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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
6-1-1920 Volume 38, Number 06 (June 1920) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 38, Number 06 (June 1920)." , (1920). https://digitalcommons.gardner-webb.edu/etude/669
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PRICE 25 CENTS Alberto J6nas $2.00 A YEAR JUNE 1920 Page 861 THE ETUDE Profitable Vacation Courses Preparation WITH THE The Standard Most FINGER GYMNASTICS is A History An epodi-makins volume JrjjJSf'ltoS Recent modern technical wr:iter ^ ce in the technical birthday jewels volumes that makes its apP arai i ^ decided depar- of Music VOCAL OR INSTRUMENTAL world only at long interva s. extension, By Geo. L. Spaulding Price, 75 cents Publications Strong By JAMES FRANCIS COOKE An attractive new volume of little piano P>«eswUh mSm verses which may be sung ad hb The verses are Price $1.50 In Book Form MENDELSSOHN pleasing and of the type that appeals to the As the title of the book indicates, there is a lime of the A FIRST HISTORY FOR STUDENTS AT ALL AGES piece for each month of the year with verse for the appropriate birthstone. The numbers are easy Support play, very melodious, and similar in style and grade Theodore Presser Co. Eight Delightful Weeks of History Study to those in Mr. Spaulding’s successful book, Tunes ■>' «°rk for On the Porch. In the Garden. By the Shore. Anywhere. and Rhymes. New and Important Works study at the piano. A Progressive Musician Thousands of teachers in all parts of the country have organized successful SUNNY DAY SONGS THE ART OF THEp^NCL 50 TO A SUCCESSFUL and SAT¬ and profitable classes in past Summers with the following Schedule from the Should Know By Theodore Lack Opus 289 Price, $1.50 By Helen L. Cramm Price, 75 cents Standard History of Music: This is a modern system of technic for piano play- A delightful book of a dozen and one bright, easy ISFACTORY OPENING of 1st Week How Music Began. Music in the Early Church. How Notation Was Evolved. The piano numbers with words between the staves .These ^ereVe Sf&uSdJeSTSSsi in mecham Troubadours and Meistersingers. Polyphonic Music. Palestrina. Early English Music. vocal or instrumental pieces furnish excellent recrea lion material for little players and singers. This ^Z medium { NEXT TEACHING SEASON 2d Week. Opera and Oratorio. Scarlatti and His Contemporaries. Hie Bach Family. Early work is the latest of Miss Cramm s popular books French Music. The Story of the Organ, the Violin and the Piano. for little pianists. for 3d Week. J. S. Bach, G. F. Handel, F. J. Haydn, W. A. Mozart. any pTanist’s daily practice at the keyboard. 4th Week. Gluck, Beethoven, Schubert, Weber, Mendlessohn. I TWENTY-FIVE MELODIES FOR - - - . » r
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teachers rejecting or discouraging young men and women What the World Needs Most who have afterward become far more celebrated than the June, to some teachers, means the tag end of the busy teachers who turned them down. Garcia at first turned aside season. Just why the music teacher in the public school, who Jenny Lind, and the following incident from Mr. David Bis- works five hours a day for five days, and occasionally gets up pham’s highly interesting book A Quaker Singer's Recollec¬ to eight or nine hours a day for short stretches of time, should tions indicates how the able and experienced Sir George Henschel feel entitled to three months’ vacation, is difficult to tell. might have robbed America of her greatest baritone if Mr. Teachers everywhere have been insisting upon more money, Bispham’s ambition had not been unconquerable. After an and the first thing that the business men on the school boards examination by Henschel, who was then conducting the Boston point to, is the fact that the teacher’s job calls for only twenty- Symphony orchestra, Mr. Bispham says: five hours a week for five-sixths of the year, whereas they ex¬ “After full inquiry into my experience and capabilities pect their employes to work for twice as many hours for all he told me, to my keen disappointment, that he thought them the year except during a week’s or two weeks’ vacation. Of inadequate as a basis for professional work, for what I had course the teacher’s work is highly specialized and very exact¬ done had been done entirely as an amateur and without serious ing. Teachers usually show this in their appearance after they study. I was listening to an accomplished pianist, composer, have been teaching a few years. conductor and singer. I could not play the piano. I had Many teachers with pedagogical zeal work ten or twelve never conducted. I could not compose, but I thought I could hours a day seven days a week, instead of five hours. Music sing. Henschel, however, told me that though I had a good teachers during the busy season do not stop at eight hours a natural voice, my inability to play the piano made it fairly day. They do, however, make the great mistake of wasteful impossible for me to learn even a little of the music I must vacations. It has become the custom, however, of many of the know if I wished to take up a singer’s career with any reason¬ best known teachers of the day to teach all Summer, not merely able hope of success. Disappointed as I was, I nevertheless at the summer schools but in our great cities. Chicago and determined from that night to be a singer.” New York arc crowded with music students in the Summer. What the world needs most at this time is work, work and Musical Rebirth First more work. One of the astute English politicians, when asked Musical history is full of instances of men and women for a motto or slogan for a political campaign, of workers, who, in early life, showed little of the greatness which the See New York papers of March 11th: “ Times”, “Sun and replied that the greatest slogan of the time was New York Herald”, “Morning Telegraph”, “Evening Mail’ , world was only too glad to recognize when it became manifest. “For God’s Sake—WORK!” “Evening Sun”, “Globe” and “Evening Telegram. Their friends in youth were often inclined to laugh at then- He said that he used the slogan seriously and reverently. dreams and aspirations. Nor could the friends be blamed, The people who are clamoring for shorter and shorter hours and then because many of these people doubtless did not then possess more and more money, should stop for a moment to think that the powers that they dreamed about. They came later into —but Anna Case the greatest men of our times—the Edisons, the Roosevelts, the possession of them through hoping, dreaming, working. What Llovd Georges, the Clemenceaus—the greatest money makers they have done you may do in your own music if you hold of our times, the Carnegies, the Rockefellers, the Rothchilds, your ideal zealously enough before you all the time and con¬ had gone! the Schwabs, etc., have all been sixteen and twenty-hour men, le lights flashed on a| stantly keep working toward it. rather than eight-hour men. First of all, you must convince yourself that it is possible James Montgomery Flagg describes triumph of Edison s Ruin and chaos follow any nation in which the workers do to be reborn through the will. You must know that not only as little as they can instead of as much as they can. No man new phonograph on March 10th before a distinguished the mind, but the body, is affected by thought in a most mar¬ been the singer herself—only it wasn’t so should be oppressed or underpaid, but because he is oppressed good looking! velous manner. Dr. Arthur Holmes, distinguished educator New York audience that packed Carnegie Hall. Re- and underpaid is no reason why he should not, under proper It was quite wonderful and the audience and psychologist, in his well-known work, Principles of Char¬ Created voice substituted for living voice—in darkness— conditions, labor to his utmost normal capacity. applauded and laughed. Two girls behind acter Making, instances three famous cases of stigmatization. me said “Goo-gracious”. It was both charm¬ This is not the year for music teachers to stop working and no one detected the substitution. Stigmatization is the term applied to the unmistakable physical ing and astonishing. during the summer merely because some have made unusual markation due to the action of the mind. He first quotes the HE recital was at Carnegie Hall this Then the tallest pianist in the civilized incomes. During June, plan to do all the teaching you pos¬ T case of St. Francis of Assisi, born in 1182. “In 1224, on Mt. afternoon—the Edison Company asked world, sometimes called Victor Young, sibly can this Summer. If you conduct your work right your played a charming thing accompanied by him¬ Alverno, St. Francis saw appearing before him a vision of the me to go to it and report, in my own way, summer will be far more delightful. The student who lays self via the phonograph—lifting his fingers just what happened—I did. off” for two or three months every year stands a small chance crucifixion. Upon this he meditated deeply and profoundly, away from the keys now and again. I could There was a big bunch of New Yorkers Statement by A. L. Walsh, Director of Recitals until in an ecstasy of prayer for the meaning of this vision, SEE him stop playing, but I couldn’t HEAR of ever becoming a Paderewski, an Ysaye or a Galb-Curci. there— _ . . for the Edison Laboratories: the marks of the crucifix as he had seen them in the vision him stop—the recording was so exact. It What the war-exhausted world needs most at this time is A pleasant gentleman in an Ascot tie in¬ “The instrument used at Carnegie Hail, New York appeared on his own body—the nail wounds on his hands and troduced the phonograph, which stood un¬ was remarkable. Most piano selections on City, on March 10th, 1920, is an exact duplicate of the armies and armies of constructive workers to repair the original Official Laboratory Model, in developing which feet and the spear-thrust in his side. These remained until emotionally in the center of the stage through a reproducing instrument sound like Mamie damages of waste. The Religion of work for the best of man¬ Hooligan beating the old family box, if you Mr. Edison spent more than three million dollars for his death two years later, and the marks are attested by Pope the ordeal, without a suspicion of self- research work. Every Edison dealer in the United kind is the Lord’s Religion. Alexander the Fourth, St. Bonaventura and other witnesses consciousness. recall the ones you’ve suffered through. States and Canada now has in his possession an exact Then Miss Case. She draped her beautiful Then the big stunt of the recital—the dark duplicate of the instrument used at Carnegie Hall, New Mistaken Wiseacres who saw the wounds, both before and after his death.” self in an almost affectionate posture against scene. Miss Case began singing with the York and will guarantee it, without quibble or question, Dr. Holmes then cites the case of St. Catherine of Sienna, to be capable of sustaining precisely the same tests as When Verdi went to the Milan Conservatory it is re¬ the phonograph. One of her own song re¬ phonograph. At a certain stanza the house who lived one hundred and eleven years after St. Francis and was suddenly darkened. The song went,on. those made at Carnegie Hall on March 10th, 1920.” ported that Basily, the principal, after a thorough examina¬ cordings was put on the instrument, and they, was similarly marked as a result of great religious emotion. I was shooting my ears out like periscopes tion, decided that the boy had not the requisite talent, and M iss Case and the phonograph, sang together. If you do not know the name of the Edison dealer in The sceptical will, of course, regard these as cases of mediaeval Then she would stop and her other self to detect the second when she would stop your locality, write us and we shall be glad to send you accordingly rejected the greatest Italian master since Pales¬ imagination, but what can be said of the identical case of would continue—then together again 1 and leave the stage. I was sure I got it! But his nameandaddress and a copy of “Edison and Music”. trina. Indeed, it often seems to be the weakness of highly Thomas A. Edison, Inc., Orange, N. J. Louise Lateau, a poor Belgian peasant girl, bom in 1850, and looked away and then back again—it puzzled she seemed to be back again! Then I knew schooled conservative academicians to be stone blind to real I was being completely deceived. The flood me to determine which was at the bat! She talent. There are innumerable instances in musical history of died in 1883? sang a charming duet with herself, too dne of light came on again—but no Anna! Only of them doing the alto business—I couldn’t the self-possessed and urbane phonograph Me NEW EDISON ‘3he Phonograph with a Soul" say which. standing there singing away. It might have ' U i*' - ‘ti/,.' yy'-i- A. To? /
