority in thematic devil niieiit is teachers to treat the development of ambi-dexterity Godowsky is today, perhaps, the most perfectly de¬ be shown in the playing of the instrument. "The clearness of his touch and the variety of his shown; and it is through the want of this, and also of scientifically was the Swiss pedagogue and pianist, Karl veloped ambi-dextrous of all pianists. He has trained Digital dexterity, as I observed before, may be a gift; nuances being without parallel.” MUZIO clementi modern harmony and of deeper and more reflect i . emo¬ Eschmann-Dumur, who was among the earliest advo¬ his hands and fingers so perfectly that it may aptly lie but for the proper development of the fingers, not alone cates of “Symmetrical Inversion.” This system divides dementi’s chief pupils, John Field and Cramer, also tion that dementi’s work suffers in comparison with the said of him, “His right hand knoweth not that which exercises for them may be done at the piano, but there the piano keyboard equally, that is, mathematically equal, possessed the same degree of clarity of touch. In play¬ double sense: (1) as the founder of its technic, and (2) best work of Mozart and Beethoven. It will c noted his left hand doeth,” though, in fact, he knows exactly are exercises that might be practiced with profit away into two parts, starting from the “E” on the first line ing the Fugues of Bach they brought out each part dis¬ as the first to write for it in a real piano style. Clementi that his Andantes are especially weak points. how both of his hands are functioning at all times. from the piano, similar to those which athletes prac¬ of the staff, the one just above middle “C,” and going tinctly with the necessary tone, accent, etc., to ensure played upon Broadwood’s earlier and smaller instru¬ dementi’s pupils—John Field, whom he l ■ to St The systematic training of the hands and fingers, so that tice for the scientific development of the muscles used in opposite directions, giving that which is done with its individuality. As a result of dementi’s study in ments. Later, he became associated with the firm of Petersburg (where his widely different style of they might develop and possess the agility necessary in in sprinting, jumping, boxing and other physical sports certain fingers of one hand also to the other, exactly du¬ private, there appeared, in 1770 (the year he left Dorset piano manufacturers since known as Collard’s, and it tion anticipated that of Chopin), J. B. Cramer, who was playing the piano properly, has been variously exploited that require a special development of the body. And plicating the work. Naturally this method requires an for London), his remarkable First Sonatas, Op. 2. was through his advice that Broadwood was enabled by brought up and lived in London, Bertini, who was also ever since the piano was invented, say from the time of here it may be said that, if we can develop the body as entirely different manner of fingering for all piano mu¬ Technically in advance of all notable works of the 1820 to perfect his grand piano, which had such an in¬ born in London, Berger (the teacher of McndcLsohn), Christoforo; and if all the methods, finger exercises time, the first Sonata in C contains features of interest fluence on the development of technic in the time of a whole or in part, we surely can also develop the fore¬ sic, and in his edition of Clementi’s “Gradus,” Esch- Klengel and Kalkbrcnner—became the first pianNts in and studies for the development of technic since Karl which reappear in Beethoven twenty-six years later. arm, the wrist, the hand and the fingers. There is a mann-Dumur’s fingering is a most practical one to use Europe and spread abroad his modem method of tech¬ Phillip Emanuel Bach first wrote exercises, were col¬ It is evident, from a comparison of the works of Em. book by W. A. Jackson, called “Finger Gymnastics,” and is based entirely on this system. nic, which had been developed in his unique and in¬ lected, we would have enough books to stock a good Bach, Haydn and the Italian clavier composers, that the A Mutual Influence which will be found useful for this kind of practice. The late Bernhard Ziehn, who was an eminent author¬ valuable “Gradus ad Parnassum” (1817) and iu his sized library. Every teacher of piano playing soon finds remarkably advanced style here shown by dementi was It is interesting to note the mutual influence which In it is a series of exercises which are practiced away ity on all matters musical, incorporated the system of "Preludes and Exercises.” These publications wa re based out a few original finger exercises and new wrist or the result of the study of the free, fluent style of Du¬ Clementi and Beethoven exercised on each other as com¬ from the piano, some without any (let us call them) im¬ “Symmetrical Inversion” in his treatise on theory and on the contrapuntal style already out of date, and were octave studies; and the more observant he is, the more rante, Galuppi and other Italian composers. posers. While Clementi was Beethoven’s immediate model plements, and others, using corks and grooved sticks composition and taught both subjects entirely in ac¬ soon left behind by Czerny, but they were useful, from defects he finds in his pupils’ technic; and, as naturally Clementi, the Italian, did for the pianoforte technic in technic and form, there is no doubt that the lofty which are Maced between the fingers. There is some cord with these^ principles. Rudolph Ganz, a nephew of a technical point of view, as studies in independence of follows, the more ingenious become his inventions for of his day what Liszt, the Hungarian, did later on. At style of the latter influenced Clementi at the close of his the fingers, and generally for the Concertos and Sonatas Eschmann-Dumur, employs his uncle’s methods both in that time the Italian School was in the ascendant. The career, when his naturally sunny and vigorous style took the acquisition of technical agility. his playing and teaching; and Ganz is considered by of Mozart and Beethoven. The best proof that there are various ways of becom¬ style of Handel, who was also resident in this country, on something of the pathos of Beethoven in his last many as one of the best technically equipped pianists of was Italian, and Bach .himself, although a stay-at-home, ’'Didone Abbandonata Sonata.” ing expert technicians, we might say manipulators of Clementi in London the piano keyboard, is the fact that every great virtuoso the day. looked with favor on the pleasant and learned Italian Mr. Shedlock (“The Piano Sonata,” J. S. Shedlock) There is no doubt that the plan of piano playing and arrives at his plane of technical perfection by an indi¬ style and endeavored to write his Italian Concerto in is also of opinion that, “with the exception of Mozart's After his arrival in London Clementi was busv as a study which compels the student to use the same digital vidual method of study. To possess a natural aptitude that manner. “Sonata in C Minor,” Haydn’s "Genzigcr” London Son¬ virtuoso and teacher; and from 1777 to 1780. as cem¬ exercises for both hands is a good one; for there are for great technical prowess is perhaps rare; but undoubt¬ atas, both in Eb and one or two of Rust’s—there are balist of the Italian Opera, he conducted the Operas of few people who are naturally ambi-dextrous. We edly Liszt, Tausig, Henselt, Rosenthal, Joseffy, Godow¬ An Italian Technic none which in spirit come nearer .to Beethoven than some Corpora, Sacchini and Pergolese, as well as the Ora- occasionally find left-handed persons who are just as sky and others can be classed as among the greatest pian¬ The technic which Beethoven adopted from the Son¬ of dementi’s.” torios of Handel. In 1781 he began his concert tours on helpless with their left hands in piano playing as those ists who were gifted by nature with this special facility. atas of dementi was therefore Italian in its origin, and the Continent, including the one to Russia in 1802. These who are right-handed. Ambi-dexterity, though, which Few of these players ever devoted much time to teach¬ it may be that he also acquired some of his vigor of occupations, together with compositions, filled an active “Symmetrical Inversion” advocates, develops both hands ing others the means by which they arrived at this high style and his special use of the sforzando from Clementi, ite till he died at the age of eighty. Moschclcs relates precisely the same. Our music, excepting that which is The Case of Clementi degree of proficiency; and, in fact, since in art there is whose compositions he much admired. how at a dinner given in his honor in 1827, “Smart, written in the polyphonic style, perhaps re'quires two no limit, there can be no limit to the technic of that Young Clementi was ambitious and he showed the vir¬ The case of Clementi is a most interesting Cramer and I conducted him to the piano. Everyone’s art. The greatest of all these technical giants continued different kinds of technical development. The right hand tuoso tendency of Scarlatti and his confreres in rapid expectation is raised to the utmost pitch, for Clementi is generally employed in much more elaborate processes one to music students. Forming the pian¬ and still continue to work to attain a still greater and passages of thirds, broken octaves in the bass, quick al¬ a not heard for many years. He improvises on and intricate evolutions than the left. It takes the lead, ist ic bridge from one age to another, he greater technical command over their instrument. ternate flights of octaves and sixths, telling broken- el"® °.f Handel and carries us all away to the high- both in the musical character of the compositions and chord and scale passages. He was throughout, in his There are some fundamental principles in technic created a vast amount of pianistic material H'S eycs shine with the lire of youth; in the melodic outline. The left hand, again, supplies piano Sonatas, ahead of the more orchestratly-minded which everyone who studies the piano should know. the fundamental harmonies, the basses and is usually Haydn and Mozart, both as regards technic, form and ■which now is but very little knozvn. There is vouA18 hearerS,gr0W humid- Clementi's playing in These are governed by physiological and physical condi¬ used in a more restricted manner. style; and this probably arose from the fact that lie is a large collection jof Sonatas which are ^ YaS- m,arkcd b-v a "»* beautiful legato, a tions ; and all practice contrary to these natural laws is Not many teachers possess an exhaustive knowledge gave all his energies to the piano and did not share the technic * T|h m 1VC,y PassaKcs and a most unfailing of course not only useless but harmful. The first and rarely played, but which teachers could prof¬ of the anatomy of the arm, hand and fingers and know manifold activities of the two South German composers. dhcerL VnV7ai,’S.0f thc* Dualities could still lie most important of the correct principles of piano play¬ well the functions of these members, except from prac¬ The difference is also due to the fact that Clementi com¬ itably use iby way .of variety. The literature were tli ? ‘ ad™red' hut the most charming things ing is the absolute freedom and relaxation of the arm, tical experience. Even such a well-informd musician as posed for the English piano, which allowed of more of the piano at this period is much larger genius” UrnS °f h'S imProv'sation, full of youthful the wrist, the hand and the fingers. The pianist uses, Robert Schumann, transgressed against the physical laws sonorous effects than the lighter action of the Vienna than supposed. Haydn wrote many more in the playing of his instrument, the before-mentioned piano in use on the Continent. parts of the body; and these, in order that they should and so lamed his fourth finger that he had to abandon The first piano recital in London was given in 1768 by Sonatas than those usually played. Many render the best results, must be at all times in a free the career of a piano virtuoso and confine himself solely J. Christian Bach, son of the great Sebastian, but de¬ are less interesting, but at the same time the the rd'CT WMch has actual knowledge soil and relaxed condition. When any part of the arm, to composition. Perhaps the world Owes him a debt of away menti’s Sonatas (Op. 2, 1770) were the first published in « Performer's standard, will do Jh the wrist or hand is strained or stiffened in any way, the gratitude for practicing so inadvisedly,' for musical lit¬ teacher can do away with a great deal of erature has been much enriched by his contributions to it. this country as written exclusively for the piano. should I T° dC7'Cl°t’ ",is audicnce, a sound produced is naturaly affected and the part of the The piano was yet in its infancy, and previous works ennui by means of u little initiative in inves¬ The professions have all made wonderful progress thcy are% ^ « * arm that becomes taut or strained, soon tires, so that had been inscribed as “For Pianoforte or Harpsichord,” tigating new-old fields. Th„ - acr to get through the simplest compo. before it can be used again it must be relaxed. within the last fifty years» and particularly that of teach¬ so that Clementi was the “Father of the Piano” in a Going into the minuter details of technical piano study MAURICE ROSENFELD ing music—piano teaching, perhaps more than any other 'XZZW,U,dhe CUl,hated ^oneeofte, —Felix Salm APRIL 1925 Page 2kh TTIE ptude THE ETUDE Page APRIL 1925 which, while rarely met with in piano pieces, are never, branch of musical instruction. Both the practice anil is apt to deaden to a great extent the musical develop¬ theless serviceable as a training for students. The Great Composers’ Love of Flowers teaching of the piano is now pursued on much more in¬ ment of the pianist. Another volume devoted to purely technical exercises telligent lines than it was done even so recently as 20 or Schumann said, concerning dumb pianos, You can¬ is by a Leipsig pedagogue, Theodore YVichmayer, who With Suggestions for a Springtime Flower-Music Recital not learn to speak from a dumb person.” A step farther 30 years ago. So-called methods in teaching the tech¬ soon in his career as a piano instructor noticed that the By RENA I DELLA CARVER nic of the piano have been and always will be exploited in regard to dumb instruments brings us to a metnou fourth and fifth fingers of both hands were generally which came into vogue a few years ago, known as ie by different teachers; but experience has shown clearly neglected, though in fact they needed more training than was taking farewell of the garden. With that feeling “Table Method.” A very amusing story is told concern¬ spending, the morning going about the fields, note-book that an iron-clad method for one and all pupils who the other fingers. So several years ago he published a “The flowers were full of song; upon the rose this odor was wholly inwoven; summer-heat, summer ing , pupil who had studied this “Method.” A promi¬ in his hand, his mind intent on his musical thoughts, come for advice and instruction is as narrow-minded us book of exercises containing studies which were specially I read the crimson annals of true love. sun, scent of roses, and parting. Thus I then sketched nent teacher of Chicago tells of a young lady who wished The violet flung me back an old romance. now slowly, then very fast, at times stopping still to it is futile. As soon as some great pianist appears on designed for the practice of these weaker and lesser- the music for my second act (Tristan and Isolde). to take a post graduate course in piano playing. S All were associated with some link, write out his ideas. This would go on until noon when the musical horizon, everyone wants to know who his used digits. Since ICullak published his octave studies The rustle and bustle of this latter day life disturbed came to engage lessons, and naturally the teacher asked Whose fine electric throb was in the mind.” he would return to the house for dinner. This was teacher was. Immediately this teacher is besieged by none have been found which are equal to them either in Dvorak. The forest, hills and meadows, singing birds, his prospective pupil what she had played. She told Composers as well as poets have received inspiration served at half-past twelve, after which he would go crowds of pupils who wish to acquire his method. exhaustiveness or in the consequent and gradual devel¬ all that nature had to offer, he accepted as naturally as him she had studied the Sonata Appassionato from flowers. Mendelssohn, the happy, has left many to his room for about two hours, then again to the Whether his instruction amounted to only the' finishing opment of octave technic. Many books for velocity and does the wild animal. City life and confinement drove Beethoven, the Etudes Symphoniques of Schumann and indications of his love for them. The Andante and fields until sunset. touches, or whether the teacher of this pianist applies for the conventional development of the hand and lin¬ him to closely lying suburban woods, where he would the Twelfth Rhapsody of Liszt, among other things. Allegro in A, Op. 16, No. 1, was suggested by the per¬ Traveling in a carriage stimulated Mozart’s imagina¬ the same training to all his pupils or not, crowds go gers have been written and published in the last one think and thrive artistically. Grieg wrote “In the there and just as often return but slightly benefited, if This seemed to indicate that the young woman had a fume of carnations and. bears the motto, Roses and tion; and he liked composing in a garden or in sight hundred years, but no inventor of finger exercises will Album Vol. IV, we breathe the air of my native at all, by their sojourn Many piano students went to first rate start and he requested her to play one of those Carnations in Plenty. Certain arpeggio passages were of one. He could do more in a few hours working in ever write a- book which will comprise all possible com¬ country.” Franz Liszt; but everyone knows that he bothered very pieces for him, at the same time pointing to his grand intended “as a reminder of the sweet scent of the a garden than in as many days in a room. little with any of his pupils’ technical equipment. Those piano. “Oh,” said she, “I cannot play them on the binations of the piano keyboard, and piano students will “Violets, sweet tenants of the shade, flower rising up.” The Scherso, Op. 16, No. 2, begin¬ In purple’s richest pride arrayed, who studied with him had all worked out their own piano, I can only play them on the table.” always have to learn to master the technical difficulties Flowers as a Solace to Musicians ning with the reiterated high B’s suggests a woodland Your errand here fulfil; technical problems and aptitude long before they came. It would seem semewhwat anomalous for a piano which will confront them when they study the master flower. A friend of Mendelssohn wrote: “There was ' “She lived on alms, and carried in her hand Go, bid the artist’s simple stain teacher to say that great pianists are born and not works written for the piano. Elementary Exercises in my sister Honora’s garden a pretty creeping plant , Some withered stalks she gathered in the spring; Your lustre imitate in vain, made; and perhaps that statement would discourage new at the time, covered with little trumpet-like flowers. When any asked the cause, she smiled, and said And match your Maker’s skill.” It has not followed that the most celebrated piano many from studying and would soon ruin the business New Paths They were her sisters, and would eome and watch pedagogues and virtuosos have devised elementary tech¬ Mendelssohn was struck with it and played for her the That most elegant of composers, Chopin, could work of piano teaching. However, when a pupil who lacks Here, too, we come to something new. The latest Her grave when she was dead. She never spoke nical exercises of practical value. Technical exercises music which, he said, the fairies might play on those only in the most luxuriantly furnished apartments— even the slightest aptitude for piano playing is told to French composers, Debussy, Ravel, D'lndy, and others Of her deceased father, mother, home, that have found the most favor have been usuallv in¬ trumpets. When he wrote out the piece he drew a little Or child, or heaven, or hell, or God, but still walls hung with art treasures, floors covered with rich vented by those teachers who have had to deal-with and save his money, or to try something else for which he have forsaken the old and beaten paths t musical com¬ branch of that flower all up the margin of the paper.” might be more fitted, you will find that human nature position and have eschewed our old and well-tried dia¬ In lonely places walked, and ever gazed carpets, the scent of violets in the air, dim shaded to teach many pupils—those that come to them in the Benedict has said: “Then forgetting quartets and is perverse and that he will go forthwith to the teacher tonic scale. They arc using the so-.ailed hexatonic Upon the withered stalks, and talked to them; lights. This was the exvironment in which were cut first stages of their piano study, and who need technical Weber down he went into the garden, he clearing high next door to continue his unequal struggle with fate and scale. Liszt often used this scale in his original compo¬ Till wasted to the shadow of her youth, those gems of the pianistic art. On the way to the instruction which requires detail and elementary training. hedges with a leap, running, singing or climbing up With woe too wide to see beyond, she died.” The teacher in a large conservatory or music school poor piano playing. sitions for the piano, and made no fu*s about it. He salon of a popular Parisian Countess one evening the trees like a squirrel, the very image of health and comes in contact with hundreds, sometimes with thou¬ Piano technic can be acquired, that is, the mechanical employed it, it is true, in his liasscs, and disguised it in Not only as an inspiration did flowers have a place Chopin imagined as he mounted the marble staircase sands, of pupils every year and is placed much like the part of it can be learned to a great extent, just as a other ways as much as possible, but the I rencli moderns happiness.” in the lives of the composers but, also as a solace in that he was being followed by a strange magnetic in¬ physician who attends the clinics of a hospital. He has certain amount of proper practice will make one a sprin¬ have made this scale the basis of their compositions and Mendelssohn in the Woods hours of despair and for minds stricken with grief. fluence, a shadow that exhaled the odor of violets I He ter, a skater, or a dancer; but we all know that every to do something for each pupil who comes to him, and are exploiting this field much the same Chopin used When Schumann had to be confined to an institution, a felt almost like turning back to investigate, but the one cannot learn to do everything every one else can, Here is an account given by Mendelssohn of a day generally he has to do it in as short a time as possible. the chromatic scale. The technic for the piano is neces¬ bunch of flowers helped to mitigate the bitterness and with equal success and facility. We find that one person spent in the woods near Frankfurt. crowd pushed him forward and he soon found himself Invariably he has to do the best he can for them. He sarily modified in executing the new l u nch composi¬ deep sorrow of the parting. Clara Schumann wrote within the salon doors, still vaguely puzzled, among a finds each pupil different, both musically and tempera¬ can run a mile much faster and easier than another, tions, and, should this music really make the headway “We made our way through the thick underwood, in her diary, “He, my glorious Robert, in an asylum! large gathering of the most brilliant and talented people mentally, and he has to rectify habits and defects which though both may have the same physical build and train¬ which is anticipated, we will certainly have to devise by a narrow pathway, to the spot where, on arriving, How was it possible for me to bear it? And oh! I was in Paris. Toward the end of the evening, when only have been acquired through former practice; and most ing. I knew a lawyer in New York City who had no new studies and finger exercises to perfect ourselves a number of white figures were visible in the distance, frequently he has to build up the technic of that pupil trouble in ordinary conversation to speak at the rate of technically for the proper rendition of lheir composi¬ under a group of trees, encircled with massive garlands forbidden even to clasp him once more to my heart. I a few of the Countess’ friends were left, Chopin was had to make this greatest of sacrifices for him, not according to any certain system of his own, but in 200 words a minute, and his discourse was coherent, tions. Furthermore, while the musical .fleets which of flowers, which formed the concert-room. How asked to play. He sat down at the piano and soon lost clearly articulated, logical, easily understood and to the for my Robert.Saturday 4th„ dawned. Oh, God! accordance with the physical capabilities of - the indi¬ they produce necessitate an intimate study of the pedals lovely the voices sounded, and how brilliantly the himself in one of his famous improvisations. Suddenly point. It was a remarkable display of the development the carriage stood at our door, Robert dressed in vidual. It is self-evident that all piano players cannot in addition to a technical proficiency somewhat in ad¬ soprano tones vibrated in the airl What charm and he looked up and began to blush furiously, for sitting accomplish the same things. Some are more adapted for of the technic of the vocal organs, probably supple¬ vance of the ordinary technic required f r the rendition great haste, got into the carriage with Dr. Hasen- on the end of the piano, leaning breathlessly toward mented by a peculiarly high development of the muscles melting sweetness pervaded every strain 1 All was so one kind of technic than are others Some play octaves of music written in the diatonic scale, we see that the clever and the two attendents; did not ask for me or him was a wonderful creature exhaling the well-re¬ of the mouth and throat. You will often find quite still and retired and yet so bright.” well; some excel in brilliant runs and in double thirds pianist of the future will have to be equipped with still his children, and I sat there at Frl. Leser’s, in a dull membered odor of violets, whose dark, passionate eyes ordinary pianists who will excel in some particular kind Another time Mendelssohn describes the evening of and sixths; some pianists’ wrists are more supple; and greater technical dexterity than ever before. stupor, and thought that now I must succumb.The were bent upon him with such intimate scrutiny that he of technic. I have known some who had a wonderful what must have been a charming day. “As it grew again others evince a greater amount of strength. Each The world moves, and art is also advancing. Twenty weather was glorious, so at least the sun shone on him. faltered in his playing and soon made some excuse to student, therefore, ought to receive an individual tech¬ gift for octave playing, others whose brilliant scales and dark great lanterns and torches were set up in the years ago we found that pianists would be content to I had given Dr. Hasenclever a bunch of flowers for stop. The wonderful creature was Aurora Dudevant nical training, and the adaptability and limitation of that double thirds and sixths were quite astounding. Still middle of the choir and they sang songs by Schelble, play in recital say three or four Etudes ..ft lopin. After and Hiller and Schnyder and Weber. Presently a large him, and he gave them to him on the way. For a long whose pen name was George Sand. student must be studied and considered in the training some others who had a prodigious strength, and so on. In the Balearic Isles George Sand writes: “In the These are specialties which no amount of study or train¬ a while Busoni played the Chopin studies in two groups. table, profusely decorated with flowers, and brilliantly time he held them, at the same time smiling and press¬ given. In the course of over twenty-five years of piano month of December and in spite of the recent rains, ing will bring to those who lack the aptitude for them. He would play the twelve studies of opus 10 at one lighted; was brought forward on which was an excel¬ ing Hasenclever’s hand. Later on he gave a flower teaching I have found that after hearing a person play recital and the other twelve of opus 2? at the next one. the torrent was only a charming brook babbling among but a few minutes, that person’s characteristics are un¬ lent supper with all sorts of good dishes; and it was from the bunch to every one in the carriage. Hasen¬ Godowsky was not satisfied with the difficulties these the grass and flowers. The mountain smiled on us and folded before me and not only his or her aptitude, but Mechanics in the Masters most quiet, withal, and lovely in the wood, the nearest clever brought his to me—with a bleeding heart I etudes presented in their original state, - he has edited house being at the distance of at least an hour and the the valley opened at our feet like a valley in Spring.” many of that individual’s personal traits and habits are Many of the studies, such as are used by all teachers kept it.” them, making them much more difli, ; ■ technically, gigantic trunks of the trees looking every moment And again in a letter to a distant friend she says, revealed in the playing. of piano playing for the development of technic, in¬ transposing them into different keys, arranging the right more dark and stern and the people under their Wagner’s Passionate Love for Flowers "When Chopin was in a desponding mood, the piercing There are of course innumerable methods of teaching, directly train the arm and the hand, and are of great cry of the eagle among the crags of Majorca, the hand parts for the left, and in other ways multiplying branches growing more noisy and jovial.” “Just like love is yonder rose:— and almost every teacher has his or her own notion value in their physical development; but real physical- mournful wailing of the storm and the stern immov¬ their difficulties. He, of course, plays them with aston¬ Keen susceptibility to external influences was felt by Heavenly fragrance round it throws, and method of instruction. We find all sorts of indi¬ technical studies are rare, and while one book may be ability of the snow-clad heights would awaken gloomy ishing ease; and while their musical value docs not come many of the greatest composers at the time of or dur¬ Yet tears its dewy leaves disclose, vidual systems. Some will no doubt remember that beneficial for one sort of technic, another would be re¬ fancies in his soul. Then again the perfume of the into consideration in this connection, they are also ing the creative period. Gluck wrote best amidst scenes And in the midst of briers it blows; time when a water tumbler was placed on the back of quired for something else; and so a student in pursuit orange blossoms, the vine bending to the earth beneath beautifully treated. Alkan, Liszt. Henselt and Brahms of rural beauty; so it was his custom to have his piano Just like love.” the hand and the student was required to practice with of technical proficiency would require a whole lifetime its rich burden, the peasant singing his Moorish songs have written so-called etudes which call for the greatest moved into a field among the flowers and the muses the incumbrance. It was supposed to make the pupil just for the study of technic. Of course much in the Wagner in many instances proclaimed the influence technical endowment; and it is not too much to venture in the field, wou'd fib Chopin with delight.” In one of keep the knuckles flat; and naturally the technic ac¬ way of technic may be learned from the direct study of would bring inspiration as never before. of flowers upon him. the opinion that there arc any number of pianists today his letters he says, “Underneath a rose-window in the quired by that method was one which developed the the great works of the masters. That does by no means “With what feeling dost thou think in this sweet Arabian style is my bed.” George Sand further writes: finger stroke at the expense of the perfect relaxation of imply that you can start a beginner on the Wcll- who do not find insurmountable difficulties in playing Beethoven’s Outdoor Life summertide I viewed this charming Asyl. (the name them. Why these music pieces have the unsuggestive “The laughter of children at play, the distant strains the hand. The method which has deservedly met with Tcmpercd Clavichord of Bach, or the Transcendent Beethoven wrote, "I wander about here with music he had given his home), the sole and perfect counter¬ of the guitar, the twitter of the birds in the damp titles of “Etudes” is hard to tell, for among them are the most success in the last twenty-five years or more, Etudes of Liszt. It means, rather, that when a student paper, among the hills and dales, and scribble a good point of my whilom aims and wishes, when I wandered branches, or the sight of the little, pale roses in our has been that exploited and taught by Theodore Lesche- has reached a certain degree of technical proficiency found some of the most beautiful and inspired thoughts through the tiny garden of a morning, watched the of their composers. deal. No man on earth can love the country as I do.” cloister garden, pushing their heads up through the tizky. It is based on the fundamental principles of re¬ these works may be taken and studied from a purely Beethoven was particularly fond of outdoor life; even flowers springing into bloom, listened to the white- snow would call forth from his soul melodies of inde¬ laxation and the preparatory practice by the disciples mechanical standpoint, taking fragments which present in the worst winter weather he was not easily kept at throat that had built her nest within the rose bush ? And scribable sweetness and grace.” and pupils of that school have in this method something digital difficulties and utilizing them as technical exer- home a whole day; and when spending the summer in what this tearing loose from my last anchor meant for “Soft is the music that would charm forever: whioh goes parallel with the laws of nature. Even among C Piano tecnnic will keep pace wi the country, he was generally out before sunrise in me, that tell thyself, who know’st my inmost thought as The flower of sweetest smell is shy and lowly.” the pupils of that famous master, however, are found an nines ana especially thos ° j6r f15 w*1'c*1 require dexterity and intelligent Nature’s blooming garden. No wonder then that his and, though perhaps the ten fingers of the humar pianists with a hard touch, a stiff wrist and an awk¬ who wrote for the piano—Bach, Beethoven, Schuber works arc glorious like himself, and1 that, in contempla¬ “Else, I am tired; and presumably from the onrush Pieces for Flower-Music Recital may reach a subtlety and a development as y< ward technic. I must say here that I never studied Hummel, Moscheles, Mendelssohn, Chopin, Schumam tion of them we are drawn nearer to the spiritual of Spring, had of late been agitated, with thumping PIANO SOLO with Leschetizky, so that the above should not be mis- * Tausig, Liszt and others of their type—all have contrit liknv ‘ of’Lt.heree is after all a limit to the physic; world. heart and boiling blood. When I took your violet in my Composer Title construed. sibihties which their agility and dexterity can uted to the literature of technic for the piano \V Beethoven says, “You ask me where I get my ideas. hand, to wish myself something the poor thing trembled ... Pretty Primrose . We have heard much concerning dumb pianos and remaps that is a long way off as yet. For the p Lindsay ...... Ueto Drops . might include Czerny, Clementi, Cramer Heller an That I cannot tell you with certainty; they come un¬ so between my hot fingers that the wish came to me ...Violets . their consequent methods. Dumb pianos no doubt have others in this list ; but their works, with the exceptio \,atftUfcnt wishes to attain a technic adequate to summoned directly and indirectly. I could seize them quick: Quiet blood! Quiet heart! And now I confide .. . Dancing Daisies . their uses, and I have known pianists of reputation who . . . lust A Bunch of Flowers of the second half of those mentioned, require alread e best music that has beeu thus far compos, with my hands out in the air, in the woods while in the violet, for it has heard my wish. have practiced on them to advantage. Perhaps the ad¬ more than elementary knowledge of the technic of th tne piano, it is suggested that he not study hapl walking, in the silence of the night, early in the morn¬ "Surprising, how odors recall the past so vividly. On . . ..luck In The Pulpit. vantage was for those who had to listen to the weari¬ ( Johnny Jump I p and. .. instrument and some facility before the study of thei Promiscuously anything and everything, but t ing; invited by moods which are translated by the poet my walk the other day a sudden gush of rose-scent ' \Thc Quaker Lady. some practice which all public artists must do in order daily exercises can be undertaken. There are, thougl m y.m,f ,ls etudes with the intelligent physical de into words; by me mto tones that sound, that roar and burst upon me: sideways stood a little garden, where to keep themselves up to a concert fitness. I have known a number of purely mechanical exercises published an !hc,arm- the wrist, the hand and the f storm about me until I have set them down in notes.” the roses were just in bloom. That recalled my last others who practiced all their technical work on dumb among these one set which appeared about forty year ?• ,ce s]°wiy the etudes which he chooses, conc< He was up and at work at half-past five and he enjoying of the Asyl garden: never as then, have I so pianos; but I have found that while the purely mechan¬ ago or more, by Eggeling, are particularly useful an, ^ houg Is entirely on the work in hand, and n< occupied himself thus for about two hours until concerned myself with roses. Every morning I plucked ical might be practiced upon them and a certain surety ingenious. In Eggeling’s book will be found a collectio breakfast; after which he would hurry out-of-doors, one, and set it in a glass beside my work: I knew I (not in the sense of accuracy) might be attained, still it bmthiu -C‘ that !,e is not doi"S tricks on the of all sorts of acrobatic stunts for the hand and finger medium t le-IS studyinff music with the piano medium for its expression. THE ETUDE APRIL 1925 Page 2lj7 THE ETUDE Page M6 APRIL 1925 the Composer Title 1 The Trill in the Works of Masters Kern .Sweet Violet. How to Solve the Practice Problem Renard .Morning Glorii . GUnschala.Alpine Violets . Bohr .The Pansy. Kehr .The Violet . By JOHN M. WILLIAMS Mainer .Brier Rose . upon varying circumstances; but in the majority of Hamer .yarrow—Polka . (This article, reprinted from the London Musical cases shakes begin with the note above the principal Author of “First Year at the Piano” and “What to Teach at the Very First Lessons Hamer .Buttercups—Mnzourku . Engel .Wayside Flowers. Record, discusses the trill, explaining the English term, one ’ Some have, others have not, introductory notes; Lawson .By The Lily Pond. “the shake.”—Editor’s Note.) , and’ some have, others have not, finishing ones that cor- Story .Gathering Wild Flowers. Probably none other gives the teacher so many It must be admitted that the term “shake, as the re-pond with these. Good taste, experience, and tradi¬ Rilbro .t'ndcr the Rose Bower. anxious moments as the “practice problem.” When Terry .Daffodils . English equivalent for the Italian “trillo,” is neither tion must decide these points, as they must many others. Spaulding .June Roses . asked one day by a'music teacher as to how I handle Spaulding .Golden Jonquils . pretty nor strictly accurate. It would be more correct In Chopin we find examples of both kinds of shake. Spaulding .Bridal Roses. to employ the word as a translation of “tremolo, or this vexing question, I informed her that for the past Johnson .Water Lily—Valaette . In the introduction to his False in A f lat (Op. 42), the Lege .Alpine Roses Longing. “tremolando,” for, to the uninitiated, to “shake” cannot shake on E flat extending over eight liars is "upward." seven years I had ceased to have such a problem, except tVaddingtoii .The Bridal Rose. possibly mean the rapid alternation of two sounds. The in isolated and unusual cases. She asked for an ex¬ Forman .Tournament o/ Roses. So is the four-measure shake on A flat 111 his Op. 64, Forman .Fair Daffodils . non-musician can twang one string, causing it to oscil¬ No. 1. But the two short shakes in Op. 64, No. 3 (in planation. Benson .Language, oj Flowers. late, to vibrate, to shake; but the musician requires two . A flat), are “downward” ones; while the still shorter On further consideration, I realized that I did not Play it easily and fast enough to “pulse.” Then Engelmann .Applo Blossoms . distinct sounds to produce what he understands by the Kern .Sweet Lilacs . ones in’his Mazurka, Op. 7, No. 1, are “upward” ones. “handle it”—that it “handles itself.” In hope that the play it again, very slowly, and notice the difference. Eggeling .Hare Bells . word “shake." It is therefore to lie hoped that in the Bach, in his piano works, does not appear at all times Rhythm implies motion, or movement, and at a slow Story .Dance 0) the Sunflowers. near future some musical Cromwell will order the re¬ method of accomplishing this feat will be of use to Johnson .Flowers Awakening . to have used the shake as an ornament. Sometimes he tempo it does not “move.” Give pieces or studies that Ashford .Dancing Bluebells . moval of that bauble word and the adoption of some Etude readers, it is here given. Renard .Iris . resorts to it as a substitute for a continuous note, which are easy enough for the pupil to play “up to time.” Pesse .On Flowery Way. other that will more truthfully describe what is meant. Cooke .Rose of Andalusia. The “shake” is an “ornament,” an “agrtment”; the instruments of his day (spinets and harpsichords) Theory of Education This enhances their attractiveness. Rathbun .Maybells—Polka Rondo. had no power of producing. A tremolo on one key Friml .Water Lilies . although we have, all of us, at times heard some that All education is a matter of first hand, individual Bohm .Rose . were neither ornamental nor agreeable. It is a survival would have served the same purpose. Had lie lived to Phrasing Heins .Sweet Violet . observation. No human being can be educated by any¬ from days when it was one of many so-called “orna¬ know the sustaining power of our modern pianos, he Another tremendously important factor in interesting lie Leone.Blue Bells . would not have needed to avail himself of either of one else. He must do this for himself, or it never is Ritter .Garden of Roses. ments,” of which, fortunately for the present generation, a pupil in his practice is phrasing. MacDowell .Forest Flower . these make-shifts. done. Naturally, the less he is interfered with by Beach .Morning Glories . only a few are with us today. The appoggiatura, the What is phrasing? Nothing more nor less than punctu¬ Beach .Heartsease . arbitrary restraint, the better. acciaccatura, the mordent, the turn and the shake are Chain of Trills ation applied to music. Just as stories are divided into Beach .Mignonette . about all that we encounter in modern music. Many of Pestalozzi said, “I have found that no man on God’s Beach .Rosemary and Rue. chapters, paragraphs, sentences, and so on; likewise Beach .Honeysuckle . the older editions are as inaccurate in the “shake” as What is known as a “chain of shakes" on the piano¬ wide earth is able to help any other man. Help must Tschaikowsky .Snowdrops . forte, in which a shake is joined to another on a key music is divided into parts, periods or sections, phrases, Kowalski .Roses de Bohemc. they are in other matters, for one often finds “tr” come from the bosom alone.” Froebel also stated the immediately above or below it, is a feat of virtuosity .JVacbs .The Myrtles . marked where only a mordent ( | ) is intended. same principle. In the vernacular it is generally ex¬ and so forth. Waddington .The Lily—Rustic Dane. difficult to perform, but of very telling effect. Chopin Music is a language—the “language of the emotions” Corbett .chrysanthemum . pressed by “Every child has to do its own growing.” would be played Spaulding .Climbing Morning Glories. Definite Metrical Division has one in the second part of his Polonaise in .1, on the '—and if it is a language, then it must express some¬ descending notes of the D-major scale. And we meet We all admit the truth of this theory, and then proceed VIOLIN AND TIANO Until recently, instructors and instruction-books' thing. To do this, punctuation, or phrasing, is necessary. iit in Haydn’s fine Variations in F, and again in I’aderew- to act in just the contrary sense. Spontaneity of action Composer Title directed that a “shake” should consist of as many repeti¬ When should We teach phrasing? Kern .Violets . ski’s popular Minuet. To have heard, as 1 have, Hans is the absolute requirement for any moral or intellectual tions of the two notes concerned as possible, without A knowledge of the procedure followed in the public Kern .Lilacs . von Biilow in one, and its gifted composer in the other, advance on the part of any human being. How can we Risher .Roses In June. any regard to their number, velocity being the only re¬ is among my most cherished recollections "f perfect schools is beneficial in helping to solve this problem. Risher .Marigold . quirement. But in more modern years the tendency produce this “spontaneity of action?” Zlmmermann .Lilacs in Bloom. “shakers.” A child beginning school nowadays, is started with Franz .Last Rose of Summer. obtains to regulate the number of repetitions into some the “thought,” or sentence. Later he gets the “word,” Ferber .Among the Moon Flowers. definite metrical division, and a very desirable innovation There are also cases in which “melody" and "shake” By Arousing the Interest of the Pupil Haeschc .Chrysantheme . are to be played by one hand, mostly tin right. One and months later perhaps he is taught his alphabet in Haesche .Heather Bloom . it is. Some modern composers (Raff, Moszkowski, “Interest is the mother of attention, and attention is Franklin .A Rose From Spain. instance of this occurs in the Finale of Beethoven's its proper succession. A half century ago it was just the Phrasing Arouses the Interest Ferber .Forget-Me-Not . Chaminade and others) have gone so far in this direc¬ the mother of memory.”—Joseph Cook. Felton-Frey .To A Wood Violet. tion as to mark in full the precise number they want. “Appassionata,” and another in Thalberg's "Home, opposite. The pupil began with the alphabet and, after A pupil who is taught phrasing from the beginning Tyler .In A Rose Garden. Sweet Home.” The proper performance of this formid¬ “The prerequisite of all education is the interest of this was laboriously learned, he was taught simple is much more interested in his practice than one who is Auer .Last Rose of Summer. It has been suggested that the “shake” originated in Renard .Iris . an attempt to imitate the voices of birds. But this can¬ able kind of thing is, (as von Biilow explains in his the student.”—E. F. Bartholomew. words like “cat” and “dog;” and much later he had his not. Why? Because a child who practices phrases edition of Beethoven) to momentarily interrupt the With these statements constantly in the mind, every first sentence. Too many music teachers use the latter FLOWER PIECES—VOCAL not be accepted as a fact, because the majority of birds instead of measures or “notes” is thinking “musical Composer Voice No. C are not singing birds at all, and their notes resemble a shake at every occurrence of a "melody" note, the rapid¬ exercise, every piece, every book of studies to be used method. sense,” in contradistinction to “notes.” You may Cadman, Chas. Wakefield / High 8561 ity with which this is done deluding the rai as to the How shall we teach the beginner phrasing? imagine how uninterested you would be in learning Lilacs .1 Low 49S7 shake as little as they resemble the roaring of a lion, or should be selected. Cooke, James Francis the trumpeting of an elephant. So, although we are continuity of the shake. An excellent preparation for As “spontaneity of action,” which is the basis of all A phrase is a musical sentence. In most music to be nothing but “vocabulary” or “words” for months and Rose of Killamey.High 14922 very grateful to Mr. Haydn for his birds in “The overcoming this difficulty is provided by Cramer in more good work, is in direct ratio to the amount of interest played by beginners, four measures constitute a phrase. months. You need sentences to express ideas; and Cooke, James Francis than one of his admirable studies. The first four measures ask a question, and are followed Laughing Roses.High 17598 Creation,” and to Mr. Beethoven for his in “The the pupil brings to bear on the subject in hand, the likewise in music. Buzzi-Peccia Pastoral Symphony,” and to Mr. Wagner for his in the by another four-measure phrase that answers this The average music student frequently plays the piano Canto di Primavera.High 19819 mother should be warned at the very first lesson not Mana Zucca “Waldweben,” we are equally thankful that no composer Fingering the Trill question. for years without knowing anything at all about phras¬ to “punish” the child by “making him practice,” nor to My Garden.High 19823 has as yet given us a “Poultry-Yard Symphony” with The pupil should be taught to practice a phrase at a ing. Why should he or she be interested in just Coverley, Robert The fingering of pianoforte shakes must depend on imitations of quacking ducks, cackling geese, hissing “nag” about the practice, nor to require an “hour a day,” time. Bars are frequently a detriment to reading music Michaelmas Daisies .High 19S74 what keys are involved—whether they are two white “sounds 7” Candlyn, T. Frederick II. swans, crowing cocks and shrieking peacocks. nor to indulge in other similar indulgences which stir by phrases, as they tend to cause the pupil to think Rosebud .High 19724 ones or two black, whether white and black, or whether Melody and Accompaniment antagonism in the child nature. measures instead of phrases. Hence it frequently is a Vaughan, Graham black and white. In most cases it will I.e found desir¬ Coining of Spring.High 1S934 For the very small child, fifteen minutes a day is good thing to scratch the bars with a pencil, showing A singer or a violinist generally has an accompanist, Vun Rees, Cornelius Up Shakes and Down Shakes able to employ two non-consccutive fingers, such as: 1, quite enough time to spend at the piano; and it is just the pupil that he must think sentences, or phrases, not but the soloist should be heard above the accompaniment. Where Violets Grow.High 1S57S Others maintain that the “shake” is merely a repeti¬ Petrie, Hi W. 3; 2, 4; 3, S. Even 1, 4 may, on occasion, be helpful. as well to remind ourselves, as well as the mother, that So it is in playing the piano—one hand (generally the Bluebell Tell Me What You Dream... Med. 9416 tion, in increased speed, of the “appoggiatura." This When the shake is extra long, a change of fingering in it is not the number of repetitions of a phrase that fixes This is another excellent reason why the music should right) plays the tune (singer) and the other hand plays Baileyi Eben H. would appear to be a more reasonable explanation if Message of the Lily.Med. 9600 the course of it will relieve fatigue. Mozart is credited it in the pupil’s mind; neither is it the length of time a be easy enough for the pupil to read rapidly. Take the the accompaniment. Naturally, the tune should be heard all shakes were downward ones—i.e., commencing with with having invented an exercise for facilitating this pupil spends on the piano stool. It is the vividness of following example: above the accompaniment. This is important. Look at the upper auxiliary note. But this is not the invariable artful dodge.” the impression which causes a student to remember a the following, which should be played rule, for some are up and others are down shakes. Nor Fortunately for pianists of today, the shake in double passage. Pointer Instead of Pencil would such explanation account for the introductory thirds for one hand, beloved by Htimmcl and his con¬ Ex. 5 note or notes frequently met with, nor for the final ones temporaries, is no longer in demand. Modem music How can we Arouse This Interest? By Hope Kammerer with which a shake often ends. Both theories are there¬ knows it not. It has been superseded by the shake of a Attractive Materials fore untenable, and we are driven to the comforting full chord m the Right hand, (three keys) with that of By using attractive materials, attractively presented. In giving piano lessons, especially when the pupil is condition of possessing a good thing without troubling a full chord (three keys) i„ the Left. ' Liszt, who was Here are a few suggestions which have proved helpful to account for its presence. young, the teacher has to sit very near to the child, to tne first to introduce it, has had many followers who to others. guide his unaccustomed fingers and to point with his A well-executed shake, whether vocal or instrumental, have utilized this clever trick. In the first place, most teachers use pieces and studies P is a delight, but a badly performed one. is an abomin- pencil to the notes on the sheet of music being studied. that are too difficult. This is absolutely suicidal, if we and not like this: But there are many times when the teacher needs to sit want to interest the pupil. Why? For several reasons. Remarkable use of the orchestral shake is made by Vocal Trills farther away from the pupil, so that the' young pianist Mendelssohn in the coda of his “Wedding March,” pro¬ •T*6 V0Ca,„sl’ake is one of l,ie most difficult tasks a Rhythm may have more freedom of movement and so that the ducing the intentional effect of almost oppressive ’gaudi¬ smger is called upon to surmount. So much so, that teacher can better hear the general effect. ness, in admirable keeping with its purpose. And the First: Rhythm, the heartbeat of music, is the rLLrm°"R. P°PUlar.vocalists. many have never suc- strongest and most elemental trait in music. It is also But how is the teacher to point to notes with his pen¬ shake on the lower notes of the flute, at the end of “Oh, mnsiV mas|ennS it. Fortunately for these, modern cil unless he continually changes his position back and rest in the Lord,” is perhaps the most eloquent applica-’ a foundational principle. Without rhythm there can be forth, as a pencil is not long enough to reach from his “ H M nmalldS i(' But to those Who attempt no music—just as, without the heart beating, the body is The pupil should be taught to conceive the four- tion of so simple but effective a device that is to be found out a C..’ P“rce,1> Haydn, Mozart or Rossini with- measure phrase and to play it fast enough to demon¬ new position-to the note? I now use an ordinary baton in the entire range of orchestral music. lifeless. f comnose?t v^- EvC" 50 comparatively recent a strate that “the phrase is the unit of thought,'’ and not instead of a pencil. This wand is about twenty inches 1 f rhythm is necessary to music, how can there be Summed Up no" h L V introduces a long shake on a high the measure. “With one breath” is the way the singers long, light and easy to handle; and I gave it a sharp The Auxiliary Note music when the pupil stops every few seconds to look If the music selected by the teacher for the pupil to point by means of a pencil sharpener. I sit behind and A end",g °f “Car<> Kome" in his “Rigoletto.” for a note? Put it. When on the subject, of shakes, it is presumed that to one side of the pupil; and without moving my posi¬ gave a m, ™a!ly years ago a wealthy friend of mine Rhythm is the regular pulse of the heat—not irregular. At the end of a sentence, when reading and we have play is easy enough so that he can play it fast enough everyone knows that ell shakes., without exception are tion I can easily touch the notes under discussion. It he cno-aged T* • Pany’ for among other artists, Take the following example: a period or question mark, we let the voice fall or rise. to make it “pulse” or “rhythmic;” if the sentence or executed between the principal note and the upper auxil¬ has proved to be well worth the fifty cents I spent on it. laritv and 'OUIsaP-vne- then at the height of her popu- Likewise, at the end of a phrase in music (the end of phrase is the unit of thought and practice, instead of iary one. A shake of any. other kind does not exist i ’ ' a whose “perfect shake" was one of Ex. 1 the curved line) the pupil should be taught to “break single notes (which presupposes the ability to think four There can, therefore, never be question as to what notes TughterTl-LmC'f• • Af'er the concert, his little tile melody line.” In other words, the last note of the measures at a time), and if the pupil conceives the music The only question left open being which of the phrase should he released slightly before its time limit as “singer and accompanist” in their proper relationship; "No matter at what level of musical culture a man or thought of A d °f Slx.’ on be,nf? asked what she 0 notes** wsto —commence “with;SA' other words, whether expires—just as the singer slightly shortens the last then the pupil will be interested in his practice. And, woman may be, the mind of each individual turns in¬ lady in blue 6 mi!S1C’ rep,ied that the satin dress of the “down” shake. And for this Sore cola 'T1* “but wasn>t «>* rude to gargle note of a phrase for the purpose of breathing. Thus if interested in his practice, he will accomplish as much stinctively toward good music.’’—Schumann-Heink. ) rule that will t all c the following four measures. in half an hour as formerly in an hour. It depends bedroom Thom;.’’at home° Ught *° haVC donC that ^ THE ETUDE APRIL 1925 Page 249 Page 248 APRIL 1925 THE ETUDE Opportunities for the^Small Town Teacher And it might be interesting to note right here that all too often the average teacher has a pupil to discon¬ The Teachers’ Round Table tinue his practice of a piece or study just when it is By Edna Kingsbury Watts beginning to do that pupil good. Conducted by PROF. CLARENCE G. HAMILTON, M.A. After the notes of a composition are perfectly learned; . These were all concerts of the very first order after the time is correct; after all the details of the Musical, like all other worthwhile ideas, change with !uch as one seldom hears in a small place. We all went This department is designed to help the teacher upon questions pertaining to “How to Teach ’’ “ What to Teach ’’ etc., and not technical piece are learned; then and only then docs that composi¬ tiie times. Every new composer of merit adds to them L added what we heard to our education. Four con- problems pertaining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered something from his own individuality. Every artist puts i year is not enough, however, to satisfy our tion begin' to, benefit the pupil technically. And then is certs u department. Full name and address must accompany all inquiries so much of himself into his interpretations that the pieces just when most, teachers “drop it.” appetites i that direction. How to Prepare for Bach While learning a new piece or etude—particularly if he plays become constantly new to his audiences. It takes As for hearing each other play, e do o rare occa- Sonatas and Transpositions The Weight Touch it taxes tfie pupil—he is inclined to stiffen or tighten decades for the world to know and accept many of these sions._ Neither_ __ do we talk over o teaching problems, The article in the October, 1924, Etude, entitled 1. Will you kindly give a list of a few of the best i. will you kindly explain which is the proper “IIow to go about studying Bach’s well-temperea the muscles. Correct “playing conditions”—the absolute changes' of thought. It has been said that it takes a discuss the latest things and people in music. And of Havdn’s and Mozart s sonatas, arranged accord- touch for practicing scales, arpeggios and other Clavichord,” by Edwin Hall Pierce, calls to mind a .essential of all-technical advancement—may receive con¬ century for a composer, whose music is revolutionary m ing to their difficulty? Also a few of Schubert’s finger exercises? 1 am a self-help adult student, problem that is ever present with me. When 1 was if one of us happens to play at a public gathering, pieces that can be used for teaching? and am somewhat confused by differences of author- a beginner in music, only in the second or third grade centrated attention after the piece is learned. So beware its character, to become famous. Bach was one of these. we dare not play modern music, but select something old 2. Are there any simple transposition studies pub- ities. I have been taught the ‘'percussion" ami of piano work, mv teacher gave me Bach s Inven¬ of leaving exercises and’ pieces just when they begin lished ’ 1 have a book of such studies by Wilson (1. “pressure" touches, and more recently the "weight These pioneers always have some followers who help to and tuneful and pretty enough because “people like it Smith, but they are too difficult for the young touch; that is, sounding the key by merely shifting tions ( !) without any previous training in that sort doing good. student. the weight of the entire arm from one finger to of composition, and only a very meagre foundation of spread the gospel of new thinking. And there are always scales and arpeggios. Now re-read the opening paragraphs of this article; better, you know.” Mas. Ii. G. C. another. I am able to produce better and more opponents to the new. But the largest body of all is of even tone by this method, but the speed is greatly Mv first impression of Bach was necessarily very and I reiterate, “I do not have a practice problem in my What incentive is there for the small town teacher to unpleasant, so that he was neglected. But I fee those who are indifferent, who are satisfied with things as 1. Useful sonatas of Haydn, with grades, are as reduce^ an^^him^and^rffi^ir^more jjnMdjTj now that I must ground myself thoroughly in Bach class." Pupils, taught thus, practice without being made keep up to date? The very biggest incentive in the world, before I can aspire to any sort of musicianship. they are. Many of these last would be interested in the follows: material?—Mrs. M. H. F. to do so, because Jh£y understand what they are trying the opportunity to lead instead of to follow, the oppor¬ Grade Please tell me iast what preparatory studies of world’s doings if they knew anything about them; and in Bach should be used, and in what order—before the tunity to pioneer in a field where pioneers arc needed, Sonata No. 1, G major.IV j Scales and arpeggios are excellent vehicles for Inventions or the Well-Tempered Clavichord are at¬ this class, it would seem, are many of the music-teachers tempted. the opportunity to do a big thing in a small place where Sonata No. 7, E minor...IV practice in au kinds of touches; but for the brilliant Mas. M. K. R. of America. its results will multiply. For if one teacher in a small Sonata No. 4, D major.V work to which they are most frequently applied, the Fives and Sevens A careful study of Bach’s Little Preludes and Fugues community leads, must not the others either follow or fall Sonata m F major.... hand-touch is best adapted. Keep Up to Date or Get Out of the Way (Presser Edition No. 128) should furnish a good back¬ behind ? Sonata No. 4, Eb major.vt i00ks to me as though you Had overdone an essen- By Elizabeth A. Gest This is not written for the teacher in the large town; ground. I suggest that you add to these some of Handel’s competition, if nothing else, will keep that teacher from Now for the hardest question of all, "How can the Sonatas of Mozart are: tially good thing-namely, the weight touch, as you little fugues, and his Fantasia in C major. Kunz’s 200 _ _T , „ Tv describe it. If you throw the weight of upper arm, running behind the times. A teacher there must be up to teacher in a small place keep up to date under such Short Two-part Canons, Op. 14, also constitute an excel¬ Much of the music of present day composers employs Sonata No. 1, C major. forearm, hand and finger on each key that you sound, it handicaps?” How can she learn about the new teaching lent introduction to the polyphonic school of pianism. uneven measure, such as 1%, 94, %, %• Debussy makes date, or else get out of the way. There are, too, in the Sonata No. 4, F major.. seerns qU;te evident that a heavy and clumsy touch will methods, and keep herself informed alx>ut the new teach¬ Then take up the Two-part Inventions in a judicious frequent use of %, Via, and of course everybody is now large town many opportunities for improvement and in¬ Sonata No. 2, G major.. resuit t}jat js impossible for rapid execution. For order—Nos. 1, 8, 13, and so on, thoroughly learning each familiar with the second movement of Tschaikowski’s spiration. There are recitals by one’s fellow professionals ing material and other things pertaining t<> music, and Sonata No. 9 Amajor...... /2 es that can for a r;ch ancj sustained tone, this Symphonie Pathctique, which uses 94 measure through¬ by which he may measure up his own work. He may especially if she has on her hands such important affairs Sonata No. 18, C Minor (preceded by Fantasia). ..VIII ^ desirabk. for instance, where an expres- of them with one hand at a time before putting the hands together. You should then be prepared for the easier out. Ravel uses, in one short piece %, 94, 94, 94, 94, %, 94, often hear concerts by artists who bring the latest thought as the keeping of a home and the care of lu r children? Of Schubert’s piano compositions, I especially recom- sive melody is to stand out from its context. But other- preludes and fugues of the Well-tempered Clavichord. seven changes of time in seven measures. in music that is new, along with the best interpretation of Can she fill both jobs and fill them well? And again; mend these for teaching purposes: wise the weight employed should be considerably But behind all this work should be an augmenting back¬ No better preparation can be found for these uneven what is old. In the large town, one’s education need WHY doesn’t the married woman leave teaching for the Grade modified. measures than scale practice using such rhythms. The ground of solid technical work on scales, arpeggios, and never stop. unmarried and the needy ? Moment musical in F minor, Op. 94, No. 3.IV So for the greater part of the time one should employ scale of C, for instance, accenting every fifth note, will so forth, without which Bach, or anybody else for that But the small town teacher is handicapped from the Well, to answer the last question first, it quite often Moment musical in Ab, Op. 94, No. 6.V only the weight of forearm and hand, or of merely the not be easy at first, to play smoothly and keep the correct matter, is a discouraging taskl happens in a small town that the teacher of the greatest Minuet in B minor.hand alone. In the first instance the upper arm is sup- fingering. start. In a town of five thousand inhabitants often there are eight or ten teachers, all of whom were at some time ability in the community is otic who has Inn brought impromptu in Ab, Op. 142, No. 2.V ported not by the finger, but by the shoulder muscle. Impromptu in Eb, Op. 90, No. 2.VI T%o prepare for this condition, shrug the shoulder up Advancement Without a Teacher pretty well equipped for their work. Some of these will there by the circumstance of marriage. Usually such a Impromptu in Bb, Op. 142, No. 3.VIII and down several times. Then, keeping the shoulders be married women, keeping their own homes, raising their woman does not seek her pupils; they seek her. I f she Advice as to her work is asked by a young lady who raised just enough to hold up the upper arm, allow has studied piano for a long time, and now has a position families, wrestling with the servant problem like most does not allovy her time to be filled too full, she can be There are also many short waltzes, of grades III-VI, tjle we;ght of forearm and hand to rest on the keys after as pianist for photo-plays. She says: other homekeeping women in the town, and keeping up a a teacher and a mother and do herself credit in both from which selections may be made. they are depressed. In the hand touch, support also social life with their neighbors and friends in which occupations. And she can keep up to date i i she will. 2. I do not know of any transposition studies such as tjle forearm by the powerful biceps muscle in the upper I cannot give up my position here, but would Be sure to play it in five even divisions of the beat: like to Improve my technique and interpretation in music and music-teaching play no part. There are musical magazines in which are the doings you wish. But why not compile these for yourself ? arnlj so that only the weight of the hand rests on the an authoritative way, especially in a repertoire of of the great and the near-great in the profession. In Teach a pupil in the first place to transpose his techni- keys. In these ways you may lighten up your touch pieces that I have already prepared. My ultimate Ex. 2 Do teachers like these in all the thousands of small ambition is to study with an artist-teacher. Until towns of this country1 keep up to date? And if they do many cases their programs are printed; their peculiarities cal exercises—five-finger work, scales, arpeggios into as muc]j as y0U p]ease, with consequent increase in then my problem is to keep from losing such ground all keys. This will give him adequate preparation for facility. as I have gained, and to prepare for any oppor- j n not, what happens to them ? There seems to be no reason, are discussed and their methods divulged; one can even become familiar with their faces. In these magazines also, more complex problems, such as the transposition of Another pitfall that you must avoid is what Matthay unless it is personal ambition, why the teacher in the teachers of merit give their ideas and teachers of lesser studies or pieces that he is studying. Begin by trans- cajis “key-bedding”—that is, waste of effort by undue average small town should not keep on teaching to the end fame are given space for their modest beliefs. One need posing these to nearby keys—a half step up or down— preSSUre on the keys after they are down. As soon as of her days, giving pupil after pupil the same studies, not try all the methods proposed; but they furnish food and gradually proceed to more remote regions. a key is depressed so that the tone is heard, the ham¬ technical work and pieces, regardless of improved editions, for thought; and thought is always educational. mer falls back from the string; consequently no amount new arrangements, and new ideas in the teaching world. One of the most practical benefits derived from study¬ There are, second, large music-houses from which one A Small Pupil of extra pressure on the key can affect the tone a jot, JL* J-J~3 u A country teacher might go through her life without ing with a good teacher is that one’s work is thus thor¬ can get the latest in music sent on approval. If one - . . and hence such pressure is wholly gratuitous. Take ever knowing more of modern composers than the mere oughly systematized, and arranged in progressive stages names in catalogs and magazines. trades long enough with one house there is established.® anxious eto take6 musffi^es" onsT^nd, to order to care, therefore, when you sound a key, either to relax Then play it in accent of sevens, and proceed through sort of mutual understanding of her needs. One's tastes make the work interesting and attractive to her, instantly and entirely, if the tone is to be staccato, or of advancement. A definite lesson is assigned for each the different scales. Also practice four notes in one hand week; and daily practice insures its proper preparation. Dead in Her Tracks for Twenty-five Years in music become known, so that it is possible for the Please'suggest a* starlTher in*.' I°ordinarily else to retain only enough pressure to keep the key to three in the other, and four in one to five in the other; dealers to more nearly understand her wants. use Prosser's Beginner’s Boole, but have never had down, relaxing the arm and hand as much as is other- Now, why can’t you constitute yourself your own for how seldom do we hear even good pianists do this The writer knew a teacher who illustrates this. She But the best source of education and in-piration is a S°Do°you thinkRa littteg’irl six years eld too young wise possible. The amount of muscular effort that one teacher, and arrange your work accordingly? With perfectly? had taught for twenty-five years or more. She was very good teacher for the teacher herself. There is no end to begin piano lessons? She is very fond of it. can save such instantaneous relaxation is incalcu- particular with her pupils as to their technical accuracy. your considerable background of instruction, you ought to what one may learn; but without a teacher this is —Mrs. W. C. A. lable. The result was that her pupils playing delssohn composed his great overture to “A Midsummer was a real teacher, as far as pedagogy and personality and either may be followed by the Presser book you altogether,0^ should I keep up i just as faithfully as though you were to play the lesson needed to lift oneself above the level of mediocrity and to Night’s Dream,’’ a composition which he never surpassed were concerned; the trouble was that she had stopped mention. ultimately for Professor Virtuoso. in brilliancy and inspiration? dead in her tracks of twenty-five years ago. find and give the finest meanings to the simplest music. For your next lesson, which takes place on a definite It is, too, this teacher who is in the foremost rank of The Fourth and Fifth Grades That the first opera house was built in Venice in 1637? How can we in the small town keep up to date? There It looks as though you had caught the insidious germ day and at a definite hour, play over with especial care his profession who knows what is good and what is bad That the “Erl King” was the first of Schubert’s songs arc some things which we have not and never can have. I have a bright pupil of eleven who is in of stiff wrists, since, if you used your muscles properly, what you have practiced, criticising yourself minutely as to be printed, and that this was done by a wealthy friend For instance, the nearest, anisic store may be ten miles in modern music and modern thought. He will keep fourth-grade work. She has--_„...ids. barely they should certainly not stiffen up in any such way as ones ideas and repertoire up to date. One may take a being able to stretch an octavi have difficulty in to details of technic and interpretation. Then assign a who had it sung at a concert in his great house and away, not far, but not near in time or carfares. When selecting music suitable f-'” 1ner. For studies, she you describe. copies sold to the audience? we get there we are all right if we know what we want lesson once a week, once a month or even once a year, has nearly completed Lem.. le. Op. 37. Let me recommend my old, but infallible, remedy. new stunt for the following week. studies I should give her next, In this way, learn and memorize a program. If you That the first performance of Handel’s “Messiah” and if we want what other people happen to be wanting the knowledge that such a teacher is to judge of the w fourth and fifth-grade pieces Hold yoiir forearms out horizontally, and allow the hands occurred in Dublin? too; that is, unless the store has just sold out of that work done is a spur for one’s best efforts. to dangle loosely from the wrists. Retain this position can afterwards play it to a teacher or even to a discrim¬ F. R. H. That the earliest opera that is still sometimes per¬ particular thing; and then we will have to wait until they ine teacher who receives the most inspiration is the for a full minute or two, until you can feel the blood inating friend who will criticise your performance with formed is Purcell’s “Dido and Eneas”? can order a copy. But if we want to browse around and teacher who will distribute the most inspiration. That For studies, try Loeschhorn, Op. 65, Books 2 and 3; tingling in your fingertips. Then go on with your regu¬ sincerity and intelligence, so much the better. Finally, teacher who sets herself to raise her own standards and That Beethoven’s “Ninth Symphony” was the first see what is new, we are out of place; there is nothing and Berens, Op. 61, Books 1 and 2. Most of the easier lar practice, keeping your attention sufficiently on your gather a circle of friends together, and play them a recital composition in this form in which voices had a part? with them the standards of those about her has started new. It is not the fault of^the store; there is not room classics are well adapted for small hands. I suggest wrists to prevent their stiffening. Every few minutes of what you have mastered. Having a goal of this soft in That the greater part of Wagner’s best compositions for everything, and the popular demand must be met. The no easy task, but one which will keep her busy and happy test the wrists again by performing the above exericise. Bach’s Little Preludes and Fugues, and after these his view will whet your enthusiasm for the best standard of were written while he was an exile from his native demand is for good music to be sure; never the new and as long as she lives. Such an effort brings with it the Two-part Inventions; Haydn’s Gipsy Rondo; Mozart’s While playing, also, keep your wrists a little above the attainment. country ? unusual. greatest of rewards, the rewards which come to those Sonata, in C Major, No. 1; and Beethoven’s Bagatelle in level, as they are less liable to stiffen in this position. That Verdi wrote his only humorous opera, “Fal- We had in our town last winter four good concerts. who do their best and bear their share in the uplifting of E flat. Lighter pieces may include Bohm’s Fountain and If you follow out these directions minutely you ought All this requires courage and self-command; but if you staff,” when he was eighty years young? We had a famous pianist, two vocalists and a strin" «JLwiC' F°r. wliat sinS,c factor can do more uphft Frolic of the Butterflies, Op. 282; Jensen’s The Mill; and to be able to practice as much as you have time for with¬ persevere, you will be well repaid in the end by the work than music? Echeverria’s Second Mazurka, Op. 13. out any unpleasant results. progress you have made. THE ETUDE APRIL 1925 Page %51 THE ETUDE Page 250 APRIL 1025 STRUGGLES OF KARL GOLDMARK WHY ITALY IS MUSICAL Music students far from the center 0f The Vocalist’s Ladder to Opportunity Genoa grants a municipal subsidy of things need not despair of winning a musi¬ 216,550 lire a year to the Institute Civico cal education if the case of Karl Gold- Pages from the Studio Notes of a Voice Master di Musica Nicolo Paganini, a city organi¬ The Musical Scrap Book mark, composer of “Sakuntala” and other zation. The city supplies free concerts also. notable works, is any criterion. Accord¬ SIGNOR A. BUZZI-PECCIA Milan contributes 350,000 lire and other Anything and Everything, as Long as it is Instructive ing to Fuller Maitland, in “Masters of gifts to La Scala Opera House and liqui¬ iThe following is W from the manuscript of the for,l,co,„i„g bock on “Success in Singmlfb the famous teacher of Alma Gluck. Sophie Breslau German Music,” “Karl Goldmark was born line fuuuw s j °nd other Qpcmtic and concert stars.] dates any deficits. The Conservatorip and Interesting Reale di Musica Giuseppe Verdi is also a at ICeszthely-am-Plattensee, a small town the talent,”-/ (already he thinks with the traditional, The Evolution of the Pupil government-owned school for instruction in Hungary, on May 18, 1832. The needy Very often a good singer misses success, because of artistic. I). Then not only is the pupil glad to have Conducted by A. S. GARBETT Engaged—at last! The student is as happy as a bird. in voice and instrumental music, the pro¬ circumstances of his father, a cantor jn having been given an opportunity to sing under un¬ made no foolish agreement during the stormy da>s of He feels like the sailor who has come safely through fessors and directors appointed by the king the Jewish synagogue, and the unimportant favorable circumstances. He is asked to sing a song despair, hut he also even feels somewhat ashamed to a heavy storm. He forgets all the trouble lie has had, and national government. It is open to character of the town in which he lived, which throws his shortcomings into strong relief, or to confess that a little, of course a very little, part of his natives and to foreigners who speak sing before an unfriendly, cold audience, or a disap¬ nil tlie anxiety, the lessons, the school and the teacher. success is due to someone other than this wonderful 1. precluded him from such opportunities of Of course, the teacher first of all, because he is merely Italian. DID WAGNER "REFORM” OPERA.' pointed one. The good luck is to sing for a manager As I have said, all this is only human, a most natural Trieste grants no subsidies, but has a influence, is most marked, and it be¬ musical education as have been granted to who needs the singer for some particular work, no mat¬ a guide who takes people over treacherous chasms. Once evolution. The evolution of the little chick that came In an amusing book of essay: municipal fund to help poor but talented es more than strange when we can most composers. . . . Young Gold- ter how little, which fits the singer. A great many they have reached the other side safely, they bid their out of the shell and became a rooster. There are some Music and Life, W. J. Turner, a— students. the work of one mark made his own opportunities, and did times the singer sings for someone who needs him not guide a cheerful Good-bye. If a teacher could have, good hearted pupils who like their teachers even after Naples owns the San Carlo Opera lish conductor and critic, gaily, if some- P1^ p^'ample, the best of Puccini’s the best he could to cultivate the talent of at all; and the result, of course, is always negative. The becoming successful; but I must truly say that they what inaccurately, thus questions the ex¬ n 1. '.u:~u ,*c fat* Ipss House, which it leases on condition of a works is La Bohemc, which is far less whose presence he was early conscious. manager is very indifferent—he is listening because he are the exceptions. high standard of performances. It now tent of Wagner’s influence on opera. “The Wagnerian than the much inferior operas One reads of his making little flutes from is obliged to, perhaps, for the sake of some influential The evolution is too big a one; and sometimes is building a second very large municipal tradition that Wagner reformed opera is Manon Lescaut and The Girl of the Gold¬ sticks cut from the hedges. Later on he friend. the mind of Mr. I is so small that it can hardly contain opera house. It provides a fund for the firmly established but exceedingly vul¬ en West. Personally, I think such operas got a violin by some means or other and To sing to an indifferent listener is to sing under a his vanity; hence there is little room for fair thoughts. operating expenses of San Carlo, but shares nerable. Suppose we ask to be shown the as Manon Lescaut, The Boatswain’s Mate, the village schoolmaster happily knew great disadvantage, and especially is this so in the case of neither the profits nor losses. The Conser- fruits of the reform, what should and Louise a great decline on Bellinis enough to start him in the rudiments, with a good singer. So it is, for instance, at these general Stage Life vatorio has a small subsidy from the city confronted with? Blank silence, I should Sonnambula or Donizetti’s Daughter of the result that he became, in 1842, advanced hearings where the singers are pushed out one after Operatic students, after having accomplished their as well as aid from private individuals. imagine, from any discriminating judge; the Regiment, or Verdi s rova ore. enough to enter a small music school at¬ the other like cattle, to sing a couple of songs. It is artistic studies, have to go through the experimental but from others a list of post-Wagnerian It is not the fashion to think tins, for tached to the Oedenberger Musik-verein,” like turning a talking machine. I rather call these study of artistic diplomacy in stage life. To navigate "Contrary to the usual notion, slow operas, of which the best known are La some reason or other, to make a singer Goldmark was finally sent to Vienna, hearings capital executions. The poor singer, especially the stage channel without running against rocks ot music is really more difficult than that Bohhne, Madame Butterfly, Louise, Pag- thunder in a heavy, melodramatic style, but even there he had “hard sledding” be¬ the beginner, feels uneasy and not in an artistic mood. jealousy, the shallow waters of false friendship, under¬ which moves with more speed, when play¬ liacci, Cavalleria Rusticana; the best, ‘The soup is ready,’ as Charpentier does, fore he had been more than a year at the He fears the criticism, the terrible verdict, that cold currents of gossip, to be so careful as not to be rammed ing it well is taken into consideration." Mefistofele and Hansel und Gretel; and is thought far superior, to vocalising it conservatory. “Unluckily.” says Maitland, "thank you” which is the pollice versus of the managers. by some other ship in the way, or sunk by the captain the latest, The Boatswain’s Mate (an Eng- with a trill and a flourish—though as a “the institution had to close its doors on The poor singer is nervous; he waits in the hope—not (manager), one must be a very fine pilot indeed and HOW TO FALL DOWN GRACE¬ lish opera by Ethel Smyth). Of all these matter of fact the old Italian composers account of the revolution of March, 1848, a very humane one—that all the others will be bad. At must be careful to keep a constant eye on the rudder. FULLY operas one may say truthfully that the did not introduce soup into their operas, and the same crisis in public affairs threw the same time, he fears that someone will be better than First of all, the beginner has to make himself very Aspirants for operatic fame sometimes more Wagnerian they are the worse they We are “with” Mr. Turner in his . re- Goldmark on his own resources. He pro¬ himself. small in order to go through some of the more danger¬ suppose that a voice is all that is needed, Hearings for engagements have always been a dream are. There is scarcely one of them as spect for older Italian operas, but believe ceeded not only to study every orchestral ous places. He must be prepared against all the winds but opera has a school of acting all its of hope and nightmare for singers—a great bore for good as William Tell, or Cherubini’s Wagner’s reforms were genuine, nonethe- instrument . . . hut also to obtain an of gossip—which are the worst of all winds, and he own, which requires a great deal of study. Watcr Carrier, or Gluck’s Orpheus, not less. Gounod, Bizet and Verdi were cer- managers, who have to listen to hundreds of singers for must try not to be taken by surprise. One must not lose A little book of study on this subject, by engagement in the orchestra at Raab, where to bring into comparison Weber or Mo- tainly influenced for the better by Wag- whom they have no use—and a great trouble to them his balance in the sea of honeyed words, congratula¬ George E. Shea, contains the following on his career very nearly came to an abrupt zart. This may only mean that these later ner in Faust, Carmen and Verdi’s later when they have to decide about one artist whom they tions, offerings of protection, friendly advices, and so the art of falling down when shot, stabbed, end, since he was actually led out to be composers are less naturally gifted than works from Aida on, as was Meyerbeer, really need. strangled or otherwise operatically shot on the capitulation of that place to the men before Wagner; but it is strange and—later—Massenet and Saint-Saens. Everybody would be so happy to do without hearings; ° The debutante must have a very happy disposition, slaughtered. Incidently, for brevity, wit the government forces. Fortunately for that the decline in talent should be so gen- But Wagner’s reforms also extended to but, bad though they are, they are a cruel necessity. to be able to please everyone on the stage, great and and information boiled down to essentials, himself and for art an old friend turned eral, and it is stranger that it should libretto-writing and stage-setting to a re¬ They cannot be helped It is fated that one must sing small. The best way to success is to have a permanent, we have rarely seen the equal of this text¬ up in the nick of time and gave satisfac¬ reach its nadir just where the Wagner- markable degree. and the other has to listen. beautiful smile on one’s face. If someone says some¬ book, from which we quote only such ex¬ tory assurances that the young musician thing not very kind about another artist, or something cerpts as space permits: was not, as had been supposed, a rebel, and Good Luck too kind about himself, smile. If they say you are doing “For an operatic singer, it is imperative his life was spared.” SPOON-MUSIC Every artist possesses, more or less, some good qual¬ well, smile. If they say you are doing badly, smile. If to know how to fall. Ridicule must be Maitland also reminds us that Goldmark ities. Good luck for an artist consists in an opportunity you are a soprano and another soprano tells you how Under the interesting title, “The Beg¬ them sharply on various parts of the avoided (and also broken bones and went beyond music and studied history, of appearing before the public under those favorable glad she is of your success, smile, never mind, smile gars’ Operas,” “W. B.,” writing from Lon¬ players’ anatomy. This is done in time to scraped noses). Sometimes a conveniently philosophy and similar subjects the mo¬ circumstances which bring his best qualities into strong and smile again. Listen but never talk. Greet every¬ don, recently contributed to the Christian the hurdy-gurdy’s brisk tune and always posted male relative or lover stands ready ment he could afford to do so; and that relief, so that everyone can appreciate them. one cheerfully who looks happy. Avoid them when Science Monitor a vivid account of some with an effective flourish as they are to catch, sustain, and lower to the ground later he became a brilliant piano teacher, I wish every student Good Luck, but not too easy of the street-bands of ex-service men and tapped from the knee-cap to the side of a they are in bad humor. the expiring prima donna . . .But though he was said never to have even seen luck, lest the student lose his common sense and believe At the beginning, never talk about yourself. You will other victims of the unemployed problem, cheek, then to the elbow and on to the in reality, all that the pupil gives him in promises dur¬ Valentine falls unaided when pierced by a piano until he was sixteen. that he is a double star. Often, sudden easy success have plenty of time to do so—like your companions— from which, alas, we can print only ex¬ top of the head. This staccato ing the period of study, that teacher would be a million¬ Catholic bullets: Carmen crashes to the brings bitter deception later on. It takes a well-bal¬ when you are a success. Try to advance without making cerpts. “They travel alone, and in groups, aire. He would have palaces, quantities of precious ground under Jose's navaja: and Gioconda accompaniment has the double advantage anced mind to understand the causes of a sudden, lucky yourself too conspicuous. Somebody might not like it. sometimes a pair, sometimes a band of gifts in diamonds, rubies and pearls. Poor Tiffany is stricken by her own hand . of carrying well down the block—and so PHONEY WORK AT THE CROSS success—sometimes it may be the result of circum¬ Try, if possible, to be friendly with everyone, it is not eleven or twelve,” says W. B. “But per¬ would be ashamed of his display. “It will not do to fall straight up-stage, of making you think of your pocket long WIRES stances altogether outside of the ability of the singer. so very hard. Tell everyone that he is great; and, con¬ haps the most striking part of it all is • During the years of study the pupil is puzzled as to with feet to foot-lights, so that from the before you reach the waiting hat—and at Strange things happen at the telephone. In that case, he should take the chance of his success fidentially, say that he is the greatest of all. The vanity that they hold their tattered caps for your what he shall be. He does not see his way clear; one orchestra stalls one sees two boot-soles the same time of strengthening the appeal A correspondent, Mrs. H. D. Burnidge, with appreciation and not spoil it by foolish vanity or in an artist is not a sin. It is a sentiment, his second pennies only as a return for something day he is hopeful, another day the voice is bad and against the horizon of a comfortable by the spectacular aspect of the spoon- writes an amusing letter to the Scrap inconsiderate actions; otherwise, the success may end life, a necessity. When an attist says that he hates to be they offer you, be it a humble little box of everything looks black. He is afraid, he thinks he will waist-line. Nor is it wise to keel over on performers’ flourishes. And even Book enclosing a newspaper clipping of praised, that he dislikes adulation, do not believe it. He matches or a Beethoven Sonata from the in failure. never succeed. He becomes a coward; he cannot see the back, like a toy soldier, stiff as a poker should you be bravely h a r d-hearted I should prefer the modest beginning, such as is made is either posing or fishing. strings of a whining violin. what happened after she attempted to clearly; he trembles for the outcome. The teacher is —‘all at once and nothing first.’ This is enough to look the other way as you near oblige the local newspaper by phoning in by people who have not sudden luck but who have his only salvation, his only god, the god who must make But after all, what is success, if not the adulation of “The most uniquely progressive are a unreal—a circus trick. these performances, your eyes cannot have strong will. People who improve while waiting for a him an artist, bring him out, make him a success. In the whole public? combination or company of three or four, the items appearing on a program of the “One may sink or fall on a bench, and failed surely to catch sight of those serv¬ better opportunity and who persevere in trying again such a state of mind, one can easily imagine the kind of including one who acts as hurdy-gurdy Thursday Music Club of Brooklyn. W« Spoiled Children thence collapse to the ground; one may ice stripes on one, and often on all, of the select from the clipping some of its and again—succeed. Perseverance and improvement arc vows, promises and so on, which the pupil makes his wilt at the top of a flight of stairs and man, another who collects the pennies and Apart from that unavoidable necessity of vanity, art¬ shabby khaki coats, to say nothing about choicest blossoms. two great factors of success—far better than good teacher. I believe, too, that he is in good faith at that then roll down them; though this last is ‘thanks-you-kindly,’ and the remaining one one or two, and I have seen as many as “The first half of the recital consisted luck. Good luck may go back on one, but perse¬ very minute, when he says “Professor, if ever I suc¬ ists are the best people on earth, simple and good hearted of doubtful availability for a woman. The or two who give an extraordinarily fan¬ and impulsive, according to their very changeable moods. five medals on their breasts.” of old Italian folk-songs, such as Scar¬ verance and improvement always bring good results. ceed, you shall not worry about teaching any more. You writer has seen Nedda use it at the end of tastic performance by maneuvering .... Quite so! There were riots at the re¬ latti, by Marcini; Paisiello, by Gluck; But perseverance needs self-confidence—an estimation shall be rich—you deserve it. You have made me an If they were calm and systematic, like normal people, ‘Pagliacci,’ and the sight of her revolving two large aluminum spoons placed back to they would not be artists. Artists have an overflowing cent British political election; for men too Cahenier, by Giorano, and Tatira, by An¬ of the value of your artistic talents which are some day artist. You made it possible for me to succeed.” Even calves certainly diminished the tragic ef¬ hack clapped ‘a la castanet’ by striking proud to beg are not too proud to fight drea.” to be recognized by the public. Self-confidence in your the family of the pupil joins in the chorus of presents quantity of sentiment and enthusiasm—so that they have fect of the situation. to communicate it—to expand, to get it out of their “Operas comprised the majority of Ra'i- own talents does not mean that stupid pride of the to come. It is truly a shower, a cyclone of rich gifts “. . . Cavaradossi (‘Tosca’) must system. And besides all this, think how they are spoiled kel’s later selections. Among those he lucky medocrity, who comes to the front, stands for a that flood the home of the teacher—the lucky dog. crumble forward on his face, when anni¬ by the public which adores them 1 They are like spoiled rendered were Rebihore. by Massenet; while amongst the real artists and then disappears un¬ When the pupil puts his foot on the first step of the hilated by the firing-squad. But the fore¬ children—everybody spoils them, the public, friends, edi¬ Ave Signor, by Misses Tofele, and Casto, noticed, back to mediocrity where he belongs. ladder and he is quite a success, all the presents of pal¬ arms and hands swung out (to start the tors. They have everybody at their feet. I think that by Sior.” aces, automobiles and so on, are greatly reduced, some¬ fall and because it is the physical truth) they must be a pretty well balanced lot to be no more Important Announcement This is evidently the latest kind of cross¬ Fighting Their Way to Success times even to a little postcard on Christmas day, and in front of the face, strike the floor a conceited than they are. word puzzle formed from the following that only if the pupil is not too busy, with his new fraction of a second sooner than the rest Very seldom do we hear of a great artist who came Think of the exciting life that is theirs daily 1 Their MARK HAMBOURG items which actually appeared on the pro¬ friends and admirers, to remember the teacher. of the body, and thus the face cushions to the front at once. Most of them had to fight their responsibilities before the public, the care of their health, Internationally Eminent Pianist gram: way to success. The reason why the singer of little The vocal teacher may call himself lucky if he is against them instead of hitting the floor. remembered by his pupil and if the pupil will admit that the straining for a success, the drain put upon them from Will give an Analytical Lesson on talent and sudden luck does not last, is because his “The slope of the stage makes it easier Comolati c Spera.Domenico Scar'?.1*! he has studied with him and does not give the credit, the outside—people wanting to meet them, asking favors, to fall up-stage; ‘it’s not such a long way Placer d’Amor.Martini sudden success develops his vanity to an extent that pictures, autographs, students seeking advice, newspaper George Frederick Handel’s “Harmonious Blacksmith” O dll mio dolec ardor (Paricie ey the Misses Tofele! killing them. the etude APRIL 1925 Page 253 Page 252 APRIL 1925 Detours for the Teacher the etude It is the continual excitement of the emotions, the con¬ The Inaccuracy of Spoiled Students PLAYTIME stant ups and downs, which, naturally enough, affect By M. C. Triplett their nervous systems. Then, as to their variable moods, I„ a cheerful mood. Useful for lightness of touch in both hands, the R. H. part affording good opportunity for finger practice. Play the si a th, By Isadore Schanhouse they may like, dislike, hate, despise, find good and like in the section in F major as legato as possible. Grade 3 5. again, all in a single day. Sometimes it depends on a 1 Have you ever told a student to practice a com¬ very little thing; a trifle makes them feel happy or mis¬ One of the most trying problems of piano teaching position slowly and without -pedal? erable. No wonder, then, that the stage life has not is the inaccuracy of students who have had poor train¬ With the greatest of concentration, he would probably the peaceful serenity of a convent, nor the still softness ing and whose carelessness in practicing has become a begin that way; but, before you were aware, he was of a beautiful summer’s day. fixed habit. . usino- the pedal again—quite unconscious of it himself. The stage life, however, has an irresistible attraction, With such students the following method has been I have found that to have the student to push both feet not only for the artists but for everyone. The public found extremely beneficial and is recommended to firmly under the pedals is an unfailing remedy; for, if likes it without even knowing what it really is. The teachers who have found no successful way of quickly he can’t raise the foot preparatory to pressure—well, he curiosity of the public is aroused by the many strange correcting such faults. is foiled. . stories which people tell about happenings on the stage. A badly-spoiled pupil often knows very little or noth¬ 2. Sometimes one is discouraged with the result of a Love affairs, quarrels, funny people, odd habits of art¬ ing about rhythm. Therefore devote the entire first student’s octave practice—there seems to be something ists, good times. All these things excite the imagination lesson to this subject. Explain as simply and with as lacking in the tone quality. . , , of the public. Much must be discredited, however, be¬ much detail as possible all about the different notes, rests This is usually because of weakness m the fourth and fore we get to the facts of these stories. and so forth. Do not economize in time. Do not omit fifth fingers, or the failure to put sufficient pressure on the slightest detail, and do not take the student’s knowl¬ the upper tone for the right hand or the lower one for The Dressing Room edge for granted. Make sure the .pupil understands the left hand. The following exercise will assist greatly Indeed, outside of the strange but picturesque con¬ every step before you proceed to the next one. in giving the much-needed strength to the weak side of fusion of the stage during a performance, there is At the second lesson—sometimes even at the first— nothing that makes it different from any other place where the student shows he has a clear knowledge of the hand. where everyone attends to his own business. All the the general rules for counting, his accuracy in such Preparatory to octaves, use this study: artists are in their dressing rooms, waiting for the time things as notes, fingering and touch must be taken up. to go out on the stage. One hears from time to time Absolute accuracy must be the immediate aim. some scale, arpeggio, falsetto, some roaring basso tones, Write.the following on a piece of paper or in the and that’s all. The chorus, the ballet* are upstairs in back of a book: their dressing rooms; all the assisting masters are at N—notes their places, supervising the performance.. One sees C—counting the stage managers, the directors, giving orders to the F—fingering electricians. During the cntr’act no one is on the stage, S—staccato except the stage hands setting up and arranging the R—rests scenery. One may readily see that there is not much T—ties going on in the nature of “strange happenings,” outside H—hold. Continue up the scale diatonically, later transposing the of that which goes on in any other place of business. Then explain that every time a mistake is made it study to other keys. But it is the atmosphere, the ensemble of stage life that well be marked by the corresponding letter—a wrong After this has been fully mastered, in every key, fol¬ makes people think it so different from all other busi¬ note by N, a note too short by H; and at the end of low with this second study:. nesses; and then they call it a dangerous place, from the page count the number of letters. a moral standpoint. It is surprising and most gratifying tb observe the change in the attitude of the pupil. He becomes alert, Morality on the Stage plays slowly and carefully and does his best to avoid As for the atmosphere, it is in fact quite different mistakes. The playing should be followed with a pencil from other places of business or ordinary life. As for and the slightest mistake should be marked. When morality, however, life on the stage is just as bad or the letters are counted, allowing the number 100 to rep¬ good as it is in society, in public or in private life, in resent a perfect page, that is, a page without any mis¬ stores, in business offices, at the sea shore, on board takes, deduct one count for every mistake made. If a steamer, in the country, in all the sporting parties, the same mistake is made at two lessons, draw a line parks, streets, in metropolis, town and village. In all under the letter and deduct two counts. The result is other places, things often happen which very seldom placed at the top of the page. The student attaches occur on the stage. Morality is not in atmosphere but great importance to this mark and he tries very hard to To gain firmness in the arms for octaves, practice in people. One can be moral anywhere, provided one avoid mistakes in order to get a higher mark. is so at heart, and wishes to be. If there is an attrac¬ Exercise 3 with each hand alone, preserving the regular The advantages of the letters are—first, they indicate tion in stage life, it is the uncertainty of its ups and fingering for the common chord (triad) in its three the nature of the mistake. Often the student forgets downs which is so exciting. Except for this and the positions. what the teacher meant by a check, or a circle around interesting personalities of the artists, stage life is a the note. The letter tells plainly what the mistake was regular one, sometimes even very monotonous. For ex¬ and what the correction is to be. Second, in practicing Ex. 3 A A ample, toward the end of a long season, when there the eye becomes so familiar with the customary check are no more excitements and when everything is going or circle that these are very often overlooked. But quietly, the artists grow tired and look forward to the with the letters this is not the case, for each letter is j C' - D -j n~ end of the season. different and when made large enough (especially with Those Who Get Lost a red or blue pencil) they cannot be overlooked. Also, Transpose this, also, to the relative minor and proceed The student who has been engaged and is conscious the knowledge that the letters are counted increases the throughout the circle of fifths. student’s carefulness. of his artistic value must not be afraid of entering the After the hands have gained sufficient strength, all of stage life, provided he can perform his artistic duties This plan is simple and takes no more time than any these studies should be continued through several octaves, satisfactorily. Those who get lost are those who find other. The results (especially with younger students, which helps to improve the “sweep” of the arms in bril¬ who are more interested in marks) are unusually satis¬ liant passages. themselves engaged, but not artistically prepared. They factory. need too many helpers, too many friends in order to get along and to make up for lack of ability. If they It is also appreciated by the parents, for they are greatly interested in the mark at the top of the page. think they can advance by other means than artistic Coordination in Piano Playing merit, they are sadly mistaken, because helpers do not last forever. That is where they lose their way, com¬ ing out finally to find themselves in the gloom of the By Edward G. Mead “background,” compelled to live eternally in the trenches Daily Don’ts for Piano Pupils with the chorus. Coordination in piano playing is an important feat To repeat then, to succeed on the stage, the debutante By Ily Carpenter with which the average piano student should be m must be rich in diplomacy, and richer yet in artistic familiar. ability. Then stage life will be heaven to her even Piano playing, which is the art of interpreting mi though some days will not seem so at the time. Don’t forget to practice daily. Don’t practice half heartedly. written or arranged for the piano, depends upon Don’t daddle—when a piece is started finish it. PrTHECEF£nation °f f°Ur interre,ated fac,ors: ‘ In the final analysis of a teacher, it rests on how much Don’t forget that deep study is essential to accom¬ he may be able to interest his pupils.” plish anything. THE MIND Don’t forget that good or bad fingering makes a THE PINGERS THE EAR. “The person who has no joy in his work can have little good or bad player. joy in life. The musician’s work is the most joyous of Don’t pound and hammer the keys—they are made The eye reads the music as recorded on the prin all.” to press. Page, I he mind perceives the music in all details Don’t forget that your teacher has spent a long time _ and content. The fingers (and also the feet w “The depictive value of music over and above that to learn what she knows. mttJn '?• 'S ,USet^ act as

A waltz movement in characteristic style. Grade 3. HELLER NICHOLLS Con spirito m.m.J-=63 ^ %

International Copyright secured Copyright 1925 by Theo.Presser Co.

International Copyright secured THE ETUdj. APRIL 1925 Ptige 257 Page 256 APRIL 1925 the ETUDE A scherzo in modern style. Attractive in rhythm ARCHIE A. MUMMa and harmonically interesting. Grade 4. OH JOY! THE OLD HARPSICHORD Lively m.m.j =96 In the style of harpsichord music of earlier days- suggestive of one of the easier Preludes by Bach. A fine arpeggio study for th

British Copyright secured Copyright 1926 by Theo. Presser Co. Copyright 1925 by Theo.Presser Co. British Copyright secured THE ETUDE Page 258 APRIL 1925 THE SOLDIERS PASS! In t he--style of a‘‘Trumpet Flourish,” bold and dashing. FANFARE ED CAR DO MAR 20 Allegro marziale M.M. J = i2fi SECONDO 1 1 'i 1 4

Copyright 1925 by Theo. Presser Co. British Copyright secured APRIL 1925 Page 261 the etude THE ETUJjs PRIMO Page 260 APRIL 1925 SEC0ND0

British Copyright sect THE ETUDE APRIL 1925 Page 26il the ETUDE Page 262 APRIL 1925 LONGING RUDOLF FRIMl Also published as a song. The instrumental version lakes an expressive nocturne or reverie. Grade 4 APRIL 1925 Page 265 THE ETUDE the ETUDE

Eage 2(i4 APRIL 1925

AIR DE BALLET CHAS C. DRAA

To be played in vigorous style,with strong accents. Grade 3-g-

A new book to aid in the study and appreciation of music

Sent FREE to teachers or advanced students

interpretations—Rachmaninoff, Richard Strauss, NEW BOOK, designed to aid any course in pared to explain the technical terms of music— A D’lndy, and Dohnanyi. Finally, the four-hand the appreciation of music, has just been Major and Minor Scales Cadences performances of orchestral works obtainable on published. It is the joint work of the composer- Intervals Counterpoint the Ampico have been made largely under the critics Sigmund Spaeth and John Tasker Howard. Triads Canon, fugue direction and supervision of Artur Bodanzky, This interesting book not only tells how the Inversion of Chords Analyses of theme and varia¬ tions, sonata form, etc. conductor of the Metropolitan Opera House, and Ampico can be used to the best advantage in Modest Altschuler, formerly conductor of the study, but, of supreme interest to non-Ampico In brief, “The Ampico in Music Study” is in¬ Russian Symphony, New York. and Ampico owners alike, it contains classifica¬ tended as a handbook for every teacher and tions of music by periods, by nations, by forms, adviser on music, and every student — be he There are ways and means by which the Ampieo may be secured for educational use without any and by composers. amateur or finished professional. Only a limited edition of this book has been printed. Fill in real burden of expense. Our co-operative plan To the instructor this book holds a twofold and mail the coupon below for your copy today. for schools and clubs explains how it can be done. interest. First, teachers who are considering just We will gladly supply it on request. what course to pursue in developing the appre¬ The Ampico in America’s ciation and enjoyment of music will find much educational centers Selections from the Ampico Library help in the convenient and accurate classifications. Played by Secondly, teachers who like to work out their own Perhaps no more significant tribute has been paid Nocturne E Flat—Chopin BRAILOWSKY ideas without too much dependence on set for¬ to the Ampico than its use by universities, conser¬ Moment Musical. A Flat-Schubert DOHNANYI mulas will find the arrangements of music by vatories and teachers’ training schools. Dr. Otto The Prophet WiiA-Sihumana GODOWSKY Prelude in C Major, from Well Tempered Clavichord- composers, schools, and forms of music an easy Kinkeldy of Cornell University (himself an excel¬ HAGEMAN way to the selections of the material best illus¬ lent pianist) uses Godowsky, Levitzki, Schnabel Butterfly Etude—Chopin LEVITZKI trative of the point under discussion. for his Chopin, Schumann, Liszt and Bach. Pro¬ On Wings of Song—Menielssohn-Uszt LHEVINNE fessor MacDougall,head ofWellesley’sdepartment Capriccio. B Minor-Brahms MOISEIWITSCH Spinning Song-Mendelssohn RACHMANINOFF of music, uses the Ampico in all his teaching. Helpful classifications of music Etude in Thirds—Chopin ROSENTHAL Even a finished concert artist like Josef Lhevinne Arabesque. No. 2—Debussy SCHMITZ For instance, suppose you are following the his¬ finds the Ampico “a unique assistant.” Rondo G Major-Beethoven SCHNABEL torical method, you will find typical examples of Through the Ampico you can hear the playing Pastorale E MiDor-S"fi“"-WsBLOOMFIELD ZEISLER the compositions of every period and every of Brailowsky, Carreno, Dohnanyi, Dumesnil, composer of note. Or, if various kinds of Godowsky, Lhevinne, Rachmaninoff, Rosenthal, THE AMPICO CORPORATION music are under consideration (and a direct com¬ Schmitz, Schnitzer, Bloomfield Zeisler and many 437 Fifth Avenue, New York parison is to be made), you will find a most others of the greatest living pianists. In addition, practical listing. Music forms-program, ab¬ the Ampico provides the sole means of hearing solute, homophonic, polyphonic, sonata form, four of the greatest living composers in their own THE AMPICO, Educational Dept. etc.—are all classified in the most convenient Kindly send me your new book "The Ampico in manner possible. And only such Music Study.” examples are given as will most □ I own an Ampico □ I am a Teacher clearly illustrate the type of music □ I do not own an Ampico □ I am a Student you seek.

Recordings for ear training Addr.

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Revised, Edited and Fingered, with Copious Annotations, by EMIL LIEBLING depilatories, electrolysis, even a "razor IN THREE BOOKS :: PRICE $1.00 EACH but all were disappointments. ’ I thought my case A VALUABLE and noteworthy addition to the technical litera¬ was hopeless until I ture of the pianoforte. This work represents a diligent sift¬ found a simple meth¬ ing and careful selection of material from the entire works of od whichhasbrought Czerny, including all the popular opus num¬ great relief to me bers together with , .gaBKi. many less known, but and to other women. equally meritorious studies. Mr. Liebling’s I will gladly ex¬ plain to any woman editorial work has been JjlF $jgj» of the most exact and who will write to me painstaking character %gi_ ■ „ sM from both the technical how this simple and interpretative JP sides; the annotations method accomplish¬ are of real practical value and musical in¬ es these results. terest. The three volumes, which are This method of mine is different carefuly and closely graded, the studies be¬ from anything you ing arranged in pro- gressive order, range have ever used—not in difficulty from the ilHP early second to the sev¬ apowder, paste, wax enth grade. Czerny’s mastery of technical de¬ or liquid ;not a razor, not electricity. At tail and his mastery of 4 musical expression are the same time it truly remarkable; he czerny was a most voluminous makes the skin more writer. The object of this present compila¬ attractive. tion is to present his very best studies of all grades in attractive and With this method, convenient form for general use. The success of this work has been which is easy to use, you wil 1 get the same of the most flattering character. It is the best work of the kind results as I and many ever offered. It is printed from beautifully engraved special plates other women. and substantially and thoroughly bound in heavy paper. Believing my method to be the best, I have given it my own name— THEODORE PRESSER CO., Philadelphia, Pa. Lanzette. Send for Free Book A book that tells just how this method gets rid superfluous hair is free upon request. Don’t sent penny - just a letter or post card. Address Anna Lanzette, 68 West Washington Street. Dept. 14‘ Chicago, Illinois.

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A Big Step Forward in FOR SEVENTY-FIVE Teaching Piano

CENTS YOU CAN ADD Pupils Easily Obtained By Our Plan j ^ - TO YOUR MUSIC LIBRARY a 1 -f- ta.UhreesulisS-5nH Way 'teachinS Pia™ has two impor¬ ANYONE OF THESE ALBUMS tant results. It enables you to handle more pupils. It is a <*reat YOUNG PLAYER’S ALBUM iTate^Snave talent beWilVbefore it is 5necessary tofind invest out whe in *a erpiano ^eir children 70 melodious second and third grade pian Progressive teachers now instruct all beginners the Don’t hide them with a Veil; Remove pieces. ^ >marcato POPULAR HOME COLLECTION in a few monihs Te". thousa"d yhjldren enrolled undfrTs plan them with Othine—Double Strength. | crese. in a few months. It s a practical plan, endorsed by musicians dyg dF§=]= POPULAR RECITAL VlAYER^6”86 P‘a”:St' teachers and prominent musical educators. The “Melodv Wav’’’ This preparation for the treatment of 31 pieces that will delight the family goot Course and Teacher’s Manual is carefully worked out and com freckles is so successful in removing freckles and giving a clear, beautiful com¬ -- 5 4 ' ^ " 4 TWh ^ iumate?a needed for class work "s furnished” The STANDARDr'BRILLIANT ALBUM plexion that it is sold under guarantee to 27 showy piano pieces, yet none very difficult anTcaTry on the^iT ’^T EXHIBITION PIECES refund the money if it fails. a few dollars. Mail coupon today for full information ^ °" Y Don t hide your freckles under a veil or OPERATIC FOUR-HAND0ALBUM ^ "‘S' waste time on lemon juice or cucumbers; MIESSNER INSTITUTE &et an ounce of Othine and remove them. THE STANDARDnORGANIS°f erat‘C Even the first few applications should 154 Reed Street Wilwaukee, Wi8. show a wonderful improvement, some of VIOL INIST’S PP0PULARn R EPE RTOI RE 29 melodious violin and piano numbers. the lighter freckles vanishing entirely. STANDARD SONG TREASURY Be sure to ask for the double-strength 8 recital, concert, classic and sacred songs. Othine; it is this that is sold on the money-back proposition. >/■ the above and other VVe recommend Othine Complexion Soap for use with Othine, also as a shampoo— its wonderful for bobbed hair—25c a cake at all drug or department stores or r,y rr Tad' Othine Laboratories, Inc., Buffalo N. Y. Please mention THE ETUDE v n addressing our advertisers.IN APRIL 1925 Page 271 THE. ETUDE Page*270 APRIL 1925 . ^ T »i ROMANCE IN Ab

A favorite number, used frequently for BALLET MUSIC FRANZ SCHUBERT aesthetic dancing, and often heard in the f rom “R OSAMUNDE” Arr. by F. L. Hatch “movies’.’ Grade Bs- Allegretto grazioso M. M. J= 96 %

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Copyright 1921 by Theo. Presser Co. Copyright 1925 by Theo. Presser Co. British Copyright secured THE ETUDE APRIL 1925 Page 273 THE ETUDE MERRY VOICES A.W. LANSING and for L. study oPf octaves and double notes. ^ c0NCERT POLKA 5

Grade4- Tempo di Polka M.m.J=108 - » * - * TEE ETUDE APRIL 1925 Page 377 the etude THE ETUDE fbr a lesson on this song, see the BY THE SEA y0cal Department of this issue. JOSEF HOFMANN AM MEEK HEINRICH HEINE FRANZ SCHUBERT 3™ APRIL m5 nocturne Transcribed for violin and piano by ARTHUR HARTMANN Molto lento A beautiful l.fM melody.To be playedui.b broad and eiORingtone. " 3 1

l.Be - fore us glanc’d the_ wide spread sea, With eves last rays in - vest schei - ne; wir l.Das Meer er-gWm-te_ weit hin-ans im letz - ten A - ton a - tears fell fast on thy dar - ling hand, And low be - side thee^_ kneel - ing, FVom unit - ken; ich sah sie fal - ten auf dei - ne Hand and bin anfs Knte ge

PIANO

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Sweet one, I saw thee cry - ing- 2. The I gazed up-on thy beau-teous eyes 2. Ich ing! dei-nen Au-gen lie - be- voll, fie - len die Third-nen nie der ^ ml : der; aus wast - ed} They Seh - nett; mich >> >- | n decrese.

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pow’r Those fe-ver-ish tears I— tast ■ had, a-las! a pois’-nous ver - gif- tet mit ih - ren Thru hat das un-gluck-seT - ge

Copyright 1925 by Theo.Presser Co. British Copyright secured THE ETULe

278 Page APRIL 1925 Arranged, harmonized OUR UNITED STATES and orchestrated by A SONG OF THE NATION LEOPOLD STOKOWSKI Words by EDWARD W. BOK FOR SINGLE VOICE OR MASSED SING ff

__ Copyright 1924 by Theo Presser Co, BE THOU MY GUIDE GERALL G. DOVENSPIKE RUTH C. DOYENSPIKE SACRED SONG con espress. 5 Andante moderato

The twi-light shad-ows are fall - ing At the close of a van-ish-ing

iff* rrpVf^ p1 A' poco rit. ZZ-— ^2 the etude APRIL 1925 Page 281 THE ETUDE Some Points on Pronouncing Italian Musical Terms Page 280 APRIL 1925 COME BACK ALONG TO ME By Sid G. Hedges Most musicians, particularly amateurs, Vivace, giusto, con grasia, mezzo. * Helen Coale Crew AN IRISH LULLABY T0D B.GALLOWAY suffer occasionally from considerable em¬ There are scarcely any other necessary barrassment, through their inability to speak points for the musician, though the re¬ the little Italian required in some musical maining consonants which differ from phrase or instruction English may be included here: But the violinist suffers even more than CH is pronounced like ch in “chord.” others, for he is so often playing in an SC is pronounced like sh in "shake” orchestra or with one or two cither players, when it is followed by i or e. At other where it is frequently necessary to say: times it sounds like sc in “score.” “Let’s go back to the ‘Poco pin adagio e S has the same sound as in English; msteriosoU’ and things of that sort. but when it is between two vowels it is It is astonishing how few teachers have harder, like z. the least idea of the proper pronunciation The following words embody these last of Italian; yet, since it is the language of few rules: music, it should be a part of every musi¬ Chiaro (kee-ah-ro—clear), Scemando cian’s education. As it happens, Italian (shay-mahn-do—diminishing), Scherzoso is easy and regular, especially for one (skert-zo-zo—playfully), Seniprc (sem- who has-a knowledge of Latin or French. pray—always), Chicsa (kee-ay-zah— To further illustrate the need for study church). of this matter, a list of words most com¬ In every word mentioned the penulti¬ monly mispronounced is appended. mate syllable is accented. Andante should be ahn-dahn-tay, not When a consonant is doubled, as are the an-dan-tee. t's in Allegretto, they are pronounced very Concerto should be con-chairr-to, not distinctly. They should be lingered on so cbn-shir-to. that the t sounds twice. Capriccio should be cah-pree-cho, not GL, before i, sounds like the Hi in ca-preesio. “million.” Diminuendo should be dee-mee-noo-en- Svegliato (awakened) is pronounced do, not dim-in-ew-endo. svel-yee-ah-to. To avoid all such faults as these it is GN, before a vowel, has the sound of only necessary to learn a few simple rules. lti in “onion.” First, the vowel sounds must be under¬ Segno (sign) is pronounced say-n’yo. Length, 5 ft., 1 inches stood : Remember always that any vowel on A should sound like ah the end of a word forms a separate syl¬ E should sound like ay lable. The Princess Grand I should sound like ee For example: Grave (grave) is pro¬ O should sound like oh nounced grah-vay. The favorite piano of the day is the small U should sound like oo. It will not be difficult to master the Practically all of the consonants are foregoing rules if the illustrative words Grand. Above is shown the most popular pronounced as in English, though H is are memorized. IVERS & POND—our “Princess Grand.” Large never sounck .1 at all. It does not require very much practice Usually, the. last syllable but one, of a before any word can be spoken at sight, enough to offer all that the exacting musician word, is accented. accurately. One should get into the habit expects of a fine Grand, yet economical of space Each vowel, even though two may come of using Italian phrases at every op¬ together, lias its separate pronunciation. portunity ; by this means they will come and money. Its dainty Colonial lines, exquisite The following words, which should lie more and more readily to the mind. For finish, delightful tone and touch, mark the highest instance, do not say “We had better take accurately memorized, embody the com¬ development of its type. monest rules: this movement ‘a little slower,’ ” but “un Vivace (lively) pronounced Vee-vah- poco pin adagio” or “un poco ineno chay. mosso.” Giusto (just, exact) pronounced joos- Of course, it is still more important toh. that the correct meanings of the words should be understood; and no word should IVERS & POND In these two words are found the five vowel sounds. be passed until it is known. Some musi- The pronunciation of C and G should fuwtf-simply ignore every foreign phrase be noticed. These two letters always have that they come across; but this is as a hard sound, as in “catgut,” except when ridiculous as ignoring all the sharps and PIANOS they are followed by I or E. (The i in flats. The fact that Italian is the lang¬ “giusto” serves simply to make the g soft.) uage of music should serve to make us re¬ are built in but one quality—the best—the member, gratefully, the vast debt that Con Gracia (with grace), then, is pro¬ policy and identity of our house being the same nounced Con Grahtzia. This makes clear music owes to Italy. A Lento doloroso funeral march would the c and g, but introduces a new letter Z. today as in 1880. They are used in over 500 be strange played Vivace giocoso; yet in A single Z sounds like tz, as in the classical music, usually, nothing but the leading Educational Institutions and nearly foregoing; but ZZ has a still more solid Italian words give any clue as to how 75,000 homes. pronunciation, thus: the piece is to be performed. Mezzo (half) is pronounced, Medzo. So, let the violinist study this matter of How to Buy Let us just collect the words which musical Italian and its pronunciation, and illustrate all the rules so far—they are in a few weeks his difficulties will be Wherever in the United States no dealer sells few. swept away, for good. them we ship IVERS & POND pianos from the factory. The piano must please or it returns at our expense for railroad freight both ways. Liberal Music and the Sense of Hearing allowance for old pianos in exchange. Attractive That music develops the sense of hear¬ ing to music. I think that it has helped to easy payment plans. ing is self-evident; but that it may help train/ my ear. I have discovered that For catalog and full information write at once. to train an individual for a higher pro¬ those of my students who "have the most ficiency in his life work in some other acute hearing are those who have had direction seems to be a new aspect dis¬ some musical training, or are accustomed cussed by Dr. Charles E. Nammack, an to bearing music. My students show the Ivers & Pond Piano Company eminent heart and lung specialist of Belle¬ effect-of their musical studies in their vue Hospital, and for twenty years Pro¬ medical Work,/ As they develop a sense 141 Boylston Street fessor at Cornell University. He says, in of perfect pitch from their music, they be¬ BOSTON, MASS. a statement in the Musical Digest: come more accurate in their medical an¬ “We judge by percussion, tapping on the alyses. Women I find easier to train than hand and by listening to the heart or men. It is not that all women are born lung action, either with the ear or with with perfect pitch, but that they react the stethoscope. I really believe that you more easily to training. They are more # With the kind permission of the Author. develop a sense of accurate pitch by listen¬ sensitive.” Copyright 1924 by Theo. Presser Co. British Copyright secured Please mention THE ETUDE when addressing our advertisers. I THE etude the etude APRIL 1925 Page 283 love the work and have the power to make most important that all who are to sing thought, we then proceed to express all Page 282 APRIL 1925 the choir love it too. Second, you must together should breathe in the same man- that the music has within it. Each phrase possess entire confidence in yourself and lier_for about five minutes, or a little ROM the moment I was born choral is taken separately; we repeat each phrase F thus inspire confidence in those under y0Ur singing was the most important thing longer. before going on to the next until I am in life. When most children were playing direction. Both physically and metaphori¬ Then we turn to the first chorus that we assured that every word will be understood The Singer’s Etude cally, you must plant your feet firmly on with their dolls and dreaming of choco¬ are going to attack and I 'read the words, by the farthest person in a hall holding the ground, with baton in hand, knowing late joys I was either listening to a choirs thrash out to the full all the ideas contained thousands, even if they be deaf; for, if that you can make your hand of voices melody or sharing my father’s despair be¬ Edited for April by the well-known Voice Teacher in them and gather all the points together. the words arc sufficiently distinctly an¬ cause certain effects in voice production sing—and sing to such good purpose that This is quite as important as the music, nunciated, even the deaf will he able to sec had not been realized by followers of his they will reach to the inmost thoughts and MME. CLARA NOVELLO DAVIES every whit; and if a conductor has not a baton. The score of an oratorio had no hearts of your audience—and your choir the words on their mouths if they cannot terrors for me-it was only the excursion will soon know it too, and rise to every sense of pathos, beauty and lyrical feel- hear them; while, if every face expresses into an unknown and enchanted land. H it* AmtUM. o, TUB BTVDB » MM nio Voice Oeporinren, occasion. The reason that I so revel in jng but is wedded merely to his score, the same idea, it will be exactly like the conducting—even more than the teaching then perfection is not for him, nor is it 1 was brought up in a choir, my father “A Vocalist’s Magazine Complete it reflection from a perfectly-produced photo¬ being the Choir Master of our Welsh , f singing which has been my life-work— for those who sit tinder his baton. The graph. The choir should become a reflec¬ Calvinistic Methodist Chapel; and when . js because T find that every one added to rendering of “The Men of Harlech’’ by tion of the conductor’s mind. Personality could scarcely walk 1 was placed among .—- my cn,„, makes the— singing. n re. inspiring,*»«* the Royal Welsh Ladies' Choir lias gained and music—they are one and indivisible. his altos and taught my parts at home by Ahotlt It is so important to begin the rehearsal a world-wide repute. I knew its perfec¬ I find, when my singers have had plenty my mother who was one ot the sopranos. Things That tllC Vocalist Should KJ10W with the right atmosphere that I feel 1 I triumphantly won my first prize tor smg- bOme ining- rh t Singing cannot emphasize this point too much; and tion when my own choir, every member of of rehearsals (and that is a point upon ing when I was just four years old, warb- Chora 8 remember I am speaking from years of it knowing and loving me, gave this song which I always insist), that they are able ling in a quartet and being placed upon navies evnerience and successful achievement, —and each time I thrilled anew; but last to blend their voices until they become like the mantelpiece in order that the audience By Clara Novello Dav.es expcr.eiK ^ ^ ^ year, at Cardiff, my home town, during one tone; for they sing with everything might catch a glimpse of the small per- fook at me. I can recall so many case after ^ We must go further back my Golden Jubilee, when I conducted an in them imbued with the same idea, and former. I played the- accompaniment. pfaess and harmony. This is not which I have seen a choir with , candidate, man or enormous choir of massed voices, the concerts and the organ in chapel before ^ sentimentaiism, but a prach« Jact; concentrated on their books to a member of with the lips and tongue so exercised by I could reach up to sit upon the stoo my- tbe f0nowmg anecdote will illustrate. y then a tok;rant glance w perhaps almost greater part of whom had never been with exaggeration that one can see the words as self. But to conduct a choir was always DuHng oneof the Patti Concerts m direction 0f the con- a,,onlealasa’,v they are S me before, there was exactly the same well as perfectly hear them. They all have my dream; and any toy presented to me Manchesterj i was about to conduct a per- sen the resuits have always been as muc 1 they are, as a rtT wonderful rendering, the same wonderful the same idea of expression after recit¬ immediately became a member of; it. I fornmnce of Lassen’s “Spanish Gypsy doctor anticipated-a technically lo take™er - ■ exper£ response, the same glorious outburst of ing the words so often, and the one idea adored my father and to imitate him was t conscious of a definite some- exactly what w th the diffident and shy, though ve naa expen patriotism and joy of battle. And that was expressed in perfect unison makes the the greatest delight I had in life. For he £ long in our atmosphere. My glance perfect rendering but thc ence of the aggressively confident and produced by reading aloud, to each choir large number become as one singer. was a born conductor, possessing genial- f leading contraltos, a words exactly P those buoyant. I generally manage to get the in turn, whenever I rehearsed them, of the This, then, is the result: The voices all ky which is an essential, and a glorious £ ^and the possessor of a glori- spirit and beauty of that music timid ones at the.r ease; and he aggres- poem, each verse with its differing ex¬ blend; they get the same quality permeat¬ sense of humor. His choir always looked JPj ^ ^ an instant I intuitively words “^J^^^coHdvictors frequently sives are kindly conducted to the.r proper pression, il- separate appeal to the soul ing them; every eye is fixed on me; I forward to their rehearsals; and he never ^ ^ she was not at one either with One great m t k . more to place under the sun. and senses; and until the choir had real¬ move my mouth, saying the words. I have had any difficulty in getting them together f he choir and that while make ‘s m givmg tn■ commit i Elimination of Self the idea inside me that they are trying to at any time, for any kind of function. « effect Could never be that of learn than they can,y ized it to the full 1 knew it would be utterly lost on the audience who were to listen, convey; they catch from the expression They flocked to him in crowds, and he Afmonious and perfect whole, the memory. It is so much I then get them individually to sing to on my face the thought for which they are could always pick and choose his singers.f . ..4* •• T miietlv little well than for a large gathering ot an(] j „atber from them what is to in spite of the fact that they knew the blending of ^^'‘ wth sound q ly bei„gs to sing their way in public - grcatest thing of all. that they each working; for my baton sways with their —an experience which I am happy words backwards. And it is exactly the hearts, keeping them with the effect of think has always been my own. bent {rom through a long program, during the whole * work sufficicn.l> to become o,, same with the spiritual appeal of “All That Hath Life and Breath Sing to the my feelings in my hand holding the baton. Choruses in Wales Lord.” Every time I read those words We are all drawn into one spirit, until SirSwjtes to my choir 1 render homage, through my we are singing as one single, grand singer, The National Eisteddfod of Wales was, art, to thc Lord God of Hosts. It is a blending, harmonizing, sympathizing, lov¬ as now, our great event—competitions in There is another question: they, Si‘ ,?r"' ~ .. gathering of all the good things of the ing, everything connected with the giving every..-.. form of music and— literature— tak-— became worse and finally' culminated in a cies^f which ttere-- are many more i,I" T moreover, sufficiently interested to be pre- WHAT A GLORIOUS GIFT A BRAM- _I, JIH mental breakdown. This little illustration concert room than is • pared to learn thc words, music, time, and earth rendering thanks to the Giver of All out of ourselves in sound. ing place; and from my very early days -,-,.j- Some of the most inspiring moments BACH WILL BE! How she will prize its taken to them. I prepared singers instances the at-one-ness of my choir and but there is one thl"g M - other details, out of rehearsal, by them- Good; and that is what my choir feels of my life have been experienced when and pianists for these competitions, during lf_ Qne singie personality has the beyond my po\ , bxcd selves, or with their music teacher (not, when they thunder out the magnificent graceful charm in her home; and its deeply res¬ holding my baton before a great choir a period of five and twenty years; and y £ r of jeopardizing the success of the when conducting if eveiry y_ however, giving them ton much to do at tribute to the Most High. I attribute their which has been through all this process my pupils took the majority of prizes for P it is no ldndness either to that upon me, because what exaression one time), so that they can memorize great success at the World’s Fair, Chicago, onant tone; and the atmosphere of quiet luxury piano, solo-singing, soprano contralto, ten- Qr tQ the choir t0 attempt (even if to them comes from my facial expression evcrything? to the fact that they understood and loved necessary to bring out everything the com¬ poser and author have desired; and one which only a grand can bring! or, bass and part-music. I not only ac- P possible) to ignore this fact. far more than fro y > “ j * When I am fully assured on all these the words they sang as well as they ren¬ companied and helped my father to tram 1' choir ,s not with me in spirit then am and satisfied ^ jt wiU ^ a great dered the music wedded to the words. of the greatest compliments I have ever our own choir, but for years I was also Look at the Conductor lost. ,, benefit to themselves and to everyone con- It was not merely their voices; it was received was from Sir Arthur Sullivan, The Brambach Baby Grand—built with the engaged by other great choirs and in nearly wiU never conduct my choir unless the The essential quahties of a succesMu ^ ^ to jnin my choir, then the the spirit surmounting their art which after I had taught one of his Part Songs. I will never conduct my choir unless the * — — experience of 102 years—is now offered to you every case accompamed-- jhe- rwmmng^ne..-=,.7 members Unowknow their music sufficiently well conductor are twofold. First, one must ^ aH.important stcp is over. “gained them the victory.” He told me that I had brought out more s also the accompanist for the Mer¬ When the choir have fully realized the than he could possibly have thought was by a nearby dealer, on terms surprisingly small. in it—and a compliment from such a great thyr Choir, then conducted by Dan Davies, Four Essentials meaning of the words, they read them to Go to him. Hear the Brambach. See for your¬ me aloud, exaggerating all the consonants conductor and composer was one to he one of the most successful and inspiring I then impress upon thc new recruits the conductors in Wales; and I like to think until the lips and tongue are absolutely treasured. self the master craftsmanship of its beautiful four essentials to which they must give he was one of the many musicians who tired, breathing correctly and locking their Individuality always finds expression in attention in order that their membership sang in the choir I conducted at my Golden breath before each phrase. Then I read the voice, and that voice must be an in¬ case. may have a happy issue. These are repe¬ Jubilee last year. , . . the words and give the choir the ideas I tegral part of you. Your brains, your fea¬ I have many theories on the subject ot tition, exaggeration (on which 1 s a wish carried out; and when I feel and tures, your inspiration find a medium in choral singing; but I have also a prac¬ speak later), concentration, and, fina y, a know from the expression on their faces the human voice through which you can very important point, especially with en tical experience which has over and over that they have fully grasped all the ideas touch your fellow-beings; and in the per¬ We will sendyou the nearest dealer's again proved to me that whatever hard thusiastic members, relaxation. The mus I have given them, they recite the words fect choral singer that individuality is sub¬ name and a free paper pattern and fast rules may be laid down for the for the program to be performed is gw again to me, not exaggerating the con¬ merged and melted into a wonderful fel¬ leadership of a choir, the personality of them to take home (and, incidentally, 1 ^ sonants this time, but speaking naturally lowship of melody and inspired teamwork. showing that the Brambach needs the conductor is the greatest factor and very disappointed later on if I see . with feeling, to bring out the points and Enunciation and diction are what I have no more space than an upright. the one thing that in the end decides the scores accompany them to rehearsa, nuances I wish them to convey to me. always striven to teach, and I will use Simply mail the coupon to us today. failure or the glorious success of the per¬ then I know quite well they are no c When I am satisfied that they all have one of Lucie Kemp Welch’s glorious cart¬ formers. tain that they have memorized them * t the idea so that it has become one vitalized horses to illustrate my meaning. The con- Many Essentials cicntly). They are mid in advance perform for each rehearsal, and wh To be an ideal conductor there are many is done by every member of the choir essentials; and the first, and perhaps the I expect it to be a task of the greatest D. A. CLIPPINGER last, as well, is a magnetic personality; ure, for seldom at rehearsal do we one’ that can create harmony among those an incorrect note-1 have an examiner^ Will hold his Summer Term for Singers, beginning June 22 he controls and keep it pure and sincere. pointed to go through the pieces wi j Love also is an important factor, and faith ; and Continuing Six Weeks. The work will consist of BRAMBACH individual to find out and report o but the conductor must give proof of his PRIVATE LESSONS in Voice Pro- TEACHERS’ CLASS for the solu- capabilities and character before he can that both the words and music are duction, Diction, Interpreta- tion of all of the Teacher s secure either of these two great gifts from before they begin to rehearse wi tion. Repertoire. Problems. Their minds being entirely Jree say the singers who sit under his baton. CHORAL CLASS for the Study of Choral Interpretation I feel sure that my success as a conduc¬ thought of words, time or mu®1CT.}. (ben and the Technic of Conducting. what more is there to be done. « .j. tor is due to this confidence in me and love Mr- Clippinstr is thc Author of , . for me. If in any member there is any the real concerted work begms-j4 ? , b The Head Voice and Other Problems. Price *1.25. ‘The most interesting treattse upon the voice ing together, as it were, of the m 1 little thought not full of love for their %stematic Tr^ninft! Bpricem*1.25 A text-book for teacher and pupil. The most widely work and for me, I sense it immediately.^ into the perfect and harmonizing w .rf eoIlectlve'vblce'Tratal^.^Price^lIwL For u.e in Voice Classes, Choirs, Choruses, Public Schools. and the choir realizes this also with a vague The first thing I do when I stan ^ Mr. Clippinscr is a member of the American Academy of Teachers of Singing. feeling of discomfort. If that thought can¬ my choir at rehearsal is to look a ^ Send for a Circular. Address D.A. CLIPPINGER, 617-18 Kimball HaU, Chicago, Ill. not leave them, then they must leave the MME. CLARA NOVELLO DAVIES with a feeling of love and happing ^ I choir, for they cannot sing in an atmos¬ h her famous son, Ivor Novello. composer of the well-known war sons heart. We then all stand up andj^ jt is phere that, apart from them, radiates hap- ••The Long, Long Trail” * deep-breathing exercises togeihev THE ETUDE tj-IE ETUDE APRIL 1925 Page 285 iants are the horse, the vowels are the viously conscious of the fact. They must Page 28-Ip £PRIL 1925 thc reins are the body and brain, con- unconsciously be transported into another Nestle “LANOIL” Home Outfit C ctin

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Published by sold on this liberal trial basis since Sep¬ the Macmillan Co., at $2.50 per volume. His introduction to the book gives unusual D. THOMPSON, Managing Director The Macmillan Co. has rendered the musi¬ wavers elsewhere give many thous¬ tember, 1922. They bring happiness where- insight into the nature of the Music of the 212 West 59th St., New York City cal public a service and nil economy by ands this wonderful treatment. But in ever they go. So do not delay. Send for publishing these two excellent volumes by Greeks as well as the difficulties attending yP Military Band School, Patri PIA^-SCflOOL the late H. E. Krchbiel, in one volume, at a private homes, even more than this yours today, that you may the sooner know Circle 5329 the joy, pride and comfort of waves, curls greatly reduced price. Mr. Krchbiel accumu- the acquirement of this knowledge. 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By Mary musical library. ■"_ fltctl Watkins. Cloth bound; 367 pages; waving process. You merely wet the SUMMER hair with the sympathetic LANOIL PHILADELPHIA “SYNCOPATE THE CHRISTENSEN WAY” lotion, wind it, strand by strand, on SCHOOL SCHOOL OF PIANO TUNING DISTINCTIVE the Nestle mechanical curlers, slip the The Porter Pianoforte Summer School 9th YEAR REPAIRING, rebuilding and 1925 SESSION JUNE 29 to AUG. 1 B PIANOFORTE INSTRUCTION JAZZ PLAYER PIANO ADJUSTING little heater over each curler for just TRAINING FOR TEACHERS ItC Students Prepared with Assured uccess ONE OF THE LARGEST SCHOOLS IN THE EAST seven, minutes, remove, unwind and August 15th (An up-to-date System) A, A» Teachers and Concert Pianisls July 7th to Noteworthy Success as on Instructor Kindergarten correspond,nee cour«e. A-p, For^nlormam upm Classes, eu. eublre-s 57 West 48th Street, New York^ Mrs. Lillian Courtright Card,116 Edna Are.,Bridgeport,Com ■ the ETUDE APRIL 1925 Page 287

A Lesson on Schubert’s Famous Song “Am Meer” By LEON MAXWELL Director of the Department of Music at Sophie Newcomb College and GEORGE H. President of the Music Teachers' National Association This song is published in the Music Section of THE ETUDE for this month

GARTLAN Apparently no song could be simpler pressed. Then the vocal melody begins Director or more regular than Schubert’s “Am and progresses as formally as a German Famous New York Expert Meer,” yet one could scarcely imagine a folksong—a regular eight-measure period, Of Public School Music more perfect setting of the poem. Schu¬ divided into four-measure phrases which On Voice Production New York City bert’s music maintains the mood and brings are themselves formed of two-measure sec¬ Repertoire-Teacher’s Classes Classes out every- detail with the utmost expres¬ tions. Yet the tones rise as the voice Auditor Classes siveness, at the same time that the music would rise in reciting the words, and fall flows on as naturally as if there were no at the close of each verse line with strength words to restrict the composer. As an where the metre calls for an accent—at Heniot Levy, SUvio Scionti, Piano Karleton example of Schubert’s wonderful skill in “hinouj” (widespread sea), and “Fischer- keeping the proper balance between text haus” (fishing hut)—and a dying away on Jacques Gordon, Herbert and music, which is as much a sign of his the unaccented syllables at the end of genius as his melodic gift, “Am Meer” “Abendscheine” (rays invested), and “al- rightly stands high among the immortal leine” (vested). OITKAIUrm CrCCTAM ofSix Weeks, from June 29th to August ^^^^^^SlCourses for Supervisors of songs of the world. Follow the Music Exactly Schubert’s Fondness for Poetry SUMMER SESSION s&s-* “• The singer unfamiliar with German can¬ indness for poetry was not go wrong in his accents and inflections The American Conservatory awards Teacher’s Certificates, blank. Excellent Dor- shown by his habitit .of reading through vol- if he follows Schubert’s music exactly. T>ont let 2 struck his fancy umes of verse unti The melody is slow and melancholy, though and at white heat was given a musical it is in a major mode; and the mood is setting. His taste in poetry was not cul¬ emphasized by the slight movement about ~ 7 tivated, and bad verse as well as good the central and persistent tone, C. The wet, slippery hands brought forth melodies, but evidently his accompaniment is low-pitched and the instinctive taste was good, if we may judge rhythm is that of the vocal melody except by the surprisingly large proportion of his at the falling middle cadence. The bass of greatest songs which were inspired by the scarcely moves, while the melody tones mar your playing American Conservatory Music best poems of his day. are always accompanied by the third above Heinrich Heine, the most esteemed of John J. Hattstaedt, President brought out in octaves, giving the effect of 571 KIMBALL HALL, CHICAGO, ILLINOIS all the German writers of tiny lyrics, was a simple duet. Odorono £eeps them dry and unknown until a few years before Schu¬ The final cadence, “und alleine,” is softly bert’s death. Therefore, it is only in five echoed in the piano; and then the mode or six songs of Schubert's last set, “Swan comfortable. Send for sample changes to minor and the tremolo in the ac¬ w ^(rm5(rm5(rv^S( PERCY FULLINWIDER Songs,” that we see what Schubert might violinist companiment prepares for the motion of The bogey of every player’s performance—perspiring have done with Heine’s lyrics. “Am Meer” the mist, the water and the gulls of the is one of the few settings of Heine’s verse hands! Hands uncertain, inflexible in movement because LAWRENCE CONSERVATORY LAWRENCE CONSERVATORY poem. The vocal melody again follows the | SCHOOL? 0P° Professional APPLETON, WIS. from Schubert's pen. Others that should slippery and clammy with perspiration. A MASTER TEACHER natural inflection and accent of the speak¬ be known intimately by every singer are ing voice; there is more agitation, and This is a form of nervousness most unpleasant and even “Der Atlas,” “Der Doppelgiinger,” “Die therefore the intervals are wider. The dangerous to a player’s success. The perspiration glands Dormitories. Free Catalog. Stadt,” and "Ihr Bild.” US IC Summer School rhythm changes from its regularity to a are always stimulated to undue activity by excitement and CARL J. WATERMAN, Doan Heine’s Masterpiece three-measure phrase, followed by a two- nervousness as well as by heat. Conducted by MASTER MUSICIANS Heine’s “Am Meer” is a true romantic measure phrase. The feeling of movement But you do not need to suffer in this way. It is a con¬ Six weeks, June 22 to Aug. 1. Ten weeks, May 25 to Aug. 1. lyric, a personal expression of a mood, not is also made stronger by the modulation to dition which you can quickly and surely correct. Just Special Summer Course in any sense a story. Here is a fairly lit- D minor. The vibrating accompaniment apply Odorono, the original corrective for excessive per¬ The Summer School faculty is one of the most notable in America HAROLD HENRY continues long enough to lead back to the spiration, and you can enjoy hands perfectly dry and com¬ and attracts many professional musicians to Columbia School of Music. Music Supervisors in the last light of evening; we sat, silent original tonality, and then once more takes fortable. The Master Musicians of the school, who have national reputations ITHACA INSTITUTION OF its smooth, measured course. But notice as Artists and Teachers and who during Summer School will de¬ and alone, by the solitary fish-house. The Odorono is an antiseptic liquid, formulated by a physi¬ PUBLIC SCHOOL MUSIC mist came up; the water rose; the gulls how Schubert brings out in the accompani¬ vote their entire time to teaching, includes the following great Artists: cian for both perspiration moisture and odor. It is as Clare Osborne Reed, Louise St. John Westervelt, Ludwig Becker, George June 29th to August 6th new hither and thither; from thy eyes, so ment the words “fielen die Thranen” "is distinctly on. of the’l°B|;“hbfel'"&ew York TRIBUNE harmless to use as any toilet water and is widely used in "U in the front rank of virtuosi ^ DEUTSCHE ZEITUNG Dasch, Mary Strawn Vernon, Adolf Brune, Alfred Wallenstein and Special Teacher, of Wide RepUt.tson full of love, fell tears. I saw them fall (sweet one, I Saw thee), and also note ■•h„ technically everythin,;. ’’ “Munich ifrAATSZEITUNG other resident members of the faculty. and Experience the falling half cadence that closes the hospitals by physicians and nurses who know that it is ALBERT EDMUND BROWN, Dean upon thy hand; I kneeled down and drank ~ra±t^™£ra 8T“D "‘"'KiaTAGESLATT Columbia School of Music, after twenty-five years of musical leader¬ strophe and its dark and distant echo an not injurious to control perspiration in such small areas gg»«K «">■>* *«*”•'■ “SS&f.lglSicSIS?'1 First President of Eastern Mask Supervisor s the tears from thy white hand. Since ship, stands pre-eminent in the educational world as a teacher of artists "will teach during the summer Conference „ that hour my body wastes away; my soul octave lower in the accompaniment. as the palms and underarms. MONTHS IN °LI)b BIjNNnINGTON,yVT. and teachers of music. Courses in Methods, Sight Singing.^, flies from longing; the wretched woman mony. Ear T raining. < ondu* ting* • c yj HE WILL GIVE PRIVATE AND CLASS SEND FOR COMPLETE SUMMER SCHOOL BOOKLET has poisoned me with her tears.” That Intensity of Feeling For the underarm toilette LESSONS AND HOLD WEEKLY Up to the close the second stanza has INTERPRETATION CLASSES COLUMBIA SCHOOL of MUSIC is all there is to it, except for the beauty Odorono is now used regularly by 3,000,000 people who of the verse; yet how it stirs the imagina- the same music as the first, but the setting realize that underarm odor cannot be counteracted by soap In Mr. Henry’s Theatre Studlo Four Artist CLARE OSBORNE REED, Director Recitals will be given as weU as frequent chorusrand°oreheTtri. Rr^’t'*1 'ind*''faculty tionl The mystery of the sea, the lone- permits the singer to suggest the heighten¬ and water alone. One application is effective for at least recitals during the season by Artist Pupils ing intensity of feeling. There is a slight One Scholarship will he given 509 S. Wabash aAvenue, CHICAGO concerts each week. Ithaca 'Uess, the encroaching darkness, the rest- 3 days. Its regular use twice a week gives you absolute heart of the beautiful Finger Lakes R'eg essness of the water and the gulls, as a modification at the climax when both voice an ideal location for summer school « assurance of perfect personal cleanliness and protects your ackground for a soul made bitter by a and piano cry out at the words, “ungliicksel clothing from all taint of odor and unsightly stain. Keep eiid^ excursion? ** woman’s tears! Why the tears? What ’ge Weib (alas, a pois’nous power). Over illustrated catalog. your underarms dry and odorless; your hands efficient and appened to the woman? Who cares for the final complete cadence in the accom¬ ITHACA CONSERVATORY OF Mus comfortable with Odorono. At all toilet counters, 35c, 301 DeWitt Park, Ithaca. N. such details? The mood is enough. paniment the vocal melody has a character¬ 60c and $1, or sent by mail prepaid. College of Fine Arts- I FEEL MUSIC . “ow how does Schubert get the mood istic Schubertian cadenza which the good in music while he watches every word de- interpreter can mold into a wonderfully Syracuse University Send for three generous Samples KNOW MUSIC VIRGIL PORTABLE . ’ Notice the first measure of the song, expressive closing phrase. One would With its soft, low-pitched, dissonant chord think the song already a perfect whole and PLAY MUSIC KEYBOARD RUTH MILLER m which the chromatics yearn for the beautifully finished, but Schubert gives it 424 Blair Avenue, Cincinnati, Ohio MUSIC, ART, ARCHITECTURE resolution that follows. It is repeated still greater unity of mood and structure by softer, i 900 STUDENTS 42 INSTRUCTORS mysteriously. The darkness, repeating the dark, yearning chords of Please send me sample set of Odorono, Creme arm maispensaoie to riamsts and the Four-year Courses in longing of the poem are already- the introduction. Odorono (for odor only) and Odorono Depilatory, with booklet, for which I enclose 10c. Piano, Voice, Organ, Violin, Com¬ position, Public School Music, leading to the Bachelor’s degree WORLD FAMOUS SINGING SPECIALISTS Unexcelled advantages for the study of music. Many of the greatest Singers and Vocal Teachers of the present day will Special students may enter at any time. Dormi¬ tory with 42 practice pianos reserved for women Present articles on their art, in “The Etude,” in the near future. music students. Five pine organs. WRITE FOR CATALOG THE ETUDE the ETUDE APRIL 1925 Page 289 Page 288 APRIL 1925 else which he likes better. But, if he is an Organist at all, it seems only fair that The Organist’s Palette A FEW months ago (in March, 1924) his primary interest should be (at least when T he Etude conducted a mo.st significant playing the Organ) in music which having By H. C. Hamilton symposium. Twenty-six eminent musi¬ been composed for it, is peculiarly adapted cians of the highest rank, contributed to it. If he is not satisfied with what The Organist’s Etude Fortunately, or unfortunately, to-day each a list of ten masterpieces of music, already exists, he might, like Isaac Watts Then, too, as referred to previously, the it seems to have become the custom to which in their mature judgment might with the psalm-versifications, turn in and regulating or voicing of all the pedal pipes It is the Ambition of THE ETUDE to make this Organ Department think of everything instrumental from the be considered the greatest compositions write better. It is certainly true that, unless is frequently unequal, with the result that in existence. It would be interesting to “An Organist’s Magazine Complete in itsen orchestral point of view, therefore the the Organist, with his specialized knowledge most comprehensive of all instruments, the in many instances two contiguous pedal write an article interpreting the lists in and interest, gives to the world the music organ, appeals to many as the most able to notes may differ greatly in their individual terms of what they should mean to the for the Organ, it will probably never have Edited by Well-Known Specialists emulate that vast aggregation of string, tone. I have taken the trouble more than readers of The Etude. Since this de¬ a hearing, except, perhaps, in some garbled wood, brass and percussion—the modern once to transpose complete voluntaries so partment is confined primarily to the form, like the maltreated Bach which tile symphony orchestra. Recitalists vie with as to avoid an unpleasant pedal note in interests of organists and choirmasters, Pianists occasionally administer. each other in their efforts to make their only so much of the symposium will Xs for the ingrown interests of the some pianissimo passage. programs “orchestral” and the “trans¬ be 'discussed as would presumably be of Organist, they are after all no more in evi¬ Lastly, the use of the pedal should be logi¬ cription” style of organ music seems to interest to them. What’s the Matter With Organ Music? dence than the narrow horizons of most cal. Its careless use here, there, or anywhere In the same issue with the sympo¬ glory in the ney-day of its existence. other folk. But the point is not that is a practice deserving of the severest cen¬ sium, the editor has called attention to That the organ can reproduce certain others are just as bad, but that we should sure. Scarcely anything more clearly in¬ certain of its phases. Among other By J. Lawrence Erb orchestral effects in regard to tone-color be better. It is a pity that the branch of the dicates a lack, of taste and refinement. To things, he has tabulated the nineteen mr.ch better than the piano is evident to profession which once led the van should be logical, the pedal may well be heard, compositions receiving the largest vote. ^ of oratorio of the;r tjme, and, Organists do not make some sort of a anyone. But that, in itself, should not favorable impression upon these peopie, the have lagged behind—all the more a pity generally speaking, in the first and last If you have looked among these nine- Dvorak, all wrote more or less create the impression that the organ and sections. Middle passages may be played fault is at least in part ours. If people get the because it is still customary to regard the teen compositions for some of your fa- fort^organ orchestra have so much in common that notion that the Organ is uninteresting or Organist as the best-equipped of all musi¬ often without any 16 ft. tone, but, heard vorite organ works, you have looked To revert once more to the Editor’s com- each could be the duplicate of the other. that its music is vapid-or stupid—and not cians, in those matters which make for musi¬ at the first and last gives more “form” in vain, for there is notan organ com- ^ upQn the SymposiwT1) here is his classi- I think it was Berlioz who declared that up to the standard of other instruments, cianship. It is therefore doubly sad that similar to that used in composition, as for positwn on the Its. Whether or not q£ the contributors with regard to there seemed to exist a sort of antipathy they get that impression from what we play the profession at large should so generally instance, proper ternary. Or, a gradual The utmost oratorios arc directly * their major occupation: between the two, that each was, as it were, building up of tone, without any pedal at for them and the manner in winch we play ignore us. Possibly it is not a matter of cern to organists and choirmasters Conductors . 3 a king, and unwilling to yield to the other. first, but introducing it for the last sec¬ might provoke discussion; but, assuming .7 virtue; for virtue may repel as well as As everyone knows, the mainstay of the tion is another effective arrangement. It in music accomplishment 4f’ln the next place, our very pleasant, ’ attract. Perhaps ours may be a cloistered that they are, the showing is not much more romoosers . 8 orchestra is the string section, while the is rarely good to finish anything without mutual-admiration-societies, which have virtue which needs to try its potency in the As the shadow nimbly follows the leaping, curving dancer, encouraging, for the list contains only ' '. 3 fundamental thing of the organ is the some pedal at least, as the “finishing touch” done a really great service in raising the light of every-day. Perhaps the Organist is the Weaver Piano responds to each mood of the artist—now two names, and neither of them is the Educators . 2 seems to be lacking. •Messiah” or “Elijah.” They are guegors . , standard of Church and Organ music, have missing a lot of fun which he might have diapason tone. This, in itself, is sufficient merry and boisterous, now subdued, now thundering like the to place the two tilings on a different basis. Another thing very easy to abuse is Baeh’s great oratorios, the B-Minor _. 1 drawn us entirely too much within our¬ by branching out into the multitudinous great god Thor himself. Then, too, the orchestra has the “personal the vox Humana stop. Every organ does selves. Just because the. Organ is so attractive byways in which, for instance, the Because the Weaver more than fulfills the most exacting Mass” and “The St. Matthew’s Pas- ySst i'.i' ^ • 1 touch” behind each and every tone-produc¬ not possess it, which need not always be demands, it has been chosen from among the world’s finest satisfying is the best reason in the. world for Organ is used as an ensemble instrument or sion” These twenty-six men and women are rep- ing device it possesses, resulting in a a cause for regret. If there is anything pianos by many world-famed artists. Let us direct you to the not being satisfied with it alone. Our the Choir finds support apart from the Fourteen Oratorios resentative of the highest type of intelli- balance of power, and in rhythmic and that the amateur organist Seems to love nearest Weaver dealer. Weaver Piano Co., Inc., York, Pa. job is much bigger than pleasing ourselves traditional ecclesiastical environment. The Weaver, York and Livingston Pianos and Player Pianos. Taking the lists as a whole, the gence in the musical profession to-day; and dynamic resources impossible on the organ it is the vox Humana. The poorer the or the ministers with whom we serve or well-routined Organist is a superior musi¬ showing is more encouraging, though still many of them stand out pre-eminent yby with its “set" tones and calculated wind technic, the greater, apparently, the addic¬ even the music committees who engage us. cian, with an unusually wide, sphere of capa¬ not such as to flatter the vanity of the virtue of their broad outlook and intimate pressure. To say, therefore, that the tion to this particular stop. Like all things It involves a matter of inspiration and wor¬ bilities. He ought to have a correspond¬ organist. There are fourteen oratorios acquaintance with a wide variety of music, organ is an orchestra under the control of of a pronounced quality, it can easily be¬ ship, of education and social service whose ingly wide sphere, of influence. And he mentioned wholly or in part, including Yet the fact is that, of the twenty-six, only a single performer, is more a fanciful come wearisome. The middle and lower WEAVE R reward is neither in dollars nor in a sense should so favorably impress his professional such as the “Messiah,” “Elijah,” the “Ger- six—and three of them organists—make statement than a literal fact. registers are particularly rich, and can be of having satisfied our employers and per- brethren that, when the next Symposium is man Requiem,” Beethoven’s “Solemn mention of any organ composition whatever. Nevertheless the organist of to-day may of charming effect if not overdone. As haps ourselves. It is much more important held, whether or not the Conductors and Mass,” Palestrina’s “Mass of Pope Mar- What then does this mean? Does it mean take many a valuable hint from the or¬ the vox Humana is a “fancy” stop, the that we make our instrument and its music Composers and Pianists know much about cellus’-” “The Dream of Gerontius,” that organ music does not measure up to, chestra, especially with a view as to mak¬ organist of taste will use it as such, and loved by the community so that they may Organ music at first hand, they should at "The’Seasons,” “The Hymn of Praise,” let us say, piano-music or violin-music, ing his playing less ponderous or lifeless. not serve it up on every occasion. It may do the community good. least find the Organist looming so con¬ Dvorak’s “Stabat Mater,” a work each both of which are fairly well represented m The work of too many players in our easily degenerate into something approach¬ spicuously that, not to appear onesided, they bv Haydn and Mozart, and an unfamiliar the Symposium? While, perhaps, some ot Publicity churches can be best described only as ing the vulgar, as its tone is decidedly would have to make themselves acquainted work by an American composer, Edgar the contributors might frankly state that to little short of “heavy.” Of course, as the sensuous. The pure tones of the other The first step in publicity is to let the with the Masterpieces of Organ-music be¬ Stillman Kelley. Of organ composers be their conviction—in which case we would diapason tone of a good organ is funda¬ soft-toned 8 ft. stops are certainly pref¬ public know what is being done. Many only two are mentioned, Johan Sebastian not quarrel with them, since conviction is fore expressing an opinion. mental, the effect is largely broad and erable as a steady diet. One peculiar Organists hide their lights under a bushel. Bach and Cesar Franck. The list of primarily a personal matter—yet I believe it, solid. A feverish restlessness is more apt effect of the vox Humana, to conclude, is In how many churches is it customary to organ compositions mentioned with the can be safely asserted that the principal! Backs for Organists to characterize the orchestra. But one when played in open fifths, and without advertise the music of the Service or even number of votes, is as follows: reason for so unfortunate a state of affairs thing that contributes very largely to an tremulant. Here the tone is an almost per¬ to announce it on a Bulletin? Perhaps the Bach: G-Minor Fugue. 3 (at least from our point of view, unfor- By Helen Oliphant Bates unpleasant heaviness in organ playing, and fect imitation of a bag-pipe. Congregation does not print a Program Passacaglia, C-Minor. 2 tunate) lies in a lack of reasonable publicity a thing every organist can avoid, if he will, One more thing that can soon irritate or Bulletin. It is always possible in such a Franck: Three Chorales. 1 for organ music and a consequent Organists often have to practice for is the continual use of the 16 ft. pedal. the ear is the using of the tremulant in case to follow the example of many excel¬ Third Chorale. 1 of it upon the part of even the well-in long periods at a time on a bench that It is well known that the ear is wearied connection with loud playing. The gentle lent Congregations and post a printed or Grand Piece Symphoniquc.. 1 formed musician. , , , , has no back. Below are two exercises sooner by the extremes of pitch than wave of tone, when it becomes a mighty type-written—or even a written—notice In this connection it is interesting to note The organ, like the church has been which, if taken regularly, will strengthen anything else, especially if the tone be at shaking, soon grows wearisome and ir¬ about the music in the vestibule or some that Bach’s G-Minor Fugue was on the handicapped on the whole the spine and help to prevent fatigue. all penetrating. Monotony may result from ritating. Perhaps we hear more of that other prominent place. There is a further lists of Puccini and Owen Wister while ^nse of dignity. Not that one can agree with 1. Stand erect. Place the hands, with too much medium pitch, but rarely torture. in motion picture houses than in church. advantage in posting the musical numbers Percy Grainger included the three Franck the foolish sensationalism which has too fingers interlocked, across the £oreh or open diapason is easily understood. Fre¬ preserving its own individuality, need not some thought in selection and in the second tinned by the three organists, Courboin, the ultra-conservatism of the Church at resisting the bend by the pressure ot tne quently, outside a church, its tone can be seem like an antiquated relic of past days. place, by calling attention to the selections, EXTRA MONEY Eddy and Lemare. large. There are degrees and kinds of pub- hands against the head. Place hands 1 heard when all else lias become inaudible. Too much legitimate organ music is not of it tends to elevate standards. People, readily Such a tabulation, while interesting, licity, and, as between the two-sentimental back of head. Return to standing position, Often, too, the vibration of some of the a nature to interest the average hearer get into the habit of consulting a Pro¬ Teaching the Saxophone would be of little value to Etude readers publicity and conservative dignity 1 for resisting upward bend by pressing own individual pipes can be felt, as well as of to-day. Personally, I have found that gram (one of the relics of our pre- if it did not point a moral. What that one would unhesitatingly choose the latter with hands. The value of this exercise heard, very similar to the sensation one many excerpts from the standard oratorios Thousands of people are buying Buescher Saxo¬ Adamic state is our innate curiosity), so it phones and learning to play - teaching them¬ moral is, might easily provoke discussion— Yet, it is only logical that there is a type of will depend upon the amount of resis an is conscious of when a train is passing and symphonies make for better and more is not difficult to call to the attention of the selves because there are so few teachers. Hundreds of which undoubtedly would be a good thing, publicity to fit every enterprise; and the given by the hands. If you dimply overhead on a low bridge. There are many interesting music than many things written others, musically inclined, are eager to take up this easy Congregation, not only the titles of the se¬ instrument. In every town - in your town - the Saxophone However, there can be no doubt that it fact that the Church has not yet discovered forward a few inches the exercise church-goers whose ears must be wearied originally for the instrument. Among lections but also such other items as may be teacher is in great demand. emphasizes anew the wide gulf which has the proper type does not prove that there is not give much benefit. , , every Sunday by the thoughtless pedal such I might mention some of the shorter desirable and legitimate. With such a We’ll Show You How sprung up between the organists and the none. Just so, the organist, without de¬ 2. Stand erect. Place hands m back Playing of their organist. Properly used, Haydn movements, the Andante from medium, it is easy to stimulate interest and If you teach music ; or if you play any instrument, you profession at large. Time was when the spending to clap-trap can find ways of m head. Pull forward with hands and M of course, the 16 ft. pedal gives to the in¬ Mozart’s “Jupiter;” “By the Brook,” from inaugurate publicity which may be followed organist was the Musician par excellence ing his calling better-known and respected, over to the right. Return to position strument its power and grandeur, and for Beethoven’s Pastoral Symphony; and the up as the occasion may dictate. and when every great composer played the and it is his business to do so. bend to left, pulling forward constantly this very reason its use should be one of Andante from Mendelssohn’s “Italian.” In the matter of common ignorance organ more or iess and was acquainted with We have only ourselves, as Organists, to with the hands. Like the preceding ext the supreme considerations and the effect These things need very careful registration. regarding Organ-music, 011c need not be a its literature. This state of affairs continued blame if those who hear us play do not rise, this one depends for its results upon a matter for profound study. To listen to Too much 16 ft. tone can easily mar the Test yourself at our risk• Try a Buescher Saxophone in your own home 6 days I purist to catch the logic of the situation. delicacy. Soft-toned 8 ft. of string qual¬ No obligation. Send the coupon or a postal for details of our most liberal proposi well to the end of the Classical Period; for gradually become acquainted with the best the amount of energy put into it. much of our church music it would seem and free Saxophone Book- Easy terms. Get the facts. Do it now. No obligat If Organ-music is, much of it, great music, Beethoven was as a boy, active as an organ- in Organ music and grow to like it. After If you practice these exercises regular y that the organist used the lower part of ity will be most useful, also a moderate as many of us believe, then it is our privilege use of the woody 8 ft. and 4 ft. flute tone. Buescher Band Instrument Co. ist and was a lifelong admirer of the instru- all, the Church- and Recital-Organists of with vim and vigor you will be rew , the pedal board as a rest for his feet, Everything in Band and Orchestra Instruments and pleasure as Organists to present it to These along with the oboe and clarinet ment. With the development of the Roman- the country play to more people every week by better circulation and stronger tn judging from the interminable length of 782 Buescher Block Elkhart, Ind. tic School, however, the Church to a large tban anyone else who is seriously interested the public in such a manner that give the nearest approach to orchestral in the back. his bass notes. extent lost its ascendency, and since then the j11 making music, unless it be our brethren the public will like it. If it is not great Again, the upper part of the pedal board color, though we must not forget it is great composers have, in the main, been of the Movies—also Organists, many of music, then why waste time with it at all? 15 generally neglected. Delightful effects only an “approach.” Nevertheless the definitely secular in their associations and them 0ur cburches may be only partly That all Organists should feel alike about “Don’t think that good books an 2^ •nay be obtained by the 16 ft. tone on the results are so beautiful that I feel this sort point of view. True. Mendelssohn, Liszt, ^ {or all tbatj their weekly attend- any particular composition is not to be music are out of fashion. The go 1 in higher register. The pedal staccato has of transcription has much to recommend Brahms Dvorak and Elgar were a 1 t numbered by the tens-of-millions, expected. Even the Passacaglia and the fashioned hymns arc in bigger rjer” 0DETROIT WILLIAM H. PONTIUS. Director SCHOOL OF MUSIC 60-62 Eleventh St., So., MINNEAPOLIS, MINN. “An Institution for Advanced Students” “Mum” regularly with Affiliated with the the sanitary napkin— CONSERVATORY UNIVERSITY OF MICHIGAN EARL V. 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Page 296 APRIL 1925 the most popular among these, for not tory to those of Kreutzer, and so are very COLUMBUS, OHIO VIOLINS very advanced players, are the numerous much easier. The first half-dozen of duets by Pleyel and Mazas. Other tried them can be played after very little experi¬ PROVIDENCE, R. I. April 20 to May 1 Examine our collection works are the duos by Kalliwoda, May- ence. April 6 to April 17 C HICAGO seder and Rode. Leaders INDIANAPOLIS, IND. VVe have all kinds of Mazas has written seventy-five violin SEATTLE, WASH. June 1 to June 12 May 4 to 15 The student is naturally very interested studies, usually published in three sections m studies, and among the multitudes on —Special Studies, Brilliant Studies, and 4= July 13 to 24 MILWAUKEE, WIS. every hand he may flounder all his life Studies for Artists. The first of these TACOMA, WASH. without ever meeting those that really May 18 to 29 books is delightfully explicit gnd beneficial. Conns arc Choice July 22 to 31 matter. Standard studies are not of ele¬ Other great collections of studies, rank¬ mentary grade, but that should not prevent OAKLAND- John M. Williams MINNEAPOLIS, MINN. ing second only to Kreutzer’s, are the „), “FIRST YEAR AT E PIANO” the learner from getting them early and Twenty-four Caprices, of Rode, and the of foremost SAN FRANCISCO Author of “CHILD’S FIRST MUSIC BOOK” (Sehbi ™ June 15 to 26 (PrMser); “NOTHING EASIER, ORU.U. ADVENTURES__ OF TEN LITTLE FINGERS IN MOTHER picking out scraps here and there, so that Thirty-six Caprices, of Fiorillo. Rode is August 3 to August 14 ‘TUNEs"fOR TINY TOTS” (Pros Established 1846 Catalo Jenkins School of Music GOOSE LAND” (Schi-- TINV TOTS” CALGARY, in time they may become familiar. rather more difficult than Kreutzer, and The supreme studies for the violinist Fiorillo simpler. Conductors 46 Randwick Avenue ALTA., CANADA AUGUST GEMUNDER Sl 50N5 Oakland, Calif. Will Conduct Normal Classes for Teachers of are the magnificent Forty-two, of Kreut- Seven Divertissements, by Campagnoli, June 29 to July 10 Subscribe to ^esviSta and'phino* WWl zer. No others have ever equalled them, afford the best test ever devised of the LOS ANGELES Pianoforte in the Various Cities as given here: Violin Makers and Experts Exclusively August 17 to August 28 125-127 West 42nd St. Dein. E NeW York nor does it seem likely that their suprem¬ violinist’s knowledge of the positions. acy will ever be challenged. Most of I recommend, then, that every fiddler gets Kreutzer are difficult; but, as it happens, l C_tkr. of th* nianoforte with the notes on the grana all the music I have mentioned and be¬ FREE:—Send name and address for keyboard chart-ror corrempng wtc - — —- ----—-- upon request. Address the most famous study of the collection, comes intimate with it as soon as possible. WILLIAM VOIT COMPANY number two, is comparatively simple and By so doing he will know, at any rate, straightforward. Any violinist with some many things that a musician can ill afford knowledge of third position, and the barest to be without; and he will be cultivating acquaintance with second, may have the such a taste as will enable him confidently joy of learning this splendid thing. of Improved Music Study to reject the chaff and retain only the wheat Kayser’s Thirty-six Studies are prepara¬ DUNNING SYSTEM for Beginners among all the music he may encounter. Doelling “ Sartory Model “ The Demand for Dunning Teachers Cannot be Supplied Why? EASTMAN VIOLAS, CELLOS, BASSES AND Difficult to Answer NORMAL CLASSES AS FOLLOWS: ALL ACCESSORIES Sok Distributor* of LA FAV0R1TA STRINGS The editor of the Violinist’s Etude play them well, very good progress might MRS. CARRE LOUISE DUNNING, Orator. 8 W- «,h <*, N~1 <*-. N.w Y* City. SCHOOL OF MUSIC Thi World's Bat" should no doubt be profoundly grateful be indicated, and if very badly, hardly any Mr*. Zell. E. Andrew*. Leon.rd Bldg., Spokane, Wi.h. White Violins. Bodies, Necks, Raw Wood, Tools for the exalted opinion which some Etude of Katharine M. Arnold, 93 Maduon St., Tiffin, Ohio, Arnold School of Muatc. progress at all. Most of these inquirers violin readers seem to have of his powers. also neglect to give their age and the num¬ The University of Rochester To judge from letters received, which he ber of hours of daily practice they have Do*a A^ChMeTcara^ie^Hall, New ^^^^^^j^j^^s^ouia^Mo.^Suinmer'oitaaM,* June, July and AugusL Old Tone on New Violins is expected to answer, the writers seem to done, matters of prime importance in de¬ AffiUC. Eddr^’ w. Sandusky A«f,’BeUufontaine, Ohio, Jan.: Cincinnati Con.err.lory, Juno. look on him as a combination of prophet, ciding whether the rate of progress has SUMMER SESSION Beatrice S. Eikel, Kidd-Key College, Sherman, Teiaa. clairvoyant, telepathist and possessor of been satisfactory. June 22—July 25, 1925 A!—, N.M., Juno: Am.riUo, Juiy: Bo-do, supernormal powers generally. Unfor¬ If any violin student wishes to learn Colo., August. . , , K City, Mo. Normal Class, Jan. 5, 1925. tunately, this is not the case. whether he has made the proper progress, ALL REGULAR DEPARTMENTS IN SESSION WITH CarrUw'Llng toTS Irt* Bldg.,“ch’icago, IB. Normal Cl...e., Juno, July, Augua. and Sept, Da.laa, The three questions most frequently the only way is to consult a good violin COMPLETE FACULTiES To*a», Juno 1; Cloreland, Ohio, July 6; Detro'.t, Mich., Aug. 10. , . 6lh rioroland Ohio- asked are the ones which are most diffi¬ teacher, who is an entirely disinterested Harriot Bacou MacDonald, 825 0,ch..tra Bldg., Chicago, IB. Juno U at Dali.*, To...; July 6th at Clor.land, Ohto, cult to answer. Here they are: “Is my party, and play for hini, giving him the violin a genuine Cremona?” “Have I made list of compositions studied, his age, and VIOLINS proper progress for the length of time I the length of daily practice. The student PUBLIC SCHOOL MUSIC Deep, Mellow, Soulful have taken lessons?” “Is my teacher in¬ must be actually heard before a decision FACULTY OF NATIONALLY KNOWN EXPERTS OFFER COURSES IN Mr*. N. a Phipper*. 1536 HoU, St., Dallas, Teas, Cl..... hold D.lla. and Ada, Uttta. structing me correctly?” can be reached. Virginia Ryan, 940 Park Are., Net, York City. Question 3. “Is my teacher instructing METHODS, INSTRUMENTAL MUSIC Mrs. Stella Seymour, 1219 Garden Street, San Antonio, Tel. The first question is the one most fre¬ Isabel M. Tone, 469 Grand View Street, Los Angelo, Cal. quently asked, and as a rule all that is me correctly?” is as hard to answer as the (Woodwinds, Brasses, Strings) Mr« S L Van Nort, 224 Tuam Avenue, Houston, Texas. sent to help the editor to decide whether other two. The writers of such letters Mr, H. R. Watkins, 124 East 11th St., Oklahoma City, Okie. the violin is a genuine Cremona is a copy (usually beginners) describe' as best they PIANO CLASS TEACHING, APPRECIATION, VOCAL CLASS INFORMATION AND BOOKLET UPON REQUEST MUSIC and of the label pasted inside the violin. Now can the instructions of their teachers. Now TEACHING, HARMONY the writer of one of these letters would this is certainly not fair to the teachers, TRAVEL in EUROPE see what folly it would be to copy the nor to the editor of the Violinist’s Etude, OR half a century Conn and who is asked to criticize the work of a F VIRGIL SCHOOL OF MUSIC words on a $20 bill and write to a bank the great names in band and orchestra 3 Weeks in Paris teacher he has never heard give a lesson, NORMAL and REPERTORY CLASSES Founded by the late A. K. Virgil teller or cashier in another city as follows: music have been inseparably linked. I nstruction by “Dear Sir, I have a $20 bill with the fol¬ and to inform a pupil he has never heard Conns have .been the instruments upon Originator of the Virgil Method, Inventor of the Virgil Practice Clavier lowing words printed on it. Is it genuine or seen play whether he is being taught FOR PIANO TEACHERS niiiiiim oreciniu beginning Monday, july 6th PHILLIP THIBAUD et al. which the world’s foremost artists and SUMMER SESSION ending SATURDAY, august bth or counterfeit?” No one with the slightest correctly, manifestly an impossibility. The conductors have played their way to ORGAN ACCOMPANIMENT OF MOTION PICTURES V. K. VIRGIL, 510 Wes ue, Nev Grand Opera; Concerts; intelligence would write such a letter to a student is usually unable to clearly describe fame. A few of these are pictured here. Academic Work in University in Conjunction with Music Study bank. They would know at once that the what he complains of in his teacher’s Every Conn instrument is built to the su¬ Wagner at Bayreuth banker would have to have the bill in his methods; and for this reason the editor preme standard of quality which has won the en¬ \ Summer Course in Harmony Crane Normal Institute of Music Let Us Tell You About It hands, to decide whether it was genuine declines in almost all cases to mix in with dorsement of the greatest artists. For Conn has For Information Address Director of Summer Session also developed those processes of manufacture Training School for Superviiort of Muiic By the Sea INTERCOLLEGIATE TOURS or counterfeit. But, in violin matters, these pupil-teacher disputes, for he is which insureuniformexcellence.Amongtheseis the ^ BOTH SEXES ^ placed in the hopeless position of trying famous hydraulic expansion of all tapering tubes. An opportunity for the busy teacher M7-L Park Square Bldg. Boston, Mass . people seem to lose their common sense. EASTMAN SCHOOL OF MUSIC form, music-history, chorus-conducting, methods, They do not hesitate to send a copy of the to criticize the playing of a violin pupil practice-teaching. Graduates hold ^ important posi- to study and recuperate. With their exceptional ease of playing, ROCHESTER, NEW YORK label in their violin and ask the editor to he has never heard. beauty of tone, reliability of action. Conn instru¬ Send for Illustrated Booklet to ments afford the quickest and surest means of 53 MAIN ST., POTSDAM, NEW YORK F.L. Willgoose, Trades School Bldg.. Huntington, N. Y decide upon the merits of a violin he has As in Question No. 2, the remedy is artistic success, the greatest measure of musical dymethod lathrHmh never seen, simply on'the strength of the for the pupil to play for a disinterested satisfaction to amateur and professional alike. ?e8eaBwnr'ir E,asP painless,' harmless.' No scare. Booklet violin authority and to get his opinion as cSur.W nte,twlT:eDcloaln‘: -3 stamps. We teach Beauty wording of a label. Free, “Success in Music and How to Win It,” — D-J. Mahler, 144-A Mahler P’k, Providence, R. I. Anyone who wishes to learn if a violin to whether he is being instructed correctly. by John Philip Sousa and other artists. Send eEARN needed money as a SUBSCRIPTION AflENT coupon for your copy and details of Free Trial, is genuine should show it to an expert, Another class of questions difficult to Easy Payment Plan on any Conn instrument. TINDALE such as can be found by consulting a firm answer is the “How long?” variety. People Music Filing Cabinet C. G. CONN, Ltd. of reputable dealers in old violins. It is write to inquire how long it will take them 413 Conn Building, Elkhart, Indiana Needed by every Musician, quite impossible to find out by sending a to master the violin; how long before they Dealers and Agents Everywhere NEW YORK SCHOOL OF MUSIC AND ARTS Music Student, Library, can compete with Kreisler; how long be¬ School and Convent. copy of the label to the editor of a musi¬ 148-150 RIVERSIDE DRIVE 23rd YEAR Ralfe Leech Sterner, Director cal magazine, who never has seen the in¬ fore they can play in a symphony orches¬ strument. Labels mean nothing. They tra, and so on. To answer questions of SIX WEEKS SUMMER COURSES for Teachers and Professionals, also Beginners and Advanced students can be bought in sheets like postage stamps, this description from violin students he has Rates: $250 and $300 dealing to feason.11 :h includes board and ro and pasted in any violin. never seen or heard play, the editor would Starting May 15 pupils may enter any day Send for list of Question 2. “Have I made proper prog¬ have to be a combination of clairvoyant CELEBRATED FACULTY INCLUDING most popular styles ress?” is almost as bad. To get a correct and prophet. Ralfe Leech Sterner Aloys Kremer TINDALE CABINET CO. C.G. CONN, Ltd., 413 Conn Bldg., Elkhart, lnd. Arthur Frledheim Leila Yale 47 Main St. Flushing, N. Y. answer to this question the writers seem People who wish to know “how long” The well-known Voice teacher of the heads of er and Pianist Celebrated Teacher of Public School Music Please send free book and details of trial offer on voice departments in colleges and schools. Also New York City Schools. to think that all that is necessary is to it will take them to accomplish a certain Opera, Church and Concert Singers, who will give send a list of the studies and solo pieces goal in violin playing should commence cou^wifl'pUy^k^^^^at Frederick Riesberg Helen Carmichael Robertson Grand Opera. PIANO JAZZ they have studied or “been through.” They to study with a good, conscientious violin ver Sclmrwenkn anti Carl Reinec never reflect that the all-important ques¬ teacher, who in a few weeks or months Alvin Belden Paul Stoeving tion is how well they can play these studies can form a pretty accurate idea of their Frank Howard Warner . Alexander Peru or solos. The editor has no means of character and talents, and then can give r llannony and Count knowing, for he has never heard them play them an approximate idea, of what they main in New York City and teach all su MEHLIN PIANO USED a note. The names of the compositions can hope to accomplish in a given length studied mean nothing. If the student can Please mention THE ETUDE v the. etude THE ETUDE APRIL 1929 Page 299

Pago EOS A PHIL 19.2. Order in the Music Cabinet

D. Appleton and Company Present an entirely new By Ruth E. Whittier collection of concert piano compositions entitled case by year and month, each one sepa¬ There are three reasons why a musician rately, The Etude, the Musician and the should keep the contents of h« Musical Observer. orderly: To facilitate the finding; oi a To keep a record of music lent, thus CONCERT PIANO PIECES niece ■ to avoid unnecessary handling of preventing waste of time in looking for THE WHOLE WORLD HAYS the contents; and for the sake of neatness. a piece not in the cabinet, a card, as be¬ This may be done easily by a™mg the low, is used, which may be typewritten or contents in some classified. order so that in script. When the piece is returned, a one composition may be quickly separated line is drawn through the record on the from the others. . card. This memorandum serves also in To explain what is meant by Order keeping an orderly cabinet. the Music Cabinet, a system used several If any musician, who has not already years is here given. The music v divided into nine sections, each section bearing a done so, will try some simple method of letter of the alphabet from A to l. A classification of his music, he will find small notebook with several pages se that much time is saved, that the music aside for each letter serves as a ca a g. gives longer service, and, finally, that much The divisions are as follows: Section , satisfaction is derived from Order in the studies arranged by grade; Section B, co - Music Cabinet. •lections of pieces by grade; Section ^ pieces in grades one, two and three, eacn piece bearing a number m tne leu n corner, and its title appearing opposite a Containing forty-four (44) of the greatest masterpieces used by the corresponding number in the notebook; world’s famous virtuosos in concerts throughout the United Section D, pieces in grades four five and States and Europe. six, arranged the same; Section E, miscel¬ laneous instrumental pieces, cataloged the CONTENTS same; Section F, popular songs numbered Arensky, A.Basso Ostinato, Op. 5, No. 5. like sections above; Section G, miscella- Bach, J.S.Toccata and Fugue (Tausig Arr.). neons collection of catalogs, duet books Balakircw, M.L’Alouette (Paraphrase). Beethoven, L. van...Ecossaisen (Busoni Arr.). “ “ Thirty-Two Variations. " " Turkish March (Rubinstein Arr.). Brahms, Joh.Rhapsody, Op. 79, No. 2. “ Waltzes, Op. 39. Brassin, L.Magic Fire Scene (Wagner). Kind But Crusty Cherubini Chaminade, C.Automne, Op. 35, No. 2. Chopin, Fr.Ballade, Op. 47. “ Berceuse, Op. 57. “ Polonaise, Op. 53. As a man, Cherubini, the famous con- you?’ ‘A thing that is very easy, and Granados, E.Spanish Dance. trapuntist, long head of the Paris Con¬ Handel, G. F.The Harmonious Blacksmith. servatory, was extremely nervous, irritable a thing done,’ said Haydn, Jos.Variations in F Minor. and independent; but under his sternness of us.’ He afterv Hensclt, A.Si Oiseau j’etais, Op. 2, No, 6. he was kindness itself, and much loved by his many famous pupils. The follow¬ playfully: ‘I ht Leschetizky, Th.Andante Finale de ‘‘Lucia, Op. la. ing story is told of him in “Great Italian pushing the questi Liszt, Fr.Polonaise (E Major). and French Composers” by George T. “ Rhapsodie Hongroise, No. 2. Ferris: " Rigoletto Paraphrase. “Though habitually cold and severe in “ Soirees de Vienne “Schubert.” his manner, during these latter years, Mac Dowell, Ed.Hexantanz, Op. 17, No. 2. there was a spring of tender playfulness fidence. One day, when a symphony of Mendelssohn, F.Rondo Capriccioso, Op. 14. beneath. One day a child of great talent Beethoven’s was about to be played at a " Variations Serieuses, Op. 54. was brought by his father, a poor man, concert, just prior to one of his own Mosskowski, M.Caprice Espagnole, Op. 37. to see Cherubini. The latter’s first ex¬ works, he said, ‘Now I am going to appear " Valse, Op. 34, No. 1. clamation was: ‘This is not a nursing as a very small boy indeed.’ The mutual hospital for infants.’ Relenting somewhat,, Mozart, IV. A.Fantasia in C Minor. affection of Cherubini and Beethoven re¬ he questioned the boy and soon discovered “ Theme and Variations (Sonata No. A). mained unabated through life, as is shown his remarkable talents. The same old Rachmaninoff, S. ... Prelude, Op. 23, No. 5. man was charmed and caressed the young¬ by the touching letter written by the lat¬ “ Polichinelle. ster, saying, ‘Bravo, my little friend.’ But ter just before his death, but which Cher¬ Rubinstein, A.Kamennoi-Ostrow, Op. 10, No. 22. why are you here, and what can I do for ubini did not receive till after that event. “ Staccato Etude, Op. 23, No. 2. Saint-Saens, C.Caprice “Alceste” (Gluck). Sapcllnikoff, W.Elfin Dance, Op. 3. Atlanta Conservatory of Music Schubert, Fr.Impromptu, Op. 142, No. 3. THE FOREMOST SCHOOL OF FINE ARTS CONSERVATORY IN THE SOUTH « Marche Militaire (Tausig Arr.). ^ Advantages Equal to Those Faund Anywhere. Schuls-Evler.Concert Arabesque “Blue Danube.” Students may enter at any lime. Send lot Catalog. GEO. P. UHDHEB, Director Schumann, R.Papillons, Op. 2. Schiitt, Ed.Paraphrase “Der Fledermaus. Peachtree and Broad Streets, Atlanta. Georgia Scriabine, A.Prelude, Op. 9, No. 1. Binding, Chr.Marche Grotesque, Op. 32, No. 1. _ MR. and MRS. CROSBY ADAMS Tschaikowsky, P. .. .Theme and Variations, Op. 19, No. 6. 22nd ANNUAL Warner, R.Magic Fire Scene (Brassin Arr.). SUMMER CLASS FOR TEACHERS Weber, C. M. von.. .Invitation to the Dance, Op. 65. OF PIANO For sale at all modern Music Shops or sent postpaid on receipt of ..M-treaU North Carolina^ SUMMER SCHOOL price by the publishers. THE CO. SPECIAL NOTE—Our complete illustrated catalogue of the ANNOUNCEMENTS VEGA 155 Columbus Ave. Dept. E-4 “Whole World” Music Series, containing the contents lists of each Pages 284, 286, 290. 292, 296 and 298 BOSTON, MASS. book, will be sent free of charge to all readers of The Etude (ex¬ in this issue cept Canada) on request. Professionals, students and music lovers ESTABLISHED 1857 will alike be interested in the artistic standard and the substantial IF IT IS AN OBTAINABLE MUSIC PUBLICATION YOU CAN GET IT economic character of these unusual books. PFAROIYV conservatory 1 LliliOwL/ 1 BALTIMORE, MD. PROMPTLY FROM THEO. PRESSER CO., 1712-1714 Chestnut St., Phila., Pa. D. APPLETON AND COMPANY An unequalled stock of music publications and a large corps of experienced clerks NEW YORK CITY HAROLD RANDOLPH, Director make possible the rendering of prompt, accurate service. Prices on any desired pub¬ 35-39 WEST 32nd STREET lication quoted cheerfully. Special service features of interest to teachers. Ask about there. One of the oldest and most noted Music Schools in America. _ ention THE ETUDE v a addressing our advertisers. Please mention THE ETUDE when addressing our advertisers. fSS ETUDE THE ETUDE APRIL 1925 Page SOI Page 300 APRIL 1925 The Unusual Story of Bee¬ Choice of Shoes as a Factor in The Choir Master Professional thoven’s “Fur Elise” i^acuum Pedal Technic Each Month Under This Heading We Shall Give a List of Anthems, Directory By Caspar Leiter There’s Rare By S. M. F. Solos and Voluntaries Appropriate for Morn.ng and Even.ng 'v CleanerS^ ,?tory of the musical composition, Fascination Shoes, being a distinctly human in¬ Services Throughout the Year. fur Elise,” by Beethoven, is certainly an ° , ilifUculty. opposite "b*9 those of a simple type. EASTERN unusual one. It is the door through which vention, are subject to the whims of their Opposite "a" are anthems of m^i‘ra mlnation. Our retail prices are always reason, designers. Consequently, with each change __ __ _ works named may be haa tor — n-r CARL. VIOLIN INSTRUCTION most beginners come to know the great in the »i.oo„nte tbn best obtainable. of fashion it may become necessary to a able and the master. It is easily the most played com¬ SUNDAY MORNING, JUNE 21st ALBERT certain extent for those who play the organ guNDAY MORNING, JUNE 7th position of the Master. It appears in hun¬ ORGAN . Miessner to make a partial adjustment of their pedal organ dreds of collections and in many instruc¬ To Spring .Gneg-Gaul REEGHWOOD tion^ books. Yet it was not printed until technic. Obviously, any noted difference ‘ -Prelude - in E Flat.E.M. ANTHEM Children “feel at home” with the in the proportion of a heel, arch and toe ANTHEM 18£| or. years after Beethoven’s death. compact Miessner Piano. They a. In Heavenly Love Abiding a. Arm, Soldiers of the Lord.. .Booth of a shoe must involve a corresponding b. Arise and Shine .Schuler co m bs The piece is believed to have been writ¬ take keener interest in the lessons ten in April, 1810. Beethoven wrote on the difference in the manner of placing the b God is Love.b.l'.mams when they have this small, high- foot on the pedals. OFFERTORY dunning piece, “For Elise,” April 27, with the mem¬ grade instrument to practice on. The writer recalls a pupil who came for One Sweetly Solemn Thought sjsssm ories of L. Van Beethoven.” Beethoven There is fascination and inspira¬ tion for children in the Miessner, her first organ lesson wearing a pair of (Duet, S. and T.) .Ambrose MAFSTRO authority on voice education knew several Elise’s; but no one knows at - ■ 5% n 1 COMPLETE TRAINING FOR OPERA this date to whom this pretty little piece “The Little Piano With the Big slippers with French heels. The time that °MarNch in C.E. M. Read SUNDAY EVENING, JUNE 21st r A D D I Enropean Opportunities for Finished Students r HD M 1 Baker Bldg., Phila.- Carnegie Hall, New York is dedicated. Tone.” Read Carefully was not spent in extricating the heels from ORGAN The Miessner is specially designed for children. Light, small and 53.00 down you can make noum between the pedals was used exercises SUNDAY EVENING, JUNE 7th so simple and easy with a Vacuur At Evening .Kinder Finger Nails in Piano Attack low—actually easier for them to play. Its keyboard is standard. Its Pay while using. No one need knot for toes alone, but even this ■ hopeless organ ANTHEM GUICHARD “SSfiSR—. low music rack eliminates eye strain by bringing the music close to the that you are. buying from^us on easy paj because of the height of the heels, which Vesper Bells .Spinney a. Saviour Again to Thy Dear MUSICOLOGIST. LECTURER, Huntington Union, Min... keys. Scientific low tension stringing and super-soundboard construc¬ ANTHEM By Sarah Alvilde Hanson made a free and natural stroke of the fore¬ Name .Shelley tion result in a tone equal to that of the small grand piano. No References are Required a. Holiest Breathe an Evening , b. Sweet the Moments.Solly part of the foot an impossibility. Blessing.(’ C. Martin This suggestion was given by Dean Here is a strictly high quality small piano you can safely recommend No shopping around town'.. No after regrets ■ OFFERTORY "-“testa,. -because from us you can buy practically With gentlemen students the problem is b. Abide with Me.Rathbun HAWTHORNE Ethelbert Graybill, head of South Dakota to parents for their children. One you can use to good advantage in Still, Still with Thee (Solo, T.) your own studio. The Miessner is endorsed by prominent musicians ur experts will help you select‘the right often the reverse, as the tendency in men’s OFFERTORY . , s University Music Conservatory, and au¬ leaner so that you cannot make a mistake. O Rest in the Lord (Solo, A.) Ward-Stephens thor of a valuable and widely-used book and educators; widely used in schools, and becoming more and more shoes is in the direction of heels that are Mendelssohn ORGAN MOULTON popular in small apartments. All Brand New Latest Models on piano-technic. too wide and toes too long. ■ ORGAN Templars’ March .Fry singer Coupon will bring our interesting booklet, “Bigger'n a House,” and Excessively pointed and rounded toes, Ravina “Pupils should cut their finger-nails year.except the Imperial which is guaranteed March in A. SUNDAY MORNING, JUNE 28th full information about the compact Miessner Piano. Mail it today! widely projecting soles, and heels of greater lunRMTMG TUNE 14th NEW YORK very closely, almost to the quick, and a Vacuum Cleanershipped anywhere on 10 height than an inch should be avoided. SUNDAY MORNING, JUNE 14th ORGAN daily. The nails thus do not obstruct the days'free trial, express paid. After trial send organ Berceuse .Barrell Miessner Piano Company $3. first payment tor all cash if you prefer Heels of too small dimensions do not Canzone .Harris finger-attack on the piano keys. or return Cleaner express collect Take ad¬ ANTHEM PRETTYLEAF»S“;,. 154 Reed Street Milwaukee, Wis. vantage of this liberal offer now before it is afford a sure grasp of the pedals, while ANTHEM a. Art Thou Weary?.Norris “Some may object, ‘I will have no nails too late Mail coupon today or send postal. those of too large dimensions are sure to a Hark, Ten Thousand Harps b. It is Good to Give Thanks.Ashford then with which to pick up things,’ a and Voices.Williams The Leading Vacuum Cleaners be in the way. OFFERTORY RIESBERG flimsy contention. Short nails are cleanly, MIESSNER PIANO CO. APEX ‘ b. Break Forth Into Joy-Scarmolm EUREKA w Because of the frequent necessity for OFFERTORY Man of Sorrows (Solo, B.)—Adam Arts. 43? Filth Ave., Tel, 4650 Caledonia, N. Y. 0. for one thing; and, the main point, they 154 Reed St., Milwaukee, Wis. UNIVERSAL PREMIER forward and backward sliding of the foot, Dream of Heaven (Solo, S.). -Marco ORGAN make for firmness in the grasp of the GOLD MEDAL ' IMPERIAL Festival Fantasy .Armstrong SWEEPER-VAC £ CADILLAC rubber and composition soles and heels, ORGAN , „ piano keys.” my part, a free copy of the interesting, booklet, 1 \ 1 L11 1 M 540 E. State Street, Trenton, N. J. “Bigger’n a House,” and complete information about WESTERN ELEC. ROYAL which have a tendency to resist the re¬ Festal Postlude in C.Rockwell TRENTON' MIESSNER the Little Miessner Piano. TWIN SUNDAY EVENING, JUNE 28th What the Musician Can Learn THE LITTLE PIANO WITH THE BIG TONE OHIO quired freedom of motion, should be guNDAY EVENING, JUNE 14th ORGAN If THAI Charles Correspondence Instruction, avoided. ORGAN Night Song .Schuler VtUN *£•"*■* From the Scientist We may conclude from the above that Angels’ Serenade. Braga ANTHEM Address. ANTHEM Stom*—STATE NORMAL SCH00LI O"cMl£JtJi!' p!m£“ By Helen Oliphant Bates a wise choice of shoes is the first step a. God Be Merciful .Rockivell City.State. reduced to $29. 75 a. God Be Merciful Unto Us ...Wood b. Abide with Me.Cranmer 29 to acquiring pedal technic. However, the b. All, All is Well.Wooler Have you ever talked with a scientist? OFFERTORY real seat of the pedal, as well as of manual OFFERTORY VIRGIL If so, you must have realized with what Exclusive A gents for Imperial. P,ice$64.Q technic, is the brain; and, since the actual There is a Green Hill Far Away In His Name (Trio, S. T. and B.) Petrie small fractions he is continually work¬ placing of the feet on the pedals and their (Duet, T. and B.).Pike Clip Coupon Today ORGAN ORGAN . . ing. He respects variations of a thou¬ Vacuum Cleaner Specialty Co. Dept.32A subsequent movements demand clear think¬ Cornelius March ... Mendelssohn-Gaul Postlude in C. Lewis VIRGIL sandth of an inch. Take for example the A Very Attractive Piano Numbe r for Tea ching or Reciti il Use 111 W.42dSt., N.Y. Send list of 529.75 ing, it may be readily seen that the mental specials also full particulars and Payment WESTERN chemist mixing a prescription. The slight¬ factor is the greater. The brain must ex¬ est differences might change his medicine SPRING IN SPAIN—Air de Ballet—by EDWARD ELLSWORTH HII»SHER ercise a conscious control over the move¬ iiarn IO I 11 CONSERVATORY 70 Instructors Price, Permanently Adopted by Foremost Teachers Klmbill Hall*’ 0re*°' V10llnChlc»go to poison. C atalog No. 19366 Grade Four ments of certain muscles of the feet and AIYI E R 1 C A N Can the musician learn anything from Men. Lj H~T- legs, which ordinarily are employed sub¬ the minute calculations of these scien¬ ■ \Jr tit ; consciously. STANDARD HISTORY OF MUSIC CHICAGO gggfKB tific experiments? Many things about If the ordinary difficulties of pedal tech¬ music are not exact and cannot be treated nic are not to be further increased, con¬ By JAMES FRANCIS COOKE PRICE, $1.50 in a scientific way, but many other things siderable care in the selection of shoes CINCINNATI such as phrasing, pedaling, fingering, must be used, and the beginner will do rhythm, dynamic markings, and so forth, THEO. PRESSER CO., Music Publishers and Dealers, 1712-1714 Chestnut Street, Phila., Pa. I Can Teach well to heed a warning against a few A FIRST HISTORY OF MUSIC FOR STUDENTS AT ALL AGES DETROIT SSt. are exact and should be studied with the types that should be avoided. You To Dance rnnu ADDA C. Normal Teacher, Teacher'! Training same care that laboratory workers give i absorbing that adults are charmed with it^ All diflicult words “self-pronounced ." 1: excell lustrations, map of musical Europe, 400 test questions, 250 pages. Strongly bound in maroon clc asr‘sasMazf.‘"M* to their experiments. Like This EDDY 136 W. Sandusky Ave., BeUefontalne, Ohio. —Sergei Marinoff Using “The Etude” as a ilt stamped. Any teacher may use it without previous experience. My wonderful new method makes Classic Dancing easy and fascinat¬ Musical Encyclopedia THEODORE PRESSER COMPANY PHILADELPHIA, PENNA. Who Composed Your Piece? SUMMY’S CORNER ing to learn at home. Simple charts KNOX “■St*.- feVa o*n ar^BlmpIe''tex^ and By Esther J. Wells; By Earl S. Hilton _ phonograph records teach the es- For RECITAL and COMMENCEMENT PROGRAMS sentiafs of technique. TOMLINSON «»\SgSg So many pupils refer to their piece of NORRLAND-SCHERZO (Domare-Dans) - Gr. 5-6 - $ .60 Complete Dancing Outfit FREE Do MUSIC teachers, especially young information and circular. 623-6 Fine Arts Bldg., CHICAGO. isic only by its title, and not the corn¬ ft NEW MUSIC BINDER — “SNAP POST MUSIC BINDER” By H. Smidt-Gregor acSnjpete danefn* studio toy ourown homel^onograp^ ones, realize just how much valuable ier of it. This results in confusion; for knowledge The Etude contains? Al¬ my different pieces have the same title. An artistic adaption of a lively Folk Melody popular in the province of Nonland in Accompanists, Church and Theatre Organists and Orchestra WESTERN :3£SW£V». Sweden. Fall of rhythmic vitality and rich in tonal contrasts, it provides a worthy and though I am not a teacher, I am studying Here is the problem: One pupil is asked I s'u”n??ild^Af8nuCeHstuafo:5SL84SCli?cagSl7l!: and preparing myself for the profession. Leaders will find this a great convenience because of ease with most engaging number for a recital program. 1 24 SOUTHERN iat piece she is studying. As a part of this preparation I am utiliz¬ which contents can be removed and other music bound together as desired for programme use. She answers, “The Butterfly.” JIGGERMERIG—Gr. 5 - - - $ .60 ing the wonderful articles in The Etude CONVERSE COLLEGES^: ‘Oh, I am studying ‘The Butterfly,’ too. By Gabriel Hines j Evangelistic Piano Playing in the following manner: All Your Sheet Music in “Snap Post Binders” Makes an Ideal Library it your ‘Butterfly’ is not the same as Vigorous and brilliant. The musical figure is in octave passages, with a contrasted By GEORGE S. SCHULER First, arrange the Etudes in a cabinet middle section in thirds in “badinage” style. Good number for a skilled performer. HERE is nothing heavy or cumbersome about these binders. They are neat ne ” says another pupil. PRICE, $1.00 according to date. I have a loose-leaf note¬ T MUSIC AND TRAVEL IN EUROPE ‘I have a ‘Valse,’” says another pupil, _ -y Pianist Will Find This an Extremely book in which are written alphabetically and practical, the most practical we have ever seen and are adjustable to the 3 WEEKS IN PARIS; Instruction by Phillip. ut it is not like Willie’s ‘Valse.’ ” Helpful Work—Full of Interesting, Practical the names of articles and the dates of the thickness of music from one sheet up to 75. The music lies fiat when open. T’lte TWO-PIANO NUMBERS Hints on Effective Hymn Playing binders are not only convenient and serviceable, but they also protect and keep sheet These pupils are confused because they Etudes in which they are found. For in¬ GONCERT^S^*Wagoner*at*Bayreuth; England, Transcribed and Arranged by Edouard Hesselberg Very often the playingof hymns as they are music from becoming dilapidated. Each sheet of the music is attached to a gummed France, Germany, Italy, Switzerland re not noticed that the composers of stance, take the article by Edwin Hall PRELUDE MILITAIRE—Rachmaninoff Op. 23, No. 5 - $1.50 The effect of the singing of the four parts is usually cloth hinged binding strip, the back of the strip having holes that go over neat brass Let me tell you about it ;ir pieces are different. They do not the main thought in the mind of the composer, Pierce, on the “Trill,” in the January, 1925, binding posts, which are on the back hinge of the binder. The binding is completed PROF. LeROY B. CAMPBELL 3W that there are many “Butterflies and PRELUDE—C# MINOR—Rachmaninoff Op. 3, No. 2 - 1.50 not the question of how many notes the right and issue. This is classified under “T,” with by snapping the caps, attached to the front hinge of the binder, over the heads of the Warren Conserealory of Music Warren, Pa. left hand shall play, or whether the performance alses.” They do not realize that almost An attractive addition to the commencement program is the inclusion of one or more posts. It is remarkable how neatly the manufacturer has accomplished this, is, or is not, physically easy. the date written after it. >ry composer makes at least one “But- two-piano numbers. Mr. Hesselberg, by his musicianly arrangements, has made two This book gives numerous illustrations showing No matter how much a teacher has fifteen detachable binding strips come with each binder. The binders are made in difficult concert numbers available to the repertoire of the student and amateur performer. how to adapt real piano accompaniments to hymn- fly” piece, and perhaps many Vaises. studied, it is hard to remember all the black cloth, stiff sides, m the following sizes: The pianos are well divided, each part having equal importance in bringing out the tunes. Thisis anint •--L!-‘ Faust School of Tuning Slow, the best way to make everything ,... —K __./io should become details in certain lines of technic. By fol¬ majestic' beauty of these masterpieces. Conveniently published in score. in playing religious songs in which DEMY SIZE, 9 x 12. Price $1.» arly’ understood is to quote the com- lowing the above plan a teagher can have Additional Binding Strips, 45c a doz. (The Usual Discount to Teachers) jer’s name when the title of the piece is what is really equivalent to a musical en¬ BAND SIZE. 7 x S’/2, Price 65c ntioned. For example: When asked cyclopedia at her disposal. And from ‘ Iditional Binding Strips, 30c a <*-* Publishers THEODORE PRESSER CO. at piece he may be studying, the student CLAYTON F. SUMMY CO., Music Publishers and Dealers. Est. 1883 what better authorities could we get our THEO. PRESSER CO. rlhing m Music Publications PHILA., PA. 429 South Wabash Avenue ... Chicago, Illinois 1710-12-14 Chestnut St, PHILADELPHIA, PA. knowledge? These writers are among the best-known musicians of the day. Please mention THE ETUDE when addressing our advertisers. TEE etude THE ETUDE APRIL 1925 Page 303 Page 302 APRIL 1925 What to Teach at Hearts and Blossoms— Sjvhone t ley d successful contestant. ment. Together with the statements of singable character of Mr. Stults’ writing The various amateur orchestras, so the range of the average student. Anyone Tsror Stravinsky played his new Piano these great men will be presented a series is much in evidence throughout the xfr Williams’ many of which are now flourishing through¬ Concerto for the first time in America, at ‘.'ns coupled with the fact that he de¬ who has taken a year and a half of regular of conferences with composers, conductors, operetta, reaching an effective climax in out the country, whether they be church, the concerts of the Boston Symphony Or- motes his time exclusively to teaching lessons should be able to master them. ohestra, at Boston, January 23 and 24. pianists, teachers, managers and opera a spirited closing chorus of considerable Sunday school or high school organiza¬ „roups of teachers in all parts of the There are only ten studies, and it will mean Critics of “The Hub” and other places where singers such as never heretofore has been tonal proportions. tions, are always ambitious and are always the work has been subsequently performed, assembled in one book. While a This operetta will appeal to a wide range country, make this work one which will in search for new material. Our New Or¬ about three months’ tuition to get through Commencement Awards amount of work has been accomplished of organizations, including high schools, move very practical for every purchaser. chestra Book, now in preparation, provides with them. They can also be used in con¬ NEW WORKS The advance of publication price is 30 The Chicago Civic Opern Company Now is the time to make definite plans upon the book, the size and character ot colleges, preparatory school and singing for such orchestras a collection of stand¬ nection with other material. There are no closed its home season with a deficit of Advance of Publication Offers relative to diplomas, medals and other the work are such that some time may societies, and is especially suited for cents, postpaid. It should be remembered ard numbers suitably arranged, inter¬ especially difficult passages; in fact, they about four hundred thousand dollars. All elapse before it is actually put upon the that this is merely a special introductory friends of opera, however, seem agreed that, awards or gifts for graduation or Commen¬ Legion and Chautauqua presentations. The spersed with new and original works of are evenly made throughout—we take pleas¬ artistically, the efforts were a great success. April, 1925 Sp^c.0fl cement Day. Illustrations, descriptions market. The book wiU be bound uniform special introductory price, for one copy rate and lipids good only until the work superior attractive qualities. In point of To naraphrase somewhat: “Operatic art is with the writer’s other volumes, ‘Great ure in recommending them to the profes¬ Album of Octave Playing . . and prices of these awards will be found is published. difficulty, this new collection is but little t the purse must be longer.” Pianists on Piano Playing,” and Great only, in advance of publication is 60 cents. sion. Our special advance cash price is 30 Album of Song Transcriptions and Varla- in our “Music Teacher’s Hand Book,” in advance of our other collections, The An “All-American Opera Company," s for the Pianoforte. which may be had on request, without cost. Singers on the Art of Singing,” making cents, postpaid. of Transcriptions for Pipe Organ— Pieces for the Ruth—Sacred Cantata Popular Orchestra Book and The Crown presenting “Alglala” by Cecil Fanning and We can promptly supply at moderate a collection of contemporary opinion and Orchestra Book. The instrumentation is Frank De Leone, under the direction of prices a liberal variety of appropriate advice upon music and how to interpret Development of Technic For Women’s Voices Album of Transcriptions Fortune Gallo of the popular San Carlo complete, providing for saxophones and Opera Company, is preparing for a tour be¬ diplomas and medals. The diploma forms it, not equaled in any other form. In By N. Louise Wright By Paul Bliss additional string parts. For Pipe Organ ginning in October. Dawn of Spring—Cantata for 2 Pt. Treble these volumes are the contents of literally Voices—Kountz . are suitably worded and ready for the addi¬ This is a good direct set of second-grade Mr. Bliss has produced such successful Prior to publication we are booking By Orlando A. Mansfield Each in His Own- Tongue—Cycle of Three tion of the student’s name and such special hundreds of lessons from many of the most orders for the New Orchestra Collection I Glas ial Win ill studies based upon conventional technical material in this field that there are many Although there is much good original Songs—Lieurance text as may be necessary. If extra wording famous musicians of the time; that is, devices but melodious and agreeable to at a cash price of 15 cents for each orches¬ who eagerly look for any new offering by music written for the organ, nevertheless, is desired, we can have the engrossing done those who have been interviewed to make play. The studies are parallel, in that him. These folks will not lie disappointed tral part, and 30 cents for the piano part, there will always lie a demand for good at a low cost. A solid gold 10K medal of these books possible have given ideas upon each one is repeated, with the technical in the setting he has made of the story of postpaid. 3 St. George’s Church of Tunis where “how to play,” and “how to sing,” and transcriptions. The organ in these days 1’ayi was American Consul at the time of attractive design makes an excellent award work of the right hand transferred to the Ruth and Naomi. All the romance and “how to study and appreciate music,” which has become a sort of universal instrument lis death. In the cemetery s How to Succeed in Singing—A. Buzzi- for an honor student or graduate. The left hand in each case. In this manner, wonderful affection in that Bible story is Capriccio Brillante chapel is a small monument to Payne. This recipient’s initials may be neatly engraved have been culled from years and years of equality and independence are aided upon which anything and everything is burying-ground was given in 1635 to the Light—Cantata for Treble Voices—Kountz experience. The advance of publication beautifully portrayed in the melodious and For the Pianoforte played. Almost anything can be trans¬ British, as no Christian could be interred in a space provided for that purpose on the greatly. These studies will prove just effective setting Mr. Bliss has made. Madcaps, The—Operetta for Children or price of this new work is $1.00. Later By F. Mendelssohn cribed effectively for the organ, provided in a Mohammedan cemetery, but is no longer Adults—Baines . bar pin, or the name and date of gradua¬ right to use in starting off second-grade Although written for four-part chorus of in use. Anyone wishing to contribute to this •‘Middle C” and the Notes Above and tion may be engraved on the reverse side announcements will detail some of the There are certain pieces which are par¬ one knows how to do it, but of course, memorial may send a subscription to Rev. women’s voices, t he second alto part may H. C. Burrough, Chaplain, St. George's Below—Simmons . of the medal. This adds a little to the names of the eminent persons with whom The special introductory price in ad¬ ticularly well adapted for graduation and there are certain pieces which are more Musical Moments—Piano-Hudson. conferences have been held. be omitted without any appreciable loss suitable than others. In Dr. Mansfield’s Church, Tunis, Tunis, N. Africa. New Anthem Book . cost and requires an allowance of at least vance of publication is 25 cents per copy, in the general effect. The part writing is exhibition purposes. The number of Con¬ two weeks before the graduation date. new Album of Transcriptions there are A Gala Performance of “La Tosoh” New Children’s Day Service—F. A Clark postpaid. smooth and wilhin the range of the aver¬ cern that can be used is limited; most of New Orchestra Book—Parts, each. From now until June, engrossers and en¬ Nature’s Praise- these are too difficult except for the very many desirable numbers suitable for va¬ was given on January 14, at the Teatro New Orchestra Book—Piano. age voice. rious purposes, none of which have ap¬ Costanzi of Rome, in celebration of the Peer Gynt Suite, No. 1—Piano, Four gravers will have all the work of this kind New Children’s Day Service Schubert Album great artists, and many of them are not twenty-fifth anniversary of its premiere. that they can do, so it is absolutely neces¬ The advance of publication price, for peared in any other collection. This vol¬ Hands—Grieg . By F. A. Clarke Of Pianoforte Music one copy only, is 25 cents. attractive to the average listener. The Pieces for the Development of Technic— sary to place such orders as early as may Capriccio Brillante, by Mendelssohn, is in ume is of intermediate grade of difficulty A Boston Civic Opera Company is Wright .. Mr. F. A. Clarke, the popular composer, When one seeks pure melody, one’s and is adapted for teaching, recital, church reported to be in process of organization. Preparatory Trill Studies for the Violin be possible. reality a Concerto, although it is not in ” ' ' work in conjunction with the sim- has just completed a new Children’s Day thoughts turn instinctively to the works of Preparatory Trill Studies and picture playing. ilar movements the Century Theat: —Op. 7, Part 1—Sevcik. Book of Pianologues No. 2— the usual Concerto form. It serves to epit¬ service, Nature’s Praise, which we are sure Schubert. In compiling our new Schubert For the Violin—Op. 7 Part 1 omize the technical work of the average The special introductory price in ad¬ New York and t ‘ Metropolitan. Opera House Music by Clay Smith will make a decided appeal to Sunday Album, we have taken the best from wher¬ vance of publication is 60 cents per copy, of Philadelphia. Ruth—Cantata for Women’s Voices—Paul By 0. Sevcik graduate in piano playing and at the same The immediate success of the first School; Superintendents; in quest of a first ever we could find it. Included, of course, postpaid. ■ Collection of Modern Scores in BUss . Just as “two linger work” is indispen¬ time it is brilliant and tuneful throughout. Schubert Album for the Pianoforte. “Album of Pianologues of Coyla May class musical program. The songs, which are a number of Schubert’s piano pieces As the accompaniment is not heavy, it may last 58th Street Libra rv „f New York What to Teach at the Very First Lessons Spring” by Clay Smith has inspired the are real gems, have been written with which have become favorites. There are sable to the pianist, so is the “trill” of be remarkably < impiete. More —John M. WiUiams. equal necessity to the violinist. Nothing be played to good advantage on a second Elementary ir public— libraries- are expanding Witch of Endor—Sacred Cantata—Stults publication of this second book. Mr. Smith especial thought of their rendition by also extracts from larger works, besides ) theirr musicalin ’ " clientele.* is so conduce <■ to steadiness and justness piano or, if necessary, it may be omitted Piano Pedagogy by reason of very broad experience in a young folks, and their fascinating tuneful¬ transcriptions of songs and other instru¬ entirely. Our new edition is superior in varied field of musical entertainment is ness is bound to please. The rhythm is mental numbers. The volume will be of of intonation us the “trill” Otokar Sevcik By Chas. B. Macklin Iiert Steele, a young American bari- The Say of Mail Order has done more for tlie purely technical ull respects. mostly American trained, has made a well qualified to write a collection of this well marked and many of the musical intermediate grade and of moderate diffi¬ The special introductory price in ad¬ Teaching is an art and a science. The Bsful debut at lire Teatro Carcano of Music Buyers numbers are annotated as motion songs, side of violin playing than any other mod¬ type. The piano parts are not difficult, culty. It will soon be ready. vance of publication is 30 cents per copy, “know how” of imparting knowledge is “Your service is delightful.” providing plenty of variety. The inter¬ The special introductory price in ad¬ ern master, and his trill studies should be something that must be learned. Too and are intended solely to provide a be¬ postpaid. Minnie Mand Powell, mother of the “Your ‘On Sale’ system helps me wonder¬ coming atmosphere for the readings. None spersed recitations and readings are suit¬ vance of publication is 35 cents per copy, part of the daily work of every student. many people go upon the principle that late Maud Powell, probably fully.” of the numbers are unduly long, and in able for all ages. Those who have used our postpaid. Part One is in the first position through¬ teachers are born; that they teach by in¬ popular violinist, died at ner i “Whatever I order is sure to arrive character include the humorous, dramatic, Christmas and Easter Services, know the out. Our new edition of this work will »eer Gynt Suite, No. 1 stinct. Many do; and they are usually Great Neck, Long Island, February promptly.” sacred and optimistic. high standard we have maintained, and this Album of Song Transcriptions be edited by Otto Meyer, who is one of 'or Piano—Four Hands very indifferent teachers. Mr. Macklin has eilda nn Den Beenit new program will be on the same level of “Your Discounts to Teachers are appre¬ The special introductory price for one and Variations Mr. Sevcik'-- representatives in this Jy E. Grieg written a work which tells the teacher how duetc._' ' died 1_ _r_ ciated.” copy only, in advance of publication, is 60 excellence. country. Ibsen’s play, Peer Gynt, is a literary and to plan, organize, systematize and carry out February 15. He was conductor of the The advance of publication, cash price, For the Pianoforte Philadelphia Operatic Society, the Frankford These few quotations from letters of The special introductory price in ad¬ ramatic masterpiece that is much used the elementary work in such fashion that Symphony Orchestra, The Savoy Opera Com¬ patrons of the Theo. Presser Co. tell of for one copy only, is 5 cents, postpaid. Good melodies are imperishable. Some vance of publication is SO cents per copy, t club meetings and musical perform- the best results will be obtained in the pany, master of the band and orchestra of tire results of constant endeavors to render Middle C and the Notes Above of the best melodies are originally for postpaid. shortest time. We have never seen a book the University of Pennsylvania and director The Mad Caps nces. Our edition of Grieg’s Peer Gynt of the Philadelphia Conservatory of Music. tlie best obtainable service to music and the Notes Below voice but is is not always convenient to sing uite No 1 (made up of the incidental upon the subject of piano teaching in the Operetta for Children or Adults teachers buying or seeking to become ac¬ By Lidie Auirit Simmons them. The piano transcription offers a The Witch of Endor msic for this play) for piano solo has elementary stages that was clearer, more Giordano’s “La Cena delle Beffe,” quainted with music publications of any This is a book for the young beginner By William Baines favorite medium for the dissemination of practical or more helpful. It gives all that has become the exclusive property of the Church Cantata For roven very popular. Since, m addition Metropolitan Opera Company for its pro¬ character. We might write volumes upon which may well be used as a preface or This is a clever and original little story good melodies. Many listeners prefer o the music, it contains a synopsis of the should be known of the main principles Mixed Voices duction in New York, Brooklyn, Philadel¬ the points of service developed, but there preparation for any instruction book or dealing with the trial of Boreas, Old Sol, piano pieces of this type to all others. Our lav and gives also a dramatic reading at the start. No teacher can read this phia, Atlanta and Cleveland, according .to is more convincing testimony in the con¬ method. The Author starts out with Master Painter and Jack Frost for alleged new collection of transcriptions contains By R. M. Stults rom the play with indications where the book without becoming a better teacher; tinued patronage of thousands in all parts “Middle C” as a beginning and teaches the cruelties perpetrated upon mortals during some of the most admired melodies both Here at last is a cantata for church rasical numbers are to be introduced. In and it is by becoming a better teacher of the country. Those who want music pub¬ notes one at a time, working in both the four seasons. sacred and secular, all arranged in an service which embodies one of the most ur new edition for four hands, the same that you will progress in your work. The lications are invited to give a trial order or Clefs however from the very start. In elegant and playable manner. The trans¬ advance of publication price is 75 cents, During the absence from earth of Spring, dramatic stories of the Bible and presents vnopsis and dramatic reading have been doctor of the Konzertverein Orchestra which inquiry and let us have an opportunity to order to add interest to the subject for Summer, Autumn and Winter (who have criptions or variations arc all of inter¬ it in such musical form that it may be itroduced, thus making this edition espe- postpaid. prove our service. Our stock is unequalled lie organized at a time when the Philharmonic juveniles, little characteristic verses are gone to plead the case of Mortals before mediate difficulty. given by the average church choir with was Vienna’s only other orchestral organiza¬ and a large corps of experienced music iallv valuable. . . used witli everything. In addition to the Goddess of the Seasons) great con¬ The special introductory price in advance great effect and without too many exhaust¬ _;„i Hxfrorliirtnrv nrice in au- Musical Moments tion. clerks make possible the practical applica¬ teaching the notes, time, rhythm, etc., arc fusion reigns, but everything is amicably of publication is 40 cents per copy, post- VuNiriiliiiiix Danced to Pittsl.nrs Ii tion of our policies of rendering prompt, ing rehearsals. The Old Testament story For the Pianoforte introduced gradually. settled by the return of the Seasons to is told with force, and character. This Music on the night of January 28. Or¬ accurate and economical service. The special introductory price in ad¬ By Mrs. H. B. Hudson chestral music played at Pittsburgh station earth with a better appreciation of «mtata may he used at any time of the WDKA‘ \.- picked up at Perth, Western vance of publication is 40 cents per copy, nature’s goodness and blessings. Dawn of Spring year, as it is not connected with any spe- There is always need of material to sup¬ Australia. e greatest distance sending feat Each in His Own Tongue- postpaid. A charming simplicity features the music Cantata for Treble Voices ewl church festival. Its striking name is plement the instruction book or beginner’s up to that date. i for Treble Voices pianoforte number. Parents and others Cycle of Three Songs Album of Octave Playing for songs and dances. Schools and colleges By Richard Kountz sure to arouse wide interest and promote By Thurlow Lieurance will find this operetta very pleasing. attendance. The advance of publication iard Kountz interested in young students and the stu¬ This volume consists of a set of pleasing There is all the joyous spirit of spring dents themselves, wish to hear a tune as The special introductory price for one price for one copy only is 30 cents, post- hard Kountz has a vein of nat- These three songs constitute a charac¬ pieces containing octaves, not etudes but portrayed in the text and music of this soon as possible. Rudimentary and tech¬ form of the “Theater of the Golden Bough," copy only, in advance of publication, is 35c. maffected melody. This is dis- said to he “the most beautiful intimate theater teristic study of some much-admired study pieces. It will be one of the series exceedingly melodious and singable can¬ nical drills are necessary, but back of all verses by the well-known western poet, of educational works entitled Study Pieces ^h in his songs as well as in his In this country.” How to Succeed in Singing tata The two-part chorus writing is md larger works. Light is a this there must be “something to play.” William Herbert Carruth. These songs for Special Purposes which we have been varied by the introduction of solo parts ;w Anthem Book To supply this demand is the object of publishing. This is the fourth volume, the By A. Buzzi-Peccia lich should prove most valuable, Bulletin of the Presser Home for Retired are in modern vein, but they are very and an optional four-part chorus is sup¬ t is hardly necessary for us to mention Mrs. Hudson’s new book, Musical Mo¬ first one was on trills, then scales, arpeggios one of the few good works writ¬ Music Teachers singable and very effective when delivered Learning to sing is one thing, but how plied, adding greatly to the interest. Grade nts regarding this New Anthem Book. ments. This gives a series of attractive in elocutionary style. The motives are and now the one on octaves. The pieces in to dispose of your talents and your accom¬ able voices. It may be given to On the afternoon of Sundav. February 15, schools, high schools and colleges will find ■ have published quite a few collections ntage bv large school choruses. little pieces, some of them original, others Trof. Alan H. Lewry, violinist, who has so original with Mr. Lieurance and there is this volume, all containing Bravura pas¬ plishments is quite another. ' There are often played for us, with Mr. E. R. Tourison. in this cantata a most delightful and effec- this kind and all have proved successful. , not difficult to sing and it is arranged from standard writers. Most of no suggestion of any Indian characteristic. sages, will tie taken from the best numbers many vocalists who have studied for years the pieces are solos, but a few are for Organist, of -the Second Baptist Church of in our catalog. ey contain the very best and latest ive quality throughout, it. may Germantown, at the piano, gave us. a verv The titles of the three songs arc: Autumn and who have acquired some local repu¬ gram. Time for performance, about 25 four and six hands, respectively. In addi¬ artistic and pleasing program. Aside from —Longing—Consecration. These songs will The success of the previous volumes, tation, who do not know how to make the :he,ma and are gotten up in a very sub- =d satisfactorily with the two- minutes. Those interested in this work ntml way but at a very moderate price, tion to their musical qualities, all of the accompanying Prof. Lewry. Mr. Tourison be published in a handsome volume in two encourages us to continue this series. You next steps toward a larger field. Maestro mnaniment which is given in the generously contributed several piano solos. need not hesitate in I lit* placing of an r range of the anthems is within the pieces have real educational value. editions, for high voice and low voice may look forward to this latest volume as Buzzi-Peccia, whose reputation is inter¬ advance of publication order, since deliv¬ ™ of the ordinary volunteer eboir. Tins The special introductory price in ad¬ hers of the Matinee Musical Club beautl'fulTy respectively. something practical, useful and pleasing. national, lias told in this book what may ery will not be slow. vance of publication is 35 cents per copy, ined the Home Family by charming Our special advance of publication price unie will contain many gems. There will The special introductory price in ad¬ be done to best advantage to reach de¬ Advance cash price for this work, at postpaid. selections1,0 Co- ”"1"" and for the piano. vance of publication is 40 cents per copy, for the Album of Octave Playing is 30 served success. The advance of publica¬ «t least 64 pages of anthem work ii with i 'hearty a which one copy onlv mav be obtained, 30 (Publisher’s Notes continued on Page 30J/) postpaid. cents, postpaid. tion price is 60 cents, postpaid. cents, postpaid. THE Page 804 APRIL 1925 APRIL 1925 Page 805 Advance of Publication 1 pkt. Poppy, Double and Single, All Colors. Offers Withdrawn I pkt. Scabiosa, Extra Select. SPECIAL NOTICES The Very Latest There are three works withdrawn this 1 pkt. Sweet AlyssUm. month and no more orders will be accepted 1 pkt. Zinnia. AND SHEET and OCTAVO at the low advance of publication prices If you are a Kitchen Gardener, for one heretofore advertised on these works. new subscription we will send to you 16 ANNOUNCEMENTS MUSIC These new publications possess merits that packets of Vegetable Seeds listed below:— make apparent to the experienced judge of 1 pkt. Beet, Early Eclipse! music publications that they will attain 1 pkt Bean, Choice Early. PUBLICATIONS gratifying sales records. The new publi¬ 1 pkt. Cabbage, All Season. PERSONAL; FOR SALE cations being withdrawn from advance of 1 pkt. Carrot, Oxheart. or WANTED PIANO SOLOS publication are: 1 pkt. Cucumber; Everbearing. Cat. No. Gr. Pric. Indian Love Songs — Arranged for 1 pkt. Lettuce, Black Seeded Simpson. ARMSTRONG, W. D. Three-Part Chorus of Women’s Voices, by 1 pkt. Muskmelon, Rocky Ford. FOR SALE—Great Sacrifice — Mftstei 19938 With Graceful Airs 3 ,2; School of Modern Piano Playing andijiit.li- 19937 Old Harpaichord, The 3 .2! Thurlow Lieurance. There are many choral 1 pkt. 'Watermelon, Kleckley’s Select. osit.v by Alberto Jonas, Modern Music and BEETHOVEN, L. van organizations among women's clubs, girl’s 1 pkt. Onion, Yellow Globe Danvers. Musicians Encyclopedia (6 vols.) PlogresBivt1 19953 Rondo in G, Op. 51, No. Z 5 .71 schools and colleges that would find excel¬ Series of Plano Lessons. .$60.00. Address, CORELLI, ARCANGELO 1 pkt. Parsley, Champion Moss Curled. 22543 Gavotla. i}{ .21 lent program material in these eleven 1 pkt. Parsnip, Improved Hollow Crown. "Jean,” care of The Etude.__ CRAMM, HELEN L. ETUDE Indian love songs. There are three of the 1 pkt. Radish, Prize Mixture. FOR SALE—Virgil Practice Clavier. Full 19942 Dance of (he Gillie Dhu 2 .31 numbers having Indian) text, which is beau¬ 1 pkt. Sweet Corn, Choice, Early. size keyboard. Perfect mechanical condition 19940 Dancing Leaves 2) J ,2| tiful to sing and adds charm to their rendi¬ 1 pkt. Squash; Genuine Hubbard. —mahogany finish. Good as new—used very 19941 Fair Weather, March. I'A .2: little. Pried $50.00. Gerald Gaddis, Kobm- 19939 Singing Sands V i .2! tion. Price, 75 cents (special prices on 1 pkt. Turnip; Early Purple Top. son Grand Theatre, Clarksburg, W. Va. FELTON, WILLIAM M. quantities). 1 pkt. Tomato, Stone. 19963 An Autumn Mood. VA .31 HARTMANN, FRITZ CONDUCTED BY ELIZABETH A GEST 22580 Hungarian Herdsmen’s March 2 ,' .2! Little Folks’ Picture History of Music, by 22579 To the Attack. . 2". .2! The “Wonder” Composer Delicious Fruit For KEATS, FREDERICK James Francis Cooke, (offered in advance 22509 Processional March. 3 .3! Just For A Change of publication as “Little Folks’ Music Your Garden , KERN, CARL W. Musical Terms, No. 16 The following plants are all guaranteed 19397 Dance of the Flower Girls. Op. 521 3 .41 By B. B. N. Story Book.”) PIANO TEACHER desires opportunity ii This is the last of the alphabetical ar¬ The high lights in music history and by a reliable nurseryman and we will be growing town. Age 30. Speaks English ant 19996 Rippling Mountain Brook, Op. 519 3 41 22545 Through the Air 2\ .3! By Harriet M. Dwight rangement of musical terms. Begun in the numerous anecdotes in the lives of great glad to send you your choice On receipt of Spanish, R. S. care of The Etude. KILLIKELLY. S. H. musicians are given in this new book in an subscriptions mentioned, 22522 Allegheny Valley Rail Road March 3 .3 January, 1924, issue, they should all be McDonald, harl Over the doors of an old house in interesting style, readily understood by Eldorado Blackberry—Recommended by Sah>, little Ruth, taking her music'lesson, copied in your notebooks. ANNOUNCEMENTS 22502 Arkansas Traveler, The 5 .41 Vienna is a gray marble tablet on which is you don t care so much about drawing as young folk. There are a generous lot of leading fruit growers, 6 vigorous plants, MERKEL, G. 5 .41 written; 'Franz Peter Schubert’s Birth¬ 1 don t like to count, Miss Williams ” Valse a composition of graceful char¬ new musical pictures for the little students one subscription. | Rate 20c per word I 22513 Polonaise Brillante 3 .4 I do.” acter, written in three-four time. place.’’ On the left side is a lyre crowned i know you don’t, dear. But it sounds to cut out and insert as illustrations to Lucretid Dewberry—Larger than any CORRESPONDENCE HARMONY AND MORRISON, R. S. “Possibly not, Ruth; and, looking at mine with a star, and on the right a chaplet of Veloce—rapidly. their history book. Price, $1.00. blackberry, sweeter, of better quality COMPOSITION—Simple, practical, thorough, lgaln> ft does seem just a trifle out of line. under personal instruction of Dr. Wooler; no doubtfulbettCr Whe" y°U d°'” Ruth !ooked Vivace—very lively, with animation. and fewer seeds; 6 thriving plants, one leaves with these words inside “31 years 1 wonder why; but let me see yours.” substitute teachers. Small monthly payments. THE RECREATION PARK Well, may I go through this piece once Volante—very rapidly. Little Suite for Two Violins in First subscription; Musical manuscripts Corrected. Music, com¬ old.” Ruth smiled sweetly. She was such a Concord Grape—The most popular of all posed. send poem, price reasonable. Write without counting?” Vigoroso—vigorously, boldly. Position, by Arthur Hartmann. Four Piano Pieces by polite little child; but she could not help grapes. WiR not winter-kill. A large for prospectus. Alfred Wooler, MuS. DOc., HANS SCHICK “Certainly, certainly, Ruth.” Virtuoso—a player of exceptional skill. Five little numbers designed as teacher 171 Cleveland Avenue, Buffalo, N. Y. thinking, “Mine does look nicer.” and pupil duets giving the pupil attractive blue-black variety of excellent quality. “Oh, how nice you are, Miss Williams. Una corda—one string (indicating soft Well, she said, “I put window shades work and illustrating the Open Strings; Three vines for one subscription. MUSIC COMPOSED; manuscripts revised. Now you 11 see how much faster it goes pedal). Improved Progressive Everbearing Straw¬ Band and Orchestra arranging. Complete and and curtains in mine just for fun; and I String Crossings (Wrist); Finger Exer¬ guaranteed instruction in Harmony by mail. and how much better I play it.” Unison—different voices or instru¬ berry— The hardiest Of all berries. thought a railing ’round the porch would cises ; the Trill and Tremolo; the Pizzicato; J. Kode Jacobsen, 2638 Milwaukee Ave., So Ruth went at it in a very determined ments playing or singing one tone. the Chromatic and in the teacher’s part, It blooms early in the Spring and com¬ Chicago, Ill, be nice, too. Here it is.” way, nodding her head here and there with Double Stopping and the Arpeggio. Price mences fruiting from then on all summer; SCHME1DLER, CARL 12 improved, everbearing strawberry VIOLIN STRINGS for Soloists and Pro¬ real pleasure, and finally finished it with a 80 cents. fessionals. Bead what Well-known artists 22528 Bound for Home 3 plants for one subscription. say about them—try them—and you, too, will 22526 Falling Petala. 3 happy little sigh. “There, don’t you see Letter Box Cumberland Black Raspberry—The larg¬ 22527 Legend. 3 use no others! Bert Brehmer, Rutland, Ver- STERNBERG, C. what I mean? It goes so much faster and We Give Splendid Premiums est and best black cap grown. 6 healthy sounds so differaitly?” m getting on 19723 ^LACRRICHARDS 3 ' For New Etude Music plants for one subscription. Cuthbert Red Raspberry—The largest in A. B. C. MUSIC COVERS. (Pat. applied 22511 Sweet Spirit, Hear My Prayer. 4 “Yes, Ruth, I see. I do see; and it does ^do not piny Magazine Subscriptions for.) Classifies music to play with or with¬ (from “Lurline") size of any red raspberry. Six properly out a cue sheet, One set for any instrument, WENRICH, PERCY sound like another piece.” For a minute The following is a list of selected gifts, trimmed plants will keep an ordinary¬ $1.00. Used by experts. Pub. by Harry 22521 Crab Apples. 3 Miss Williams seemed to be thinking. anyone of which is well worth the little sized family well supplied with fresh Gebhardt, Washington and Main Sts., Sag PIANO DUETS Suppose we rest a while, and, just for a Nairobe, Kenyg, South Afrit effort which it takes to1 secure an Etude fruit All six for one subscription. change, draw houses. After that you can Music Magazine subscription from one of EGGELING, GEORG your music loving friends:— 22501 Military Attack. play your piece over again. Now we will tie Rely on Umbrella—Extra fine American Beware of Swindlers GRIEG, E. each draw a house and then we'll com¬ any letters from New 19998 Morning Mood, Op. 46, No. 1.4 “Why, that’s a beautiful house, ever so Taffeta, water-proof, Men’s 27-inch, pare them. How will that be?” Zealand in the Jcxi * Etude, I thought I Complaints are constantly coming to us f course, that a lyre is a much prettier than mine; and see the smoke would write and tell ; ’U how I enjoy reading natural wood handle, silk case, 4 sub¬ VIOLIN AND PIANO “Lovely!” exclaimed Ruth. “Oh, I your magazine. I hai from music lovers throughout the country lent. Long, long ago the coming out of the chimney 1 And the cur¬ scriptions. who have been imposed on by fake Can¬ __When You Have a Feu think you are the grandest teacher in the the piano for six y< upon the lyre, while to tains are lovely! And look at the steps teacher who often t Ladies’—Attractive handle with strap vassing agents. Do not pay any money to Momenta to Read Here world 1” or cord, silk case, 4 subscriptions. strangers; so-called ex-service men or col- ON FOUR TONES nr chaplet, of leaves, was leading up to the front door. I’m sure if Ladies’ Vanity Case—with puff and ege students, no matter how plausible is the Book to Pick Up tv. a kind of prize. Now “Thank you, dear; that is very great we open it and walk in we will find a dear Doris Bigelow (Age 14) THE OPEN STRINGS praise.” mirror, fancy leather, silk moire lining, 2 their story may be. If a canvasser calls Five Miniatures for Violin and Piano appear on this door in little girl trying to get her music lesson.” „ 11 Dunedin St.j subscriptions. Then for a little while all was still as Ponsonby, Auckland, New Zealand. on you and you doubt , his sincerity, ask By FREDERICK A. FRANKLIN >' in this short but “Of course we will; but there wasn’t , N. B.—The Junior Etude is always glad Address Boot—Black grain leather, gilt him to give you his name, send your sub¬ Schubert composed every the drawing went on. 'There, mine is time to put her in. She’s there, though, and to hear from those living far away, but would edge leaves, three pages for each letter 22516 Keeping Step $0.25 scription direct to us and We will enter it MUSICAL more than one thousand ready,” said Miss Williams, “what do you practicing scales.” like to hear also, a little bit more about these of the alphabet, one subscription. and credit him with commission, if any, 22517 A Little Seng far away places and their music 22518 The Happy Dancer . piano, orchestra and vio- think of it?” Memorandum Book—Morocco grain, black which may be due. We do hot employ 22519 Daffodils, Waltz “Isn’t that grand, Ruth? And how well leather cover, plain memorandum pad traveling representatives. We cannot be ESSAYS r „ . -- •—i’k't is to show him honor. she plays them.” They both listened and esides that, he taught school for many nodded with pleasure. inserted in pocket with extra pad, one responsiblnsible for cash paid to fraudcl agents. IN Question Box subscription. ' years. What a i „>y man! She s going to play her piece now,” Dear Junior Etude: O’Cedar Mop—Absolutely indispensable in I i?vc<1 i)csl write songs, and always said Ruth. “It’s the same one you gave Do Not Use ART, CULTURE; EDUCATION A few friends and I have been having every household, two subscriptions. PIPE ORGAN ^autifid words. Would you like me. Listen 1” Cigarette Case—Black pingrain gussetted, Pins and ‘fhETs not a new work atid we have but a limited i Tf an argument as to who was the best com- nnrtihmvtaf rmnei. It is full of articles that anyone I fk now J’ow be came to compose two of So it is. So it is. And just hear her holds pack of twenty. Clips in Mail poser in the last two hundred years. I usicWill enjoy reading and the real t tnl™’ , 9nc afternoon! Schubert was with count! In such an even way! What a Jiffy Card Case—Protects your cards; a would appreciate the courtesy if you would business and social necessity, morocco The pinning or clipping of a check or I , . frle"ds in a cafe in Vienna and dear little pupil. Her teacher will be so SONGS—Sacred and Secular Print the answer in the Junior Etude. I sheep leather, one subscription. some other enclosure to a letter is a prac¬ I w,.e.~ UP a copy of Shakespeare’s Plays, pleased.” tice to be avoided. The machine handling W. J. BALTZELL W. S. B. MATHEW! am the pianist in our school orchestra. Mrs. Harding’s 20th Century Cook Book— DR. H. A. CLARKE HOMER A. NORRI: I hp'C1 ?‘S on ,lle table. Opening it, Oh, they had such a good time listening of so much first-class mail, both in the JAMES FRANCIS COOKE LEO. DEHMLER E. J. S. (Age 12), New York. and her recipes for candy making, 2 E. J. DECEVEE V femlu some vcrscs from “Cymbeline,” Ruth looked at it in wonder. To say to the little girl in the house and noticing subscriptions. postoffice when it is cancelled and in mer¬ Answer. No one oan say who is the best cantile establishments when the edges of LOUIS C. ELSON K snmr ” : "These would make a pretty what she thought would be dreadful! all the lovely things she did when, all of Send post card for 1925 gift catalog list¬ J. LAWRENCE ERB LOUIS AUTHUR composer in the last two hundred years, nor the envelopes are sliced for opening, HENRY T. FINCK I then and there, on the back a sudden, Ruth gave her teacher a great, ing other high-class premiums. “Don’t you think it’s rather crooked?” she in any number of years. There is no way causes pins and clips to endanger the con¬ CARL FAELTON WILLIAM H. I “tT_a.me'lu car and which we all love along as fast as I can, and jumble my For one new subscription, we will send method since the important thing is to 20506 O God, Forasmuch As Without Thee deal crooked, for some reason. And isn’t music. Some of the greatest, born since lerous others MATTHEWS, H. ALEXANDER notes all up, I’m just like that tumblety- you 16 packets of high-class flower seeds keep the envelope intact until it readies the door-knob pretty large?” 1725, include Mozart, Beethoven, Schubert, its destination. Pins and clips often The w. 20511 Come, O Thou Traveler Unknown down old house.” as follows:— re Music; NOBLE, T. TERTIUS Poor little Ruth hated to criticize her Schumann, Chopin, Brahms, Wagner,’ 1 pkt. Oriental Flower Garden. cause the breaking of an envelope in post- - Music, The Classics ... ,,, UJMC 20509 Come, O Thou Traveler Unknown Then Miss Williams gave Ruth a little Tschaikowsky and many others. 1 pkt. Aster, Extra Select Mixture. office handling. If the envelope reaches Accompanying, Ear Training, Instrumentation f Question Box teacher, but went bravely on. “Perhaps hug and agreed, “Exactly.” its destination intact, there is very, very Genius, Memorizing, etc. There are little Bio¬ Any of these numbers may be had for examination. Dear Junior Etude: 1 pkt. Sweet Peas, Choice Mixture. graphical sidelights m a number of instances and fl j * Jgmor Etude; 1 pkt. Candytuft, All Colors Mixed. rarely any chance of the contents going altogether there is a considerable amount of In ordering it is only necessary to mention "P I have a question to ask. Why did 1 pkt. Calendula, Double Mixed. astray, since in most mercantile establish¬ material upon which the wfitsic lover may feast. Publication” and give catalog number. thatSjJ thc Question Box for February Bach prefer the clavichord to the piano? 1 pkt. Calliopsis, Finest Mixed. ments the mail openers immediately see "lab , ’ Jr > wishes to know how to Scales J- E„ Jr., (Age 13), California. that all enclosures are securely fastened SPECIALLY PRICED $1.50 1 pkt. Cosmos, Fine Mixture. Send remittance with order— we pay transportation charges Answer. The clavichord is one of the together. We- bring this matter to atten¬ THEO. PRESSER CO. '"eansV'T" °Ut of a cow horn' If he I’ll tell you a tale But soon I found out 1 pkt. Larkspur, Mixed. call hn e, k,nd of a horn that is used to ancestors of the piano. The first piano 1 pkt. Marigold, Giant African. tion for the thousands of our readers who Music Publishers and Dealers Of a very hard scale Beyond any doubt W ,vith I will be glad to tell him was made m 1711, when Bach was already 1 pkt. Mignonette, Sweet. use the mails in making purchases; and That once I attempted to play; That I was not playing it right; 1 pkt. Morning Glory, Choice Mixture. naturally are interested in the best prac¬ THEO. PRESSER CO. Write to m^6 and blow same if he will well-known, and it did not become gen¬ 1712-1714 Chestnut St., Phila., Pa. I got all mixed up So I learned it again 1 pkt. Nasturtium, Tall Sorts, Choice. tices in ordering. erally used till after fn's death, so he really And fingered it wrong As it should be, and then Chas. A. Sparks. had no very good opportunity to become 6 Lronkhite Ave.. Danville. Ilbnois. The same old thing day after day. ! could play it from morning till night. acquainted with it. THE Page S06 APRIL 1925

JUNIOR ETUDE—Continued The Most Popular of all Modern Instruction Works for the Pianoforte Junior Etude Contest Puzzle Corner The Junior Etude will award three Answer to Cross-Word Puzzle in February School for the Pianoforte pretty prizes each month for the best and neatest original story or essay and answers By THEO. PRESSER to puzzles. Subject for story or essay this month: “Listening to Good Pianists. Must con¬ tain not over one hundred and fifty words. Any boy or girl under fifteen years of age may compete, whether a subscriber

All contributions must be received Junior Etude Office, 171jJ Chestnut Street. ATTENTION! Philadelphia, Pa., before April 20th. Names of prize-winners and their tributions will be published in the Sep¬ tember issue. MAGAZINE BUYERS! Put your name and age on upper left corner of paper and your address on upper right corner. If your contribution takes MUSIC - FICTION — FASHION — RADIO more than one sheet of paper do this PHYSICAL CULTURE — HOME HELPS each sheet. Do not use typewriters. N. B.—Unfortunately, the cross-word All Included in These Bargain Magazine Clubs Competitors who do not comply with all puzzle in February was printed with a mis¬ of the above conditions will not be con¬ take, the definition for seven and nine ver¬ sidered. tical being the same. No. 9 vertical (the Order Your Choice TOD A Y and Save Money (When schools or clubs are competing definition which was omitted) should have please have a preliminary contest first and read, "A word meaning a melody.” A send only the five best to the Junior Etude great many of the Junior readers noticed ETUDE MUSIC MAGAZINE — $2.00 j ETUDE MUSIC MAGAZINE $2 BEGINNER’S BOOK PICTORIAL REVIEW 1.50 All WOMAN’S HOME COMPANION. 1 00) All ETUDE MUSIC MAGAZINE... .$2,001 Contest.) __ this mistake and mentioned it in their SCHOOL FOR THE PIANOFORTE-VOL. ONE YOUTH’S COMPANION. 2.50 V $5.00 CHRISTIAN HERALD. 2.00 _ All AMERICAN MAGAZINE. 2 sof $5.00 PICTORIAL REVIEW. 150 ) answers. The prize-winners this time were $4.50 THE VALUE OF EAK-TRAINING Used More Extensively than any other Elementary Regular price.$6.00 ) Save $1.00 Regular price.$6 00 I Save $1.00 (Prize Winner) the ones- who took the greatest pains with Regular price.$5.50 j Save $1.00 Instructor for the Piano ETUDE MUSIC MAGAZINE. $2.00 , Both ETTUDE MUSIC MAGAZINE.. .$2 One of the most important points in a their work, and those who took the trouble PICTORIAL REVIEW. 1.50 ( 85 OOV Both ETUDE MUSIC MAGAZINE.... $2.00 V Both musical education is tile training of the ear The simplicity of this work has enabled many teachers to to make neat copies of the cross-word pat¬ $2.35 PHYSICAL CULTURE. 2.50 1 If a student of music has a good, well-trained achieve speedy results with even the youngest beginners. This is Regular price.$3.50 I Save 65c Regular price. $3 00 J Save 65c $4.00 ear, his progress will be much more rapid tern in ink and fill them in certainly de¬ a “first reader” in piano study. Large music notes are used to aid ETUDE MUSIC MAGAZINE. .. $2,001 Regular price.$4.50J than one who has a poor, untrained ear. A the child eye and the grading is very gradual so that no discourag¬ McCALL’S. 1.00 f A11 ETUDE MUSIC MAGAZINE .. $2 00\ Both trained ear, besides hearing notes or chords serve to win over those who merely made .MODERN PRISCILLA. 2.00 V $4.00 WOMAN’S HOME COMPANION. 1 ETUDE MUSIC MAGAZINE.... $2 00V that are being played, will anticipate changes more or less careless lists of the words. ing difficulties arise. The first grade of study, up . to, but not $3.25 SUCCESS (the human interest magazine)... 2.50 ( in rhythm and key before the eyes have read Regular price.$5.00 ) Save $1.00 Regular price. $3 50 • Save 25c > $3°.25 The winners are: including the scales is covered by “Beginner s Book. I he whole (1,™,. U,,„„»S on the page ; and this makes for work is bright and interesting, little pieces and duets being inter¬ ETUDE MUSIC MAGAZINE. .. $2 00'I Both Regular price.$4.50J Save $1.25 1 smoother interpretation of the ETUDE MUSIC MAGAZINE ... $2.00') FASHIONABLE DRESS. 3 i a trainei Margaret Walters (Age 12), Califor- spersed among the studies, and the writing exercises to cover M .CALL’S. 1.00 I All $4.25 ETUDE MUSIC MAGAZINE. $2.00) Both . Many violii , for notation needs also hold the pupil. YOUTH’S COMPANION . 2.50 V $4.85 Regular price.$5 YOUTH’S COMPANION. 2.50 ( will completely ruin a piece by playing a little 00 J Save 75c $4.00 “off key." as we say. They will play many Elizabeth Chestnutt, (Age 12), Penn¬ “Beginner’s Book” makes an Excellent Introduction to any Course or Save 65c ETUDE MUSIC MAGAZINE.... $2 00V Both Regular price.$4.50J Save 50c MODERN PRISCILLA . 2 notes which “jar” the ear. It the ear is sylvania ; System of Piano Study. “Beginner’s Book” is the Instruction Book trained, nothing of this kind will happen. A “}• $3.40 ETUDE MUSIC MAGAZINE . $2.00\ Both trained ear is necessary to every musician. Madeline Coffman (Age 12), Pennsyl- with the Red Cover that is Familiar to Thousands of Pupils and Teachers. Regular price. $4 00) Save 60c TODAY’S HOUSEWIFE. 1.001 Aileen Bacon (Age 14). $4.60 ETUDE MUSIC MAGAZINE.. .$2 00 V Both $2.10 Michigan. Price $1.00 PATHFINDER. i Regular price.$3.00) Save 90c ™ $2.50 THE VALUE OF EAR-TKAINING Regular price. $3 00 1 Save 50c ETUDE MUSIC MAGAZINE. $2.00 i Both (Prize Winner) Honorable Mention for Puzzles PEOPLE’S HOME JOURNAL. 1.00 ( Robert Sbisler, Alice Burrows, Jane Picha, ETUDE MUSIC MAGAZINE.... $2 Save 25c an entertainment, and when sbe came to n can Use Successfully difficult chord she became confused. Then she ETUDE MUSIC MARa7INr «•» or. finally played a chord; but it was not tne Takes up the subject just where the”Beginner’s Book’’ leaves off. REVIEW OF REVIEWS... : 4.0o\ right chord. It was a dominant sevenm Puzzle and is, of course, intended to supplement that excellent instructor, Save 75c chord that she played, and she did not know Regular price.$6.00) that it was wrong and went right on. ir but it can be used very successfully for any student who has done you do a lot of ear-training you will feel Composer Square the work of the first grade, up to, but not including the scales. The ABOVE PRICES DO NOT INCLUDE CANADIAN OR FOREIGN POSTAGE repaid when you come to more advanced pupil is well grounded technically and at the same time musical taste mUS1C' Joseph Enos, Jr. (Age 12), is developed. A complete treatment of the major scales up to and __ California. Louis Laughlin, prize-winner in Original including four sharps and four flats forms the center of the work. Puzzle Contest in October. TIIE VALUE OF EAR-TRAINING Grace notes, broken chords, arpeggio, syncopation, hand crossing, FOR EVERYONE INTERESTED IN MUSIC Start any place and move one letter at etc., are given special attention. The lack of proper ear-training is one of a time in any direction. How many com¬ the greatest drawbaeks in the progress of the Price $1.00 average American music student. This

[ -,A 5?NewHomei lout of the Old One Take an Alabastine colorcard and visualize the rooms in your home that would be more pleasant with new wall surfaces. White and all tints give you a big choice in Alabastine . . . you get exactly the colors you order in Alabastine packages, with Cross and Circle printed in Red. When unusual tints are desired, just combine standard Alabastine Xor latest styles in wall colors, colors. When lighter colors are desired, just add white Alabastine. J write Miss Ruby Brandon, Home Betterment Specialist, That cross and circle form the mark of the genuine. Alabastine has care Alabastine Company, been doing business “on the square” for nearly fifty years, and substi¬ Qrand Rapids, Michigan. tutes have been coming out in fancy packages with fancy names. But don’t be alarmed. None can duplicate the Alabastine package or the quality of its contents. Just mix Alabastine with cold or warm water. Use it on plaster, wall board, paint, burlap, canvas, or even on old wall paper where it is fast, has no raised figures, and contains no aniline dyes. It’s easier and quicker than trying to clean old wall paper or wash painted walls. And it’s more sanitary. More beautiful. More economical. It will not rub off when properly applied. It covers more wall space, pound for pound, Hum any other wall finish. Ask your dealer for the latest colorcard, or write us. Make sure he THE ONLY TOOL has the colors you prefer, before it’s time to use them. Insist on NEEDED TO APPLY Alabastine and you won’t have to be disappointed with a substitute when it’s Alabastine Time. Signed—Alabastine Company, 973 Grandville Road, Grand Rapids, Michigan. M Mead of Kalsomine orWallPaper