UWH' Please mention ti JUNE 1920 Page 367
THE etude
000 a year for life, or a villa at contest—a motor car or XL, - ^ wh be honest, as the “After an exhausting illness she was so near death that Brighton I shall consider it. At rekxation of the moral 'the sacrament was administered. From that momen reco y cant phrase goes, when y but give pleasure to a set in, and in five days she walked three-quarters of a mile tension you can not only team ? WOmen?” What Must I Go Through to Become the church, and three days later on Friday, she foundl blood verTkrge,ndd..«mngclMsof « ^ ^ ^ Und Mr. flowing from a wound in her side, and a week lttter g Alas! some day m the as an indication of the were marked, and still in another week blood came from the a Prima Donna? Newman’s remarks are “jj1 Jj. twentieth century! If great backs and the palms of her hands Some imonths later-the lax morals of the press m t y that most of An Interview Especially Secured for The Etude with the Distinguished American Opera Star marks of thorns appeared on her brow. For four y wealth is a sign of corruptmn we can at least ^ every Friday the hemorrhages continued, and during each the critics of leading cities d b /v Qf free-thinking, GERALDINE FARRAR time she lost about seven-eighths of a quart of blood The do, their i»dc ease of Louise Lateau was carefully examined by such emi unbiased men who have unsuccessful artists who, nent European scientists as Warloment, Lefebvre, Schwann, [BIOGRAPHICAL Note.—nTnon^has'a thieved suct^a? ex- 1‘IT £52S “What must I do to become a prima donna? Let us ^srv°etefn4Tational reputation as Miss Farrar. Born in Virchow and others, all of whom, according to Dr. Holmes Melrose, Mass, she was rfucated at the pmme q{ Mrs. “agreed that imposture was impossible. The marks; were either that city. At the school age she Dec roe v T teacbers, J. H. Long, in Boston. After ^york* and Trabadello, to'my earlier precepts as taught me by Lilli Lehman., miraculous or due to some neuropathological condition. l>r. Holmes also quotes another case of stigmatization in our own Keep the Voice Strong and Flexible American universities, had written many noteworthy books, l a. consideration of the singer. t s;na jn We have quoted these instances at length in The Ettide ,tudentheto digesfwiffi '"pAS posrible rese£ studied music with fine masters, and heard the best music of the “Primarily, an artist in grand P ^ student to a,g one’s individual to stimulate an interest in a question very dear to the hearts world as his profession for nearly fifty years The position of operaOpera, Pans^ and then^ aats beenth thelsoprano leading soprano torfor maman, of many of our readers: “Can I really remake my musical self critic is surely not that of reclining on a bed of Jacqueminots x/Airr Vnpfe. where sne ua. uv . onnpn ranee to become what I aspire to become?” and Maman Cochets! pictures sire has appeared with her busba^ ^ , There come times when young musicians get hopelessly most aisnngu1ES“cu . C_f e time was the leading n down in the dumps. Apparently everybody is succeeding but school, who at ■ sinner her incursion into tne iaier-uay u An Amazing Condition Bernhardt. is rich in a< them. They begin to doubt their own gifts—-their chances of ° suoerior to some of the disadvantages of our The following v what she r Gorier success. They have never studied the careers of other great The basic economic law of supply and demand has again become a prii musicians closely and do not realize that the masters have come into music with an altogether unexpected and surprising head voice is the dynamo which alone must endure force. The increased number of symphony orchestras in really made themselves successes by clinging to their ideals and all the necessary fatigue, leaving the aewrt vote working with might and main until success came. Thousands America, the great number of players for the new moving nhases free to float unrestricted with no ignoble dis of men and women have been reborn through the force of the picture orchestras (which in many instances are symphony tortions or possible signs of distress. Alas, it is no easy to write of this, but the experience of years tire as we vounger singers should be. will united with the spiritual uplift that comes from striving orchestras of altogether unusual size and quality), and the “This brfef extract about Patti (again quoting Lilli proves how vital a point is its saving grace an , to do the bidding of the Master in producing some great work restrictions placed upon alien performers by the musical unions Lehman) will furnish an interesting comparison im fortunately, it remains an unknown factor to many. for the good of mankind. _these factors have created a demand for orchestral players “To note two of our finest examples of greatness m that is quite unprecedented. Some years ago, for instance, this marvelous profession, Lilli Lehman and Jean $27.00 a week was considered good pay for a fine oboe player. de Reszke neither of whom had phenomenal vocal Upright Criticism Now the first oboeist in a large orchestra receives $100 a week on the table for attention and silence He adim ted it gifts, I would point out their remarkable mental equip¬ America may well be proud of the greater body of music and has opportunities to earn more money “on the outside.” rather often. I asked him wh>. He sa , ment unceasing and passionate desire *or per e, ’ paired with an unerring instinct for the noble and dis¬ S‘„ bf.» U heard. H, answered to own ,n«- f, QHe never sang even her limited repertory when critics in this country. There is never any suspicion among The demand for fine wind players is so great, and the supply tinguished such as has not been found in other ex fair-minded, experienced persons that the greater number ot so limited, that Dr. Walter Damrosch has established three nonents of purely vocal virtuosity, with a few rare critics are likely at any time to barter their opinions for money. free oboe scholarships at a foremost New York institute of exceptions as Melba and Galli-Curci, for instance to mention two beautiful instruments of our generation. We know only'too well that in a few disgusting instances it has musical art. In addition, each scholarship carries with it the ‘The singing art is not a casual inspiration and been possible'to secure in print any kind of criticism desired, sum of $400 for the student’s support. Of course, there are sholld n^frnbge treated as such. The real artist wil upon payment of hard cash. There have also been cases, too, thousands of players of string instruments, but the number of lere rattling of silver and china will eclipse this vocal have an organized mental strategy just as minute and kinds attending torn, and whtch| « l>"‘ ' where musicians have been blackmailed by heinous attacks (or superfine performers is limited, and the demand is growing effort in speech I leave to your imagination what must reliable as any intricate machinery, and Will under all ■ the freshness of the voice nor to the j. o. me p by the still more feared threat of completely ignoring work greater every minute. With the minimum union rate of $50.00 transpire when the singer is called upon to dominate circumstances (save complete physi^ disability) with one thread of song the tremendous onslaught of that should be recognized) into giving up large sums of money a week continually tending to increase, orchestral employment able to’ control and dominate her gifts « * ‘"-Shongh she was a Spaniard b, Mr.h and an an orchestra and to rise triumphant above it in a theate extent. This is not learned in a few year w.thm tne to villainous journalists. .... is becoming a very lucrative occupation. But it is all a matter so large that the faithful gatherers in thegafey t four walls of a studio, but is the the result of a life American b, earl, rfopuoj The unfortunate phase of this subject is that the criticism of supply and demand. If the supply of players were adequate, me we all look like pigmies, and half the time are time of painstaking care and devotion. greatest Italian singer of my •. . .. t that can be influenced by mercenary means is usually absolutely Lod correct and flawless, the voice hke a bell mat these rates would go down with a thump. However, under barely heard. Since the recesses where we must per¬ you seemed to hear long after its s.ngmg had ceased^ form are so exaggerated everything must be m like pro worthless and musicians who worry because they are at¬ present conditions they are far more likely to go up than down. Yet she could give no explanation of her art and portion, hence we are very often too noisy but how can tacked or are not attacked are usually not injured in the least Fifty to one hundred a week is a mighty good income in com¬ answered all her colleagues questions concerning it with ;t h„ otherwise if we are to influence the eager tax except by the ogre of fear. Papers that bear the stain of black¬ “AlT ir n’en sais rien!” She possessed unconsciously, parison with the average income of all professional people. oaver in row X? After all, he has not come to hear af a gift of nature, a union of all those qualities that mail have literally n6 influence. The hyenas of journalism at¬ Jwhisper, and his point of vantage is not so admi¬ other singers must attain and possess consciously. H r tack only the dead and dying, howling long and loud; but the Catalogs rable as if he were sitting at a musical comedy in a small vocal organs stood in the most favorable relations to theater! For this condition the size of the theater and sound soon dies out upon the desert air. Yet in many conti¬ each other Her talent and her remarkably trained ear nental cities we are told that artists are held in more or less In any business house of considerable size there is usually the instrumentation imposed by the composer ar censured, and less blame placed upon the overburdened abject fear of what may appear in print about them. Really one man (sometimes a whole department) given over to what might be called Catalogs. It is very necessary to be able to shoulders of the vocal competitor against these ^dd . the only thing that happens is that their own peace of mind is t utle shading in operatic tone color is possible unless find where to buy certain things, what those things cost and disturbed—quite without reason. an accompanying phrase permits it or the trumpeter the proper name or number by which to order the desired Ernest Newman, one of England’s most read critics, satir¬ swallows a pin! SkK a izes the continental corrupt critic in the following amusing article. Lucia or Zaza ” " ,ppe.r»e,. The accent of great drama, manner by demanding that English critics be paid. England The active music teacher should have just the catalogs he “If your repertoire is The Barber, Lucia, power she did not possess, yet I ascribe fh'S would, of course, make quick work of the critic who sold the one needs and have them so that they are kept in order and imme¬ and all such Italian dainties, well and good. Xoth.ng her intellectual indolence than » her lack otoM.ty. need disturb the complete enjoyment °f this lace-work. “But how few of us would ever make a career thing which makes his services of any value to the public—his diately accessible. We know of one teacher who kept his But, if your auditors weep at Butterfly and Zaza catalogs in a cheap small box letter file. Too many catalogs waited for such favors from Nature! 5 ■ : honest, well-balanced, experienced judgment. Mr. Newman says: thrill to Pagliacci, they demand you use a quite different are confusing—better have one set of one leading firm and “I do not think that the music critic objects, as a matter technic, which comes to the point of my story. Lessons Must be Adequate then use the firm to order pieces not found in their catalog if “I believe it was Jean de Reszke who advocated the of principle, to being bribed—if I may be permitted to describe “Bearing in mind the absolute necessity and real joy in the crude language of the vulgar what ought to be a very necessary. voice ‘in the mask’ united to breath support from the diaphragm. From personal observation I should say in vocal work, it confounds and amazes me that Your catalog should be strictly up-to-date. Especially teachers of this art feel their duty has been ««>m- delicate and charming operation! I, for my part, certainly our coloratura charmers lay small emphasis on that do not; all that I expect is that the bribe shall be big enough at this time when prices change so very rapidly it is necessary highly important factor and use their head vpices with kSS S“hi. is a fair to be worth taking. I have my price, like other men, and have to have the latest catalogs to save mistakes and correspondence. a freedom more or less God given. But the power and no intention of lowering it. A whiskey and soda or a cigar from “Order right and save postage” is a good rule. Business firms life-giving quality of this fundamental cannot be too highly estimated for us who must color our phrases to a tenor, or a sweet look from a soprano, is not sufficient. If spend thousands of dollars in time and money to help you. benefit£!ra by ^the concentration and instruction so hastily Take advantage of their enterprise and get the right catalogs. suit modern dramatics and evolve a carrying quality . i_ Tf vprv nlain speaking, it they will offer me as much as I might win in a football guessing (hat will not only eliminate the difficulty of vocal de- tnar win - _ . _ • C1irr, mirmnitv trom
' _ ■ JUNE 1920 Page 869 T1IE ETUDE Page 868 JUNE 1920 1 is, after all, they who must pay the ultimate in success or failure. An hour devoted to the minute needs of one pupil is not too much time to devote to so delicate a subject. An intelligent taskmaster will let his pupil pilif demonstrate ten or fifteen minutes and during the same period of rest will discuss and awaken the pupil’s inter¬ zines and keep abreast of the times; try to increase ncmpi Musical Genius Everywhere est from an intelligent point of view, that some degree of Upon looking over my ledger for - _ vour musical understanding and improve your teach- yuuTthus* making- . your_ fee worth thpthe amountumnnnt youvah seecm find that there has been a steady increase “ P*™ * : - p|! individuality may color even the drudgery of the class¬ jl? By HENRY T. FINCK room. A word of counsel from such a mistress of song as from month to month. When I left or Lehmann or Sembrich is priceless, but the sums that vacation on the first of last August, the names of six ^Tnc^my6teaching career began I have always kept pupils appeared on my waiting list, notwithstanding the _ ... * i. i Pumnns New York Critic pour into greedy pockets of vocal mechanics, not to i„ Sd Jwo mlm: "Do h WmS* o»d "Got fact that my price for lessons was almost double tha say a harsher word, is a regrettable proceeding. Too Results !” ., ] of any other teacher in the town and that there is a over-production, or that weeds crowd out or smother many mediocrities are making sounds. Too many of Before accepting a pupil I have an agreement with state normal school located here which includes a p day, and that, oftentimes, it never comes, |>ec^se *e^ the flowers? Is it any wonder that the better-class the same class are trying to instruct, but, as in politics, the parents that one or two lessons per week, as the case Musical genius was epidemic a century ago. The is no one to beat the drum and blow the trombone for course in its curriculum. No extra fee is charged by the publishers continually seek to curtail their output and the real culprit is the people. As long as the public may be, will be paid for, whether the lesson is taken most astonishing decade in the history.of music was school for this music course and credit is given to think twice or thrice before venturing with the un¬ forbear an intelligent protest in this direction, just so or not This is an ironclad rule. So far as I remem- that from 1803 to 1813. Berlioz was born just before thThere are in America at this moment, hundreds of students taking it. ber in fifteen years of teaching experience. I have never the close of 1803. Mendelssohn came into the wor d m composers of both sexes-particularly composers of tried work of unproven and unknown writers?” long will the studios be crowded with pathetic seekers These are interesting revelations by one who, year for fame. What employment these infatuated indi¬ On January 1st of last year I raised my prices 25% kept a pupil waiting when the lesson time arrived; 1809, Chopin and Schumann in 1810, Liszt in 1811, songs—who feel disappointed and bitter because tney and my class remained intact. A month before the after year, receives “thousands and thousands of un¬ viduals enjoyed before the advent of grand opera and therefore I exact punctuality on the part of my pupils. Wagner and Verdi in 1813. cannot get their products before thepublicoraccepte raise went into effect I informed my patrons of my solicited manuscripts in a ceaseless stream that never the movies became a possible exhaust pipe for their Some years ago I had more or less trouble with tardy No other art-indeed, no other sphere of human by publishers. To these I say: ‘Stop a moment and intention, simply telling them that with increased ex¬ vanity is not clear, but they certainly should be dis¬ pupils. The first time one failed to appear promptly, I activity—can point to the birth in so short a period dries up in the hottest summer, nor for even a moment perience my services were worth more and that the couraged. New York alone is crowded with aspirants waited ten minutes, then I left the studio and took of seven geniuses equal to those Nor do the annals thLook over a collection including fifty or a hundred freezes over in the bitterest winter.” Bear that in mind h. c. of 1. induced my action at this time. July 31st recreation or went about other business. The tardy for the stage, and their little bag of tricks is of very of music exhibit any similar period. Handel and Bach, of the best of Schubert’s six hundred songs How when you feel disappointed because your “latest and my income had reached the maximum at the price pupil found me gone. I did this in several instance*. 1 to be sure, were both born in 1685, but they stood like ■many of these have you ever heard sung in public or best” product does not receive at once the attention slender proportions. Let us do everything in our power charged. During the last week of my vacation I began to help the really worthy talent, but it is a mistaken The lessons were paid for, however. isolated snowpeaks, in solitary grandeur. even in private? Yet all these selected songs are, that it deserves, or that you think it deserves. to reason as follows: charity,/and not patriotic, to shove singers and com¬ I have tried to educate the parents of my pupils to ■ Possibly the years 1903 to 1913 may yield as rich a esthetically speaking, worth their weight in gold. When the editor of the Century Magazine was the “It is not wise for you to teach so many pupils each posers so-called, of American birth, upon a weary assume the same attitude toward music study as they harvest as 1803 to 1813. It is too early to tell ; not too Next to Schubert, no composer has written so many late Richard Watson Gilder, he occasionally asked me day; you cannot stand the strain indefinitely, although golden songs as Robert Franz. Nearly all of his lyrics public which perceives nothing except the fact that they do toward their children’s school, and if pupils lag in ■ early, however, to take cognizance of the fact that to write an article, and once in a while I volunteered you love the work; your income should be more, and there is a great deal more genius in the musical world are works of genius-pure, unalloyed genius. Yet in my are of native birth and have no talent to warrant such their work I inform the parents of the fact and assure 9 one. In returning one of these he kindly explained (I the only way you can increase it is to raise your price. than most people think. There is genius everywhere busy life as a musical critic in the second largest city assumption. them that it is a waste of their money and my time if the | was still quite a young man) that I must not suppose You have a waiting list. No doubt some, say ten, will work assigned is not prepared. I also put the children if we will but open our ears to hear it, our minds to in the world I do not hear half a dozen of them in a “I do not think the musical observers are doing the he did not think this article good enough for his pages; refuse to pay the increase. Even so, your income will on their mettle by making them understand that I will acknowledge it. year. Had my experience of them been confined to he simply hadn’t room for it. “We can print only about cause of art in this country a favor when columns are be as large as formerly and you will have more time not retain a pupil who persists in shirking her work. To acknowledge it! There’s the trouble Read the what I had heard in public, I might have devoted two two per cent, of the articles submitted to us,” he said; written about the inferior works of the non-gifted. An for recreation.” biographies of the seven great composers I have just or three pages to Franz in my book on Songs and Song One n it advertise, but advertise effectively. I have adding “An editor is a good deal like a man walking ambitious effort is all right in its way, but that is no Writers instead of thirty. When I visited him in 1891, Accordingly, when I arrived at my studio on Sep¬ six public recitals each year—three before the holidays named, or of any other seven great composers and in a garden and making a bouquet. He needs only a reason to connect the ill-advised production with Amer¬ tember 15th the day was spent in calling my patrons by and asked him why he was not writing any more songs and a like number about the middle of June, the series you will find that musicians, and particularly critics, dozen flowers—*the hundreds he leaves are just as ican hopes. On the contrary, it does us a bad turn. I phone, informing them that my fee for lessons would he replied: “Why should I, when so little attention is of three representing primary, intermediate and ad¬ took a long time to acknowledge their genius. Men¬ beautiful as the handful he takes.” shall still contend that the English language is not a be increased 20%, to become effective at once. This delssohn was an exception; but, as a rule the great paid to those I have composed?” vanced pupils respectively. For such occasions 1 obtain ’ pretty one for our vocal exploitations, and within my made my price just double that of any other teacher’s the man the more was his genius belittled by the How many of the songs of Schumann, Brahms, Grieg, Gold Dust the use of a church and put a whole or half-page dis¬ experience of the past ten years I have heard but one in the town. Of the forty-two patrons on my list only Liszt, Rubinstein, MacDowell, have you heard in play “ad” in the daily paper, naming my pupils, notingl scribes and professionals. In this respect a publisher is a good deal like an American work which I can sincerely say would have three seriously objected to the advance, saying that they public? Many of their most exquisite inspirations are special features of my program, and inviting the public Fortunately, the music lovers usually have been editor. There is a strict limit to the number of nov¬ given me pleasure to create, that same being Mr. Henry must have time to think the matter over. Two of these never done at recitals; why should your songs—which to attend. I have attractive programs printed and see quicker to discover superlative gifts than the profes¬ elties he can hope to float. In many of the songs and Hadley’s recently produced Cleopatra’s Night. His called the following 'day and said that they had thrashed sionals. It was they who finally forced the critics can hardly be equal to those neglected ones-be pro¬ to it that they are free from typographical errors. Last instrumental pieces that he feels obliged to decline, the score is rich and deserving of the highest praise. the matter out, and had decided that their children to acknowledge the genius of such men as Ghopin, duced? Can you give any reason? spring one of the churches was trying to raise a fund gold dust of genius may glitter; but genius, as musical “In closing I should like to quote again from Mme. must continue with me. The other felt she could not Liszt, Wagner, Grieg, all of them creators of the first “At any rate,” you may respond, those writers had to purchase an electric motor for the pipe organ. I j biography shows, doesn’t Usually “pan out” well, as Lehmann’s book an exercise that would seem to fulfill afford the new price. So my list of forty-two was their songs printed, and I cannot find a publisher for held my recital in that church and charged 25 cents the miners say. a long-felt want: reduced to forty-one! I have to work just as hard, But the battle was won only temporarily. Soon the mine” But why should a publisher accept and print This gold dust of genius is more abundant than but I am better paid! admission. A nice sum was realized and this amount things, however good, for which he cannot, do what he “ ‘The great scale is the most necessary exercise for was turned over to the pipe organ fund. This is effect¬ assailants lift their voices again, proclaiming with most people suppose. Among Schubert’s more than In notifying pupils of the increase I simply stated please, find a market? Even if he admits they are works all kinds of voices. It was taught me by my mother. ive advertising and beneficial to all concerned. great glee that while the favored composers may have half-a-thousand songs, about a hundred are nuggets of genius—probably because they are works of genius— She taught it to all her pupils and to us.’ that it had always been my intention to get a certain been geniuses they are now outmoded. Handel, we of pure gold. Many of the others are, on the whole, price for a forty-minute period, and that it seemed To sum up: I conduct my class as though I were read, is passe; so are Haydn and Mozart—even Bee¬ he cannot dispose of them to buyers. mediocre or worse. Yet, in nearly all of them, grains “Here is the scale as Lehmann taught it to me. directing an organized school. There can be no laxness to me the time was now ripe to realize my ambition— thoven. Mendelssohn, Schumann, Weber, had their of gold dust are scattered here and there. The Lure of Mediocrity when there were more applicants for lessons than I in business methods and discipline if one would succeed day; “they were not real geniuses.” Liszt is dead, Such grains I find frequently in the works of minor could possibly accommodate. This statement in itself financially as a teacher. and the “Wagner bubble’ burst long ago, so we are Do you realize the tremendous lure and potency of composers and modern writers whose status is still was not without its psychological effect. A good working system established, I am in a posi¬ told We also read that Gounod, Bizet, Samt-Saens mediocrity? Do you know how it is fostered and to be fixed. Nor is it only in music that gold dust pushed and exploited with highly organized business “There’s a Reason” when the public sees fit to pay tion to give pupils of my best and endeavor to direct produced mere baubles; that America’s foremost com¬ glitters everywhere. a certain teacher twice as much for lessons as it does all their development so that some of the beauties of my poser is passe; and if MacDowell was not a genius sagacity? If not, read what William Arms Fisher, the When I was just out of college a classmate who competitors—this, too, in face of the fact that lessons beloved art—music—will be manifest to them. And in then America has not produced one. eminent American song writer, who happens to be an subsequently became a famous literary critic poured “It was sung upon all the principal vowels. It was may be had free by all pupils attending a certain local the case of susceptible and gifted ones who remain with appraiser of the manuscripts offered to one of the on me his vials of scorn because I said there were extended stepwise through different keys over the entire school. A customer pays twice the amount for one me long enough, I can make clear the meaning of The Mephistophelian Attitude leading American publishers, said at the last meeting in Henry James’s Portrait of a Lady pages worthy range of the two octaves of the voice. It was not her of the Music Teachers’ National Association regard¬ piece of merchandise in preference to another because Keats’ well-known lines: Singular, most singular, this disposition to decry and of Shakespeare at his best. Probably he would now advice to practice it too softly, but it was done with he believes the expensive piece to be worth more; and, “A thing of beauty is a joy forever; deny genius. I have never been able to understand it. To ing a certain class of “Broadway publishers” who do admit I was right. James was not so famous then all the resonating organs well supported by the dia¬ as a matter of fact, it .is—if quality and workmanship Its loveliness increases; it will never be sure, I have occasionally spoken disrespectfully of an enormous business in exploding mediocrity and as he became subsequently; but that did not prevent phragm, the tone in a very supple and elastic “watery” vulgarity—a sort of “gamble” which is often very profit- are superior. Hence, the gist of my advice to teachers Pass into nothingness; but will keep certain works by Handel, Brahms, Richard Strauss, me from being thrilled by his genius. state. She would think nothing of devoting from forty is. use_business-like methods; don’t “knock” your com¬ A bower quiet for us, and a sleep Puccini, Debussy and others; but it never occurred to Genius is not the monopoly of a few great men. minutes to sixty minutes a day to the slow practice of petitors ; work and study continually; read musical maga¬ Full of sweet dreams, and health, and quiet breathing.” me to deny that these men were geniuses. No one can “They trade deliberately and methodically in the Sparks of it—flashes of inspiration—may be seen in this exercise. Of course, she would treat what one say they always struck twelve—nor did Beethoven ephemeral. Their stock is the passing fad or fancy of many books by many writers and also in the daily might call a heavy brunette voice quite differently from and their works did not appeal to me as much as some the moment-coon songs, baby songs, mother songs, the newspapers. Read, for instance, the weekly page of a. bright blonde voice. These terms of blonde and others; just as some persons prefer Dickens to lhack- old home on the farm, jazz music; recently, of course, witty, pithy epigrams printed in the Literary Digest. brunette, of course, have nothing to do with the com¬ eray, Howells to Henry James, Conan Doyle to Kip- war songs, and now welcome-home songs. These They are culled from the daily papers of the whole plexion of the individual, but to the color of the voice. Count the Cost publishers have their staff of so-called writers whose country, and many of them are true flashes of genius. llnUnlike most of my colleagues, I have always held business it is to se|ze a line here, a topic there, a The writers of most of these are unknown to fame. catchy title from somewhere, and some easily remem¬ The Only Cure By Constanza M. Foster that the discovering and encouragement of genius— Suppose vou write something—literary or musical. either creative or interpretative—is the only thing that bered melodic phrases and put them together by time- You have in mind a definite plan, but the details are “Lehmann said of this scale: ‘It is the only cure for makes musical criticism worth while. What I admire tarnished formulas. As soon as the product is ready left to the inspiration of the moment; many writers all injuries, and at the same time the most excellent Before you decide to go in for a musical career, sit let the pricks and thorns of a musical life sting you’ most about Schumann, apart from some of his mas¬ to serve a drive begins. Hosts of vaudeville and think with the pen. Suddenly there is a flash—a happy means of fortification against all over-exertion. I sing down and count the cost. There are several points to Have you sufficient philosophy to withstand all the ter works, is that he was the first to discover, or at cabaret singers are taught the song and a campaign of thought—which illumines your page. It gives you a it every day, often twice, even if I have to sing one of be considered: spiteful criticisms that will undoubtedly come your least to proclaim loudly the genius of Berlioz, Franz, publicity is started to artificially stimulate public inter¬ glow of pleasure—a glow which is afterwards communi¬ the heaviest roles in the evening. I can rely absolutely 1. Are you really so much in earnest that you can put way? Will you preserve a good-humored tranquility Chopin and Brahms; and what I like least about him est in it. . . . Through the chains of ten-cent cated to the reader. That flash is a stroke of gemus- upon its assistance. I often take fifty minutes to go aside the thousand-and-one diversions that make up when someone tells you that your “method” is ail is the failure to acknowledge also the towering genius stores large editions are quickly distributed over the not necessarily of the highest order, but genius it is. through it once, for I let no tone pass that is lacking in your social life?—the teas, dinners, luncheons, and wrong; that you have wasted time on an infinitesimal of Wagner. The Mephistophelian spirit of negation entire country and a new ‘hit’ is started. any degree in pitch, power, duration or in single vibra¬ meetings with friends, which if not severely curtailed talent, or an ill-informed teacher? Can you bear the seldom redounds to anyone’s credit. “Against such methods, what chance has a dignified, The Pleasure of Creating covert sneer; the patronizing air of superiority; the tion of the propagation form.’ will inroad your practice hours and delay you on the Strange as it may seem, in looking back over my serious publisher to market his goods? The onrush of “Genius is its own reward,” wrote Schopenhauer. caustic criticism? If you cannot, you will get more “Personally I supplement this great scale often with way to your goal. forty years of musical criticism, I find that my best mediocrity makes the odds tremendous against them. “If we look up to a great man of the past we do not pain than pleasure out of your musical career, no matter various florid legato phrases of arias selected from 2. Are you willing to guard your health—even to be energies were expended in fighting for the genius and In the years 1916 and 1917 the Register of Copyrights think, How fortunate he is to be still admired by all to what' heights you attain. Try something else. the older Italians or Mozart, whereby I can more a little “fussy” over the matter—to restrain your appe¬ preaching the gospel of Bach, Schubert, Chopin. in Washington entered in the official records 32.009 of us; but. How happy he must have been m the direct But it is indubitably true that the one who can so easily achieve the vocal facility demanded by the tite in all directions, and to get enough sleep to repair Franz, Grieg, Liszt, and Wagner. I did this because I items but of this avalanche of composition only 15 7c enjoyment of a mind the traces of which continue to weigh values that things will appear in their right per¬ represented the output of the eight leading Amen- tessitura of Manon or Faust and change to the darker- the body tissues? For sturdy health is one of the major was appalled at the mountains of prejudice, ignorance, delight generations of men. Not fame itself is of spective—the light, trivial pleasures against the real and can music publishers.publisners. The,inei remaining 85% covers hued phrases demanded in Carmen or Butterfly. assets of the artist, and no one, even with unusual gifts, malice or indifference that stood in the way of the value,, but that wherewith it is acquired; and in the vital issues of life—such a one will build up a fine, the output of the smaller houses, of the popular, “But the open secret of all success is patient, never- can attain his highest notch without good dependable appreciation of their colossal genius. begetting of immortal children lies the real enjoy- artistic career, and will find the utmost satisfaction in the sporadic and mushroom publishers, a small list of ending, conscientious work, with a forceful emphasis health to back him. If giants like these needed attorneys to plead their it, and in the development of his natural talent, be it on the WORK." 3. Just how much—or how little—are you going to small or great. JUNE 1920 Page 371
THE ETUDE THE ETUDE
Page 870 JUNE 1920 Such was the case with Stephen Foster. Next to « enjoy end re.nl more THE ETUDE Page 372 enough people that they have some magic talisman that is going to do away with real work and make results attainable without effort. Many of these charlatans are honest in their own minds. That is, they have a little leads to steady scale per¬ bag of tricks—a few exercises which they construe into what come to be known as ‘methods.’ The great formance. . 2 Relaxed muscles from shoulder to finger tip re- New Pianistic Beauties Through teachers of the world, in any branch of human en¬ Left hand-The Bass Clef. The Clef Sign * Jve the tendency to nervous, flurried scale playing. I deavor, have invariably been above methods so-called. taken from an old-fashioned way of w S 3 Slow legato playing in which the finger which Their knowledge has been almost universal and not letter F. Notice the two dots on each side of the New Pedal Effects confined to a few little short cuts. w lust struck a key is not released until just the in- fourth line making that line always F. Name stan the next succeeding finger strikes "key bntton,”- By the Well-Known Chicago Pianist and Conductor “There was a teacher once who advertised that lie each finger of your hand after the lines of the Hass taught the Deppe method. The main thing about his (that is goes down as far as it will go) is the basis teaching seemed to be that he placed the pupil before Staff. of all finished rapid scale playing. GLENN DILLARD GUNN the piano on a chair so low that it looked as though 4 The management of the thumb is the basis of the poor individual were almost reaching up to play on long smooth-flowing scales. The breaks come m pass¬ a mantlepiece. This teacher advertised marvelous re¬ ing over and under the thumb. Therefore the student sults from this method, and I think that he really must practice the scales very slowly, preparing the thought that he had found a panacea for all pianistic thumb in advance or the fingers that go over in advance ills. Of course Deppe would never have dreamed of For instance in the scale of C ascending-strike C, at teaching in such a manner. The result was that two the moment that the second finger strikes the next note of this man’s pupils reached a stage of almost complete D, the thumb is slipped quietly under the hand so that These remain certain special uses of the damper arpeggio of the Chopin G minor Ballade paralysis. it is immediately above F. This is done before E is pedal to be described. Difficult connections often call (Ex. XIII. Introduction G minor Ballade, Chop •) struck with the third finger. Long experience has for brief depressings of the pedal in the midst of pas¬ Leschetizky Out-Leschetizkyed II V . J ' . shown that if the hand is slightly tilted toward the sages which are designed to be non-legato; in which legato and non-legato touches combine; or in which “Another man advertised that he had discovered the thumb it will be in better position to do this. ~J\ r e> \'' the required lightness and transparency make audible real secret of ‘Leschetizky’s method.’ The truth was S Play in groups. That is, don’t think of the notes that he was employing an exercise which Leschetizky | c use of the damper pedal undesirable. The first varia¬ individually but in sections. Think of a group of ten tion in Beethoven’s Op. 26 demands a connected bass was reported to have used upon one occasion, and may J i r o4 m,i. notes as a word and get the knack of running it off have used to correct some peculiar fault. It consisted progression against the feathery arpeggios of the right T just as you would pronounce a word of ten letters. in letting the ‘heel’ of the hand fall far below the key¬ hand. If the pedal be depressed on the last half of board and playing five-finger exercises with the fingers Right hand-The Treble Cleff or G. Clef, because the last eighth note in the measure and released as hanging on the ivories like hooks. Under certain con¬ it revolves around the second line and therefore that the first note of the next measure sounds, its use wi.i A Hint on Memorizing not be heard and a flawless legato will result in the ditions this extreme- and unnatural exercise might be line is G. Name each finger of the right hand valuable if very carefully used to produce strength. bass progression. (See Ex. IX.) Here the left foot must depressho^h t^una wrfla and after the lines of the Treble Staff. By otto pj^her (Ex. IX, Beethoven’s Op. 26, Variation 1.) 01a 5UJUUJ u then nlaved with tne usum •••= Such an exercise, however, is extremely dangerous if the sostenuto Pedals so soon foot is thus left free to •lad. If the passage is ^tore beginning carelessly done and can strain delicate parts of the Practice away from the piano calling off the lines measure is sounded. Th® tones of the left hand [lte damper SfiTS hand in most disastrous fashion. Yet this teacher on each hand as you point to them with the other. a modern memory system recommends tin virtually made his living by convincing others he had Then practice pointing to the spaces between the lytical process of memorizing: take two or three out-Leschetizkyed Leschetizky by finding out the real fingers named after the spaces on the staff. words-•>- =-in -a sentence- which express the main idea, kernel of the Leschetizky method. and, holding these firmly in mind as a peg to hang our 1 “I could cite many other instances of charlatanism, thoughts on, gradually add the modifying and qualify- J !>r,OUF“dG,°B rafentiy iStjuSeWft hand wbile the right of dishonesty, of obscurantism. What’s the Matter with the Pupils’ ing adjectives, phrases, etc. Thus, in the opening sen- ^ bind plays the tart six notes^ofthe phrase In oc by tence from Lincoln’s Bunker Hill Monument speech, j dispense with the use of the former and rely upon Take Counsel with Yourself Recital ? “This unaccounted multitude before me and around im¬ touch for a pianissimo. In this connection let it be proves the feeling which the occasion has excited." the 1 r(R!,Tiorr!y25hNodi4fflCcUa\i be^ccompTishod by del, said that the ancient tradition which prescribes the use “If you would succeed, take counsel with yourself. main thought is “multitude proves the feeling.” By a By a Mother of the una corda pedal only where a change o* tone- There is within your soul a force which, if awakened cumulative process of adding modifiers we get. 'n-t: J and wisely directed, may transform the world. It hbauvtV. “Thde color is desired still holds good though violated by “This unaccounted multitude proves the feeling:’ < SlU ’holds the melody t will, at least, transform your life. This force is de¬ My three enthusiastic youngsters are studying the common usage. . . then: “This unaccounted multitude before me and 1 This use of the sostenuto pedal to prolong bass sire, passion—the desire and the passion of the true piano and the violin. It naturally fell to my lot to at¬ squires good eai 1 and faultless around me proves the feeling,” and finally addmu the ; cull. UUU 1 rill* 11 tones is by far the most common. It was for this that artist for his art. For its sake he will toil and sacri¬ tend closing recitals in June. To be exact, I listened it toot and hand. last phrase, “which the occasion has excited,” the rela- j it was designed. Often it is best to prepare the tone fice. Its golden dreams will sweeten his life. He need to six distinct programs, for we are a music-loving tion of important and less important ideas becomes so ■ < The Sostenuto Pedal or tones to be held by the sostenuto pedal silently in perrnm'edTo sound'for a mUent.^Iee ExJxiV ) not be coaxed to work, nor to be flattered; nor will community and, as a one-time teacher of the art, my the rocky road which he has to travel frighten him. clear that we have no difficulty in remembering the / advance. Thus one might begin the Bach-Liszt G. P (Ex. XIV. Scale passage of G minor Ballade.) interest is twofold. Since the sostenuto pedal is ^ American invention Through failures and privations, through momentary sentence. minor Fantasy thus. (See Ex. XI.) I have reflected upon those six programs, and have one quite naturally finds its use first indicated by an discouragement, yea, through poverty and want, the (Ex. XI. Bach-Liszt G minor Fantasy.) concluded that there is something altogether wrong Learn the Melody First American composer. Practically all of MaeDmwd mysterious, divine inner force will ever shield him, with the usual students’ recital. Get together a num¬ The same principle may be applied in memorizing works which were written after his return to America uphold him, lead him on to ultimate success. For ber of more or less nervous children, a more or less music. Here the main thought is always the melody: call for it. The Sea Pieces, both books of etude, success it will be, whether enjoying material wealth, distracted teacher, some anxious parents, a sprinkling the accompanying thoughts are the modifying ideas. the Fireside Talcs, the New England Scenes, the like Mendlessohn and Meyerbeer, or being carried to Woodland Sketches and the sonatas all have many a pauper’s grave like Wolfgang Amadeus, Mozart and of bored friends, and the resulting occasion can For example, in Mendelssohn’s Spring Song the mel¬ scarcely be a happy one musically. But why the ody (the notes in the right hand with the stems up) opportunities for its Franz Schubert.” nerves, the distraction, the anxiety and the boredom? should be memorized first. Do not -take more than Other uses of the sostenuto pedal in the O minor Bfflade „ „ Up recommended at the conclusion of the• E flat ma Are they not all the result of that spirit of compe¬ eight measures at a time, and if you have any dif¬ and to deduce at least three rules to guide the student inr Wnltzlike division (154 th measure, hold C sharp tition which, we have been told, is the life of trade, but ficulty in memorizing as many as that apply the proc¬ in its use. .. , mtoor chord with sostenuto pedal; 158th measure hold h. What Shall I Teach which surely is the death of art? Good, bad and indif¬ ess given below to the single measures or to groups The sostenuto pedal keeps up all dampers that a flat major chord with sostenuto pedal). . , f be prepared silently in advance ferent, beginner and advanced student—they are all of 2 or 4 measures, gradually combining them until up at the moment that it is depressed If all damper, By J. M. Baldwin marched on in inevitable procession, from The Jolly you have covered the entire phrase of eight measures. are up when the sostenuto pedal is depressed if, scale passages are played. (See Farmer to the Chopin Walts. Comparisons are inevit¬ You should be so familiar with this melody or central other words, the damper pedal is first depressed and able, too, and—comparisons are odorous. The stu¬ idea that you can sing or whistle it or transpose it the sostenuto pedal is depressed later-all dampers will With many teachers the question is, What shall I It is often possible to stimulate resonance by the sos¬ dents, the teacher, the parents—all are quite aware of remain elevated and the damper pedal mechanism will use for beginners? Not long ago an experienced by ear into other keys. Having thoroughly familiarized tenuto pedal, notably in such cadenzas as the first in this. Is it not possible to break away from this stereo¬ have no effect upon them so long as the sostenuto teacher made the remark: “I do wish teachers would yourself with the melody, next add the bass octaves the Liszt (A flat) Dream of Love. By dividing the pref¬ typed form? It is. One of the six recitals I heard pedal is held down. Vice versa, if no dampers are up stop using a certain book.” The book was one contain¬ to this melody and so get the foundation of the har¬ atory dominant minor ninth chord between right and broke away from this conventional program and its at the moment the sostenuto pedal is depressed, it ing many familiar tunes and very progressive in its monic structure. This bass part may, of course, be left hands and holding it with the sostenuto pedal drawbacks. It was done through intelligent coopera- will not function. Wherefore the following rules: work. It was a splendid work for beginners. memorized separately. Lastly add the arpeggiated while the ensuing passage is played; and by employing accompaniment which you may also memorize by it¬ I. Tones to be sustained by the sostenuto pedal: many short accented damper pedals throughout the That particular instructor wanted to use more classic ML prepared atlenlj* brfor* A wise teacher had gathered her eighteen miscella¬ self. If you are a harmony student this accompani¬ I—may be prepared silently in advance; 2—may be pre¬ cadenza, an effect of remarkable brilliance, clarity and music. The desire for classic and “old master” music neous pupils together into an orchestra that gave for its ment with the bass below will be interesting to analyze pared audibly in advance of other tones of the chord. is a splendid thing. But it seems hard for most of us resonance may be obtained. (See Ex. XII.) Returning to the subject of touch, the student will first number Haydn’s charming Toy Symphony. With harmonically. As special memory drills you may play II. The sostenuto pedal must follow the hand—must to remember we were once beginners. The average (Ex. XII. First Cadenza, Liebestraum A flat.) progress most rapidly toward a mastery of subtle con¬ the most capable piano student at that instrument, six these two parts from memory and sing or whistle the boy or girl just beginning the study of music has no be "syncopated.” trasts by careful practice of extreme pianissimo. Stiff¬ young violinists, the others absorbed with the various melody or play the -melody and the arpeggios alone taste for anything further than some familiar tune or III. The damper pedal must follow the sostenuto ness is an aid to delicacy of touch. A rigid hand and a toy instruments, the ensemble, under the teacher’s and omit the bass. Doing this you will be imitating something that has jingle. It is out of the question pedal if used in conjunction with it. tight arm, which permit a minimum of weight to be baton, was truly enjoyed, not only by the audience, but the orchestra conductor who rehearses certain instru¬ Let us take as first example the second part of Mac- transmitted to the key, represent the muscular condi¬ to think that a beginner ought to be interested in a by the performers. They loved to do it, and they did ments or groups of instruments separately. masterpiece. Every tutor should bear in mind that to Dowell’s Etude,-Op. 36, entitled Shadow Dance: tion necessary to clarity and beauty of tonal propor- it well. The second part of the program was given One of the advantages of at least knowing the cen¬ make musicians it is necessary to go step by step. (Ex. X. MacDowell’s Shadow Dance.) tions in pianissimo. over to a group of piano numbers by a gifted student tral idea or melody perfectly may be illustrated by the Contrasts are the life of a performance. Control If one wants to disgust a pupil with music, to make and a double number for two violins with accompani¬ singer who, when his accompanist drops her music, and restraint in the use of contrasts are the mark of the ment by a second piano student. For closing we had him so sick of it that he will not want to try the continues unconcerned until she has again arranged artist, just as the lack of courage in their employment piano again, just set him at work on something that again an orchestral selection, light and pretty, and given her score and found the place. If through any cause ♦v,o r,( the amateur, whose nianissimo is never seems tuneless to him. It will not be long until the with great zest by the players. you should forget what comes next in your accom¬ teacher has lost the opportunity of developing a musi¬ When it was all over we of the audience looked at paniment you will be so familiar with your melody that cian. By observation you may see what your scholar our watches for the first time and gasped to find that you can continue with it and soon bring your accom¬ , likes and gradually draw him into the higher lines of an hour had elapsed and that we had really enjoyed a paniment into line. This gives confidence in playing music. This is the tact of the true teacher. students’ recital! for an audience. JUNE 1920 Page 875. THE ETUDE THE ETUDE Page 874 JUNE 1920 Taking American Music Seriously from the literature of the harpsichord aniL^V earlier background of'interpretative art, and which, in itself, is He points out that these instruments in *e‘r earl By A. M. B. Bonner one of the most beautiful of pianistic effects. Without forms were minus all damping appliances and he pe 'm c $ this dynamic standard, the artist cannot measure his former was obliged to damp the stnngs wuh h s hands Secrets of the Success of Great Musicians contrasts and falls into all manner of exaggeration on IlisiitJ Since this interrupted the course of the Perfo , . A MUSIC writer of note, in a recent book on Amer- ' DCC1CL3 <->■ /'hpvaI.IER EUGENIO DI PIRANI the one hand, or degenerates into amateurish weakness it is evident that much of the music must have hah an ican Composition, makes a very timely statement when and monotony on the other. effect similar to that which would be obtained on However, the amateur, as said before, rarely falls modern piano by too liberal «se_ of the pedah That he ^^The opportunities before the American A (March); Mendelssohn (April), and Beethoven (May). into the error of exaggerating contrasts of power. this in turn was not entirely desirable, even to eigni Composer are enormous, and only hall appre- I « ^ ^ A f Better a fortissimo too loud, a pianissimo too soft, than eenth century ears Mr. Bauer proves by quoting from a • ted * * * while the true hope in Amer¬ a contrast that will not carry across the footlights. letter that Mozart wrote to his father concerning som ican music lies in the development of those | Busoni’s transcriptions of Bach offer the best possi¬ public performance in which he used an ins r qualities that have given us an individuality - Georg Friedrich Handel ble material for the establishment of standards of equipped with a knee damper. Mozart extolled among the nations of the_ world in respect to J most eminent musicians of their time, among thro At- touch. This master of the piano has transferred to the Upon his return to Halle the boy was Pl^d «nder tilio Ariosti and Giovanni Buononcim had obtained merits of the new device. our character as a people. It is intentionally that I let my last article on Johann keyboard at once the “flatness” and dynamic monotony For the rest, the student of touch and pedal is advised This we know is absolutely true, taking the same the organist of the-thedral, high favor. With both of them Handel soon^Elector of the organ played for long stretches on one manual mate acquaintance. Little George delighted the Elector to add the following works to his repertory. thoughtful view-point we do realize the great possihil- without change of registration, and the precise but Ke”.idCFugues are published in the collection ities of the American composer, and tin. rare skill and- the Elcctress by the beauty of h>s PeM°™an^ vivid contrasts of power which different registrations For the study of parallel contrasting levels of tonal of Breitkopf & Hartel) who taught him to P^^P011 causing some jealousy in Buononcim, whi e Anost, con with which he must play upon the heart strings of the and different manuals make possible. intensity : „ __ the organ, harpsichord, violin, hautboy and almos ceived an affectionate interest for the youthful prodigy, Tune from County Derry. American people with his tuneful melodies, m order U man birth, both commenced their career as organists every other instrument in common use in the orchestras His transcriptions of the choral preludes, as for Colonial Song.. frequently holding him on his knees for hours together example Sleepers, Awake—offer unrivaled opportunity Chanson Sans parolles. i0i„GtraSaP to make America musically safe. On the other hand, their development, the style of tl of the period; he also instructed George in counterpot at the harpsichord and imparting to him many valuable But shall we as individual music lovers and per¬ for the study of simultaneous contrasts in levels of Alceste . works diverged substantially from each other. The and fugue. In that time a conscientious teacher was to hints for his future guidance. Ariosti himself was a Intermezzo in E flat. Op. lit. formers leave all the responsibility of e-tal.lishing a tonal intensity. His transcriptions of the Toccata in Love Dream in E major. comparison6 between these two giants of German art his pupil more like a father than a mere mstruetor. » brilliant executant on the harpsichord. national spirit of music to the American composer? ■ gives us the proof that influences and external circum¬ was not the wholesale commercialized teaching as D minor is an etude in “flat” effects and broad con¬ For special pedal effects: _ So fully was the genius of Handel recognized at the trasts of power. Also it calls for a most difficult and Pastorale in E minor.Scarlatti-Tausig Shall we not do our part in developing musically the stances can mould genius into quite different shapes. carted in our conservatories, where the attention of the court of Berlin that the Elector offered to take him rarely heard echo effect. To produce this, the hammer Dells Across the Trees. qualities of individualism that have made our country ■ \UV cee in one Bach, the plain- organist, living m a pedagogue must be divided between half a dozen or more into his service as one of the musicians of h.s orches¬ Reflections in the Water. must be made to act both as hammer and as damper. famous? kind of domestic hermitage, the pure religious trend pre¬ scholars in the short space of an hour. Zachau devoted tra. With this in view he proposed to send Handel, at A sharply accented chord repeated immediately in ex¬ There are several of these qualities- / might vailin'' during his whole life; in Handel, on the contrary, to his gifted pupil all his knowledge, his interest, his his own expense, to Italy, where he might be perfected treme pianissimo will produce this echo effect, because Impromptu .LarPn»vel be termed the paramount. Now comes the question': the smiling sky of Italy beautifying, illuminating his whole soul. Music of all kinds by all the most famous under the best masters. .This offer was declined by the hammers coming delicately into contact with the Are we as loyal to our own American music as we inspirations, making him more attractive to the majority composers then known was analyzed by master and Handel’s father, either on account of his independence For Sostenuto pedal: should be? Broadly speaking, have not \w a- indi¬ of his contemporaries. England, where Handel resided pupil together, the different styles of the different: n a¬ vibrating string reduce its activity suddenly to a mini¬ . .MarDowell of spirit, or because he still chenshfed a hope of mak¬ Concert Etude F sharp. fnr nearlv fifty years, honored him as her own son, mum. The effect is difficult to command. Sea Pieces Nos. 1 and 11. .. MacDowell viduals, been inclined to look lightly upon tin- musical tions being pointed out and the excellencies and defects ing a lawyer of his son and wished to avoid such an Crescendi usually are accomplished chiefly in the Polonaise Americaine. ...Carpenter production of our own land? Have we mn criticised anglicized his name to read George Frederick Handel of the works clearly shown. Zachau had in his library irrevocable step. After the refusal of the Electors Play of the Waters. and even to-dav his works are predominant in English left hand because it commands the greatest resources Prelude in A minor (Suite pour le piai the works of our composers as being shall, w, tuneless, a collection of scores by various masters, and of many offer, Handel could not remain in Berlin any longer. of resonances. Prelude in C sharp minor (something and thrown them aside after a hasty ami aicnliincs concert programs. In outward honors, in the recogni¬ of them he caused Handel to make copies for study. He therefore returned to Halle and settled down once Autumn Idyl. tion by his contemporaries, in the earning of worldly Diminuendi are aided by half pedals, as explained Prelude in A flat. ..Chopin imperfect reading, as being practically worthless? The master would not be satisfied with anything less more to his musical studies, now left entirely to his before. This precipitate judgment, of course, is not applied to goods there is no doubt that Handel reaped m his day than one original work every week. Thew were not For routine in careful detail of pedaling: own resources. Precision in control of short pedals can be developed the musical efforts of all our composers, but -in the f far richer harvest than Bach. Receding more and mere exercises, but formal compositions—generally a Tambourine.Rameau-Godowski more from their time, however history is wavering Handel’s First Appointment advantageously in the study of the Chopin waltzes and Canzonetta Suiiutor Rosa.. . ,1 majority of cases—haven't we been guilty? cantata or a motet or sometimes a sonata or a varia¬ Sarabande tRenaissances Vol. IP I.Ilameau-Godowski We are not discussing the so-called “popular music” as to whom of the two to grant the palm. tion. I have dwelt purposely a little, longer on these In 1697, Handel being then twelve years old. his mazurkas. These lessons in turn have constant appli¬ The Three Hands (Sostenuto used as damper ped.) Rameau-MacDoweil of America. “Blues” and “Jazz” turns have their details because there is no doubt in my mind that the father died. The boy entered the University of Halle, cation in all piano music from Scarlatti to Scriabine. Stolen Practice Hours Harold Bauer is .of the opinion that tradition has de¬ Qigue .Rameau-Godowski place, but not in this article. Naturally, ».■ expect solid musical foundation laid by Zachau was more than hut after one year and a half he tired of his purely Strauss Waltz paraphrases.Godowski Handel was born in Halle on February 23, 1685, to creed too little pedal for all music which has survived The Irish Washerwoman.Sowerby them to be light and frivolous, nor are we disappointed. anything else responsible for the wonderful development classical studies, and finally abandoned them. His sense “Doctori’ Handel, then 63 years old, barber surgeon of filial duty had to give way before the irresistible in ordinary and valet-dc-chambre to Prince Augustus °^The oboe' was a favorite instrument with Handel, urge of his genius. While he was still studying at the of Saxony. Georg Friedrich was born a m^,cai a both then and in after life, and for it he wrote a great university Hiindel received his first musical appoint¬ Stability in Study scarcely waited for his emancipation from^ he nur ery deal of his early music while under the tutelage of ment of organist at the Domkirche of Halle. The post Did You Say You Couldn’t Memorize Music ? Read This! This brings us, however, to the second quality of was no sinecure, for the holder of it was expected to importance; namely, Stability. We, as Americans ZaHeaUhad not been quite three years under Zachau furnish a great deal of original music for the service pride ourselves on possessing great strength of pur¬ when that conscientious man confessed that his pupil of the church, train the choir, keep the instrument m By L. E. Eubanks pose, but is this fixedness of mind always maintained knew more than his teacher! proper order and to play it. Tor?!1 thls the in our attitude toward cultivating a taste for American it was rapidly developing into a passion, he grew cent sum of fifty thalers (about 38 dollars) per annum composition. There is a message in Mad), .well's ious with regard to its effect upon the future of the Handel’s Royal Admirers was offered! Handel probably considered more the ar¬ Good memory is a matter of good health, deep in¬ one sense perhaps through the other; you have two To a Wild Rose, just as in Beethoven's M vnlight young enthusiast whom he had determined to educate Acting on the advice of Zachau, Handel started for tistic advantage of gaining experience in conducting terest in the subject and practice. Examples of poor chances. Employ every sense you can in memorizing Sonata, but have we perseveringly sought out this mes¬ for the legal profession. He, therefore forbade the Berlin in 1696, when he was little more than ten years than the actual compensation The choir was a purely memory because of reduced health are familiar to us music. If you can feel it, taste it and smell it, through sage? Certainly we should be proud of the original practice of any kind of music. A.H musical ins ruments nld The visit was of importance to him in more than voluntary one, formed of fellow-students or friends of all; no amount of interest and practice can long sus¬ some imaginative scheme, in addition to seeing and manner in which our composers express their musical were put out of reach. He would even avoid all houses one respect. Berlin was just then the center of Ger¬ Handel whom he would gather together two days a tain the mind’s retentive faculty when the physical hearing it, so much the better. thoughts. in which music was practiced. This was a s?re .[0^ t man art, and opera especially was m flourishing week for practicing both vocal and instrumental church vitality is low. Many musicians have original systems of remember¬ To this problem there is only one solution, and that to the child. He was docile and obedient in a l mat¬ condition. The Elector Frederick and his wife, So¬ music. The short experience of regular musical work Interest is absolutely indispensable. It is related of ing, or “little pet wrinkles” they think original. Most solution calls for concentrated, persistent, and patriotic ters but he could not bear the prohibition of his be¬ phia Charlotte, were enthusiastic music-lovers, who gave him more faith in his own powers, and he re¬ Braham, the memorizer of millions of musical notes, of them are merely mental pictures of the score, the action upon the part of the American performer in the loved music. As with Bach, the forbidden fruits pos¬ kept the court continually enlivened with music and solved to seek a wider field for his enterprise in Ham¬ that he once had to consult a friend to be certain of use of a visual image. Another, whose ear is par¬ proper conception of the true motive, the inner mean¬ sessed their irresistible chartrt for the boy, and he trie' dance. By the encouragement which they gave to sing¬ burg, whither he. went in 1703. his own name. Names, of themselves, were of no ticularly good, believes that he relies wholly on the ing of our American composers. We must cultivate a to do on the slv what his despotic father had inter¬ ers and composers they drew to Berlin some of the This town was at that time in the apogee of its com¬ interest to him, but his mind was wrapped up in aural sense. 1 Still others, both pianists and violinists, loyal friendship through the medium of their music, dicted By means of some friendly help he managed mercial prosperity, possessing a German opera house music. Every teacher of music often sees proof of say that they “leave it to the fingers,” the tactual and learn, by constant association and searching out, „ S,i« potion „I a clavichord. H. conccalri . which rivalled that of Berlin. Handel comPienced by the value of practice in memorizing. Sight reading sense. But observation will show that in every in¬ the beauty of a mutual musical understanding. that precious instrument, the precursor of our piano entering this theatre as “violmo dt np.eno. Mattheson and technique may reach a high point of excellence stance the main sense is backed up (possibly without forte in a little garret and in stolen hours while the writes: “At first he played the ‘violin di ripieno in the without a pupil’s being able to play a single composi¬ the musician’s consciousness) by one or more of the rest of the household slept, the boy taught himself orchestra of the opera house, and he acted the part of tion from memory, unless that faculty receives some others. I repeat, absorb the thing to be remembered, Temperature and Practice to plav, practicing anything he may have previously a man who did not know how to count five, for he. was take it through as many avenues of your min^l as you heard or inventing little tunes himself. naturally prone to dry humor. But the harpsichordist training. ,' Much of the value of the child’s piano practice can open to it. The keyed instruments of that time were pot of t Some musicians with remarkable memories will tell is lost because it is carried on in a cold room. It is being absent, he allowed himself to be persuaded to re¬ I believe any player or singer can learn to perform full-toned, sonorous sort with which we a c place him, and proved himself to be a greatmasterto you that they do not know how their power was ac¬ lmpossiMe to get the best muscular action out of independently of the music sheet. If every pupil could familiar. The clavichord was a soft-toned instrument quired. This proves nothing, except that they did the chilled and stiff tissues. Have the piano in a room the astonishment of everybody, except myself, who had so soft, indeed, that it would be difficult to hear it a training unconsciously. Certain it is that your memory be sufficiently impressed with the quality of music well ventilated but of a comfortable temperature. often heard him in private.” memory we would seldom hear that old lament, “I any distance. This may account for the bey s not of a piece of music—or anything else—depends on the It is well, too, to get the vouthful student into the The relation Handel contracted with Mattheson was can’t play it without the notes.” Visualize not only , having been interrupted in his solitary studies and it depth, vividness, of the mental impression it makes, habit of warming and relaxing the muscles of the much to their mutual benefit. Mattheson was a young the notes themselves, but the key-denoting symbols, is certain that he learned to play in a manner that con¬ citizen of Hamburg, a composer, a singer and an actor, and that this impression comes through one or more hand by washing them in warm water before begin¬ time, movement, expression—everything that you see sidering his years and opportunity, was little short of of the special senses. ning practice. The little student will be encouraged very clever on the organ and the harpsichord a™ after¬ A cardinal principle in memorizing music is to get when you look at the sheet. Close your eyes a few by the ease of movement that will make the scales ward a writer of astonishing fertility Born 1681, he as many of the special senses “on the job” as possible. moments at a time, working on the piece by sections, "rlrito the Duke of Sachsen-Weissenfels, under¬ prided himself, when eighty-three years> old on hav¬ Not only make a mental picture of the score, so that and repeat it until you can “see” satisfactorily. The chilled^ngers C°me ^ * swiftness imPossible t0 taken by his father, brought an unexpected turn in we ing written as many books upon all sorts of subjects you can see it with the mind’s eye when your eyes are thing becomes much easier with practice. lad’s life. The Duke, after listening to the organ play¬ as he had lived years. (The most important are closed, but impress the tone of every note on your But don’t stop with this, not even when you seem ing of little Georg Friedrich, then not yet eight years Critica Musica [1722], Grundlage cinerEhrenpforte mind by attentive repetition. Here is a fundamental to have it “good enough.” Learn the sound of every old, declared to the father that for such a manifesta¬ r 1740] and Georg Friedrich Handel [1760].) Many of rule: In considering an object to be memorized, en¬ note and its sequential position so thoroughly that tion of genius the boy ought not to be restrained, but his works teem with documents on the history of music deavor to obtain the impression through as many of that epoch. He had known-Handel from his arrival when you visualize a few notes their respective sounds ne Qimculty of poor light. It should be ea: rather encouraged and allowed to study music sys¬ faculties' and senses as possible. As one authority in Hamburg, and they exchanged lessons, Handel teach¬ will come to you, and so that voicing them brings the to arrange for the light falling so that the tematically with the view of devoting his life to it. Old puts it, know the thing from many angles; use the ing Mattheson counterpoint, while Mattheson initiated distinct picture of their position before your mind. at once grasp the look of the notes on tl Doctor Handel felt that the Duke was too peat a per¬ eye to assist ear impressions, and the ear to assist in Handel into the dramatic style. Thus they were bound Keep your health right, practice attentively as has been son not to have his own way, and so the law scheme eye impressions. make the readin* easy and was, temporarily at least, abandoned and the tiny player together by a friendship which, once in its course, nearly outlined, and you are hound to succeed. Remember, student the extra nervous strain of peerii That the senses of hearing and sight help each was’informed, to his unbounded delight, that no fur¬ HANDEL IN HIS PRIME came to a tragic conclusion. In 1704 was performed anyone can memorize music who can remember his The musician needs exc( other is often proven in daily life. Tn trying to sight for his chosen art. Do not induce th< ther opposition would be offered to his natural incli¬ Mattheson’s third opera, Cleopatra, in which decomposer recall a name, if you have both heard and seen it (in own name, or the street number of his house. It is bltw T eyesight by habitual practice nation. print), it comes to you more readily—if not through merely a matter of enough close application. hght. Let the light fall right JUNE 1920 Page 317 THE ETUDE the etude Page 376 JUNE 1920 on a visit to his old mother, and wh.le there just missed that no woman seems to have occupied the smalfet meeting his great contemporary Johann Sebast.an Bach. himself sang the part of Anthony. After the death of place in the long career of his life. The historians The latter had long desired to see h>. celebrated A nthony, Mattheson was accustomed to conduct the re¬ agree that Vittoria was beautiful and charming eno g brother-musician, and immediately on hearing of Han- mainder of the performance himself. To this the former to turn the head of a young man of twenty-four bu j T nreSence in Halle he started off. Lnfortunately, director, Kaiser, had never made any objection. But Handel’s heart seems to have been ironclad again young Handel, who was conducting, was less accom¬ Hiindel had left for England the day before Bach ar¬ Last Days of Great Composers modating and bluntly refused to give up the harpsi¬ Cupid’s arrows. rived and so h happened that these two musical giants chord when the resuscitated Anthony presented himself. The title of the new opera was Agrippina, and i s " the course of their long lives never once met. The other was very much irritated at being deprived first performance, in 1708, caused great en husiasm, so Ariosti and Bononcini had been also engaged for By ARTHUR ELSON of his usual privilege as a maestro, and at the end of that the audience burst out in shouts of Viva il caro the representation he overwhelmed Handel with re¬ Sassone!” (Long live the dear Saxon!) One of ttie Romantic Moments Rarely Told for Music Lovers proaches. His complaints were not received very gra¬ songs, Vaghe fonti, presents in its orchestral accompa¬ ciously, and they had scarcely got out of the theatre niment the first instance of Handel s use of the pizzi¬ preferred the lighter clavichord, and held the piano ss rsr, & a too energetic moment, Lully brought the staff down when the enraged Mattheson administered to the of¬ cato and mutes. account these divided sympathies caused the three mu¬ According to an old anecdote, a man once put green only suitable for variations or light rondos. Then he with a thump that struck his gouty foot, and led to fender a box on the ear. Swords were immediately In Rome Handel was a guest of the “Arcadians, a sicians with a view to test the abilities of each, to com- spectacles on his horse, and tried to feed the animal improvised a four-voiced fugue on a subject given by society which cultivated every kind of artistic taste, the gangrene that carried him off. drawn, and the two angry friends fought there in front “ogSer in the composition of the next opera The on a diet of sawdust; but just as the experiment was the king, publishing this work later on, altered to six of the theatre. Mattheson’s weapon split on a large and whose members were drawn from the best houses subject chosen for the libretto was Mumo Scyola, and Purcell, the leader of English music at this time, voices, in his Art of Fugue. On his departure, Fred¬ metal button on the coat of his adversary, and this of the country. At the Cardinal Ottobom’s house he about to succeed—the horse died. was really a more gifted genius, as his many operas the poem was divided into three parts, each forming a Composers who have tried to live on the profits of erick sent him a sum of money; but it never reached happy circumstance terminated the combat; whereupon met the famous violinist and composer, Corelli (his and his concerted sonatas for harpsichord and viols separate act. Ariosti undertook the first act Bonon¬ their compositions have often found themselves in him, being embezzled on the way. . , Mattheson exclaimed: “If you break your sword upon works have been edited and published by Joachim), and cini the second and Handel the third. Handels part will show. Purcell led a life that would now be The exertion of this trip, along with the task of your friend you do not injure him so much as if you Alessandro Scarlatti, the greatest Italian musician then the same situation as that horse; and they have usually was at once decided by the public to be immensely considered a direct and habitual violation of the engraving the plates for the Art of Fugue, proved too speak ill of him.” The two friends were soon after living. At the wish of Cardinal Ottoboni, Domenico had to eke out a precarious living by teaching or con¬ superior to the rest of the work, but the supporters eighteenth amendment; but probably he was no worse much for the aged composer. Operations on his eyes reconciled, and they became better friends than ever. Scarlatti, the talented son of Alessandro, entered a cert work, in order to remain on speaking terms with of the rival composers remained unconvinced. V c do than his contemporaries, as the standards of his time were followed by blindness; and the sudden return There is no question that the intimacy of Handel with friendly contest with Handel for the purpose of decid¬ not need to point out the bad taste of such an artistic real food. . . . were different from ours. It is said that his death the highly gifted Mattheson had a decided influence on ing their respective merits on the organ and the harpsi¬ In a historical sense, the status of the musician has of his sight seemed merely a prelude to the fit of compound. resulted partly from his being locked out in the cold his artistic development and achievement. chord. The result of the contest proved doubtful in not been very high until recently. Evqn the great apoplexy that killed him. It would take too long to mention all the operas after a rather boisterous night with his boon com¬ the case of the harpsichord, but when it came to the Homer, according to the well-known couplet, had to Handel was of a different stamp. While no less written by Handel during his connection with the Royal panions. He died at the age of thirty-seven, and one Handel’s Earliest Opera organ Scarlatti was the first to admit his rival’s supe¬ beg his bread as a wandering minstrel. The Greece persevering in his work, Handel made popularity his Academy of Music. Opposition to Hand. 1 grew might apply to him, as well as to Schubert, the epitaph Within little more than a week after the termina¬ riority. The effect of the contest was to bind them in of some centuries after Homer, it must be granted, aim; and for that reason many of his compositions a closer friendship than ever. Handel always after¬ stronger, and the popular favor seemed to fail mm, so that Grillparzer made for the latter— have been consigned to oblivion by the changes of tion of this quarrel'Handel presented to the world his that Handel suffered heavy financial losses and. as a had a real respect for true genius; but in those times ward spoke in the most eulogistic terms of Scarlatti's musical style and fashion. But after many vicissitudes own opera—the first—Almira, the role of the tenor being consequence of his untiring exertion, also failed mark¬ music, as we know it, was little more than an adjunct “Fate has buried here talent, and whenever Scarlatti was praised for his or¬ A rich possession, but yet greater promise. in operatic production, and many fortunes won and performed by Mattheson. The German opera of this edly in his health. His right arm had become useless to the poetry of the times. gan playing he was accustomed to say, devoutly cross¬ lost, Handel found his best expression in oratorio. period, though based upon Italian models, had shown from a stroke of palsy. After a cure in Ain la Cha- In Rome, the musicians were recruited from the Bach, like Palestrina, lived and died in poverty. signs of a certain individuality. Italian opera owed its ing himself: “But you should hear Handel!" pelle he recovered and, returning to London m 1735, ranks of slaves—composers and instrumentalists from Both men held their art in reverence, and both re¬ When composing the great Messiah, he was completely origin to a series ot reunions instituted by enthusiastic His next station was Naples, where he remained devoted himself to that work which raised him to a po¬ conquered Greece and the Orient, or Gaditanian sing¬ garded it as a part of their religion, to which they carried away by creative enthusiasm. He finished the music-lovers at the house of Giovanni Bardi, Count of more than a year. In the autumn of 1709 Handel began sition of the highest eminence among the composers of ers, from what is now Cadiz. The former were mere work in less than three weeks; and he stated that Vernio, for the discussion of matters connected with to think of returning home, not, however, before bid¬ should bring Iheir best gifts. Naturally this prevented the world. Although nearly 60 years old, he showed household chattels, while the latter were kept under while he wrote the Hallelujah chorus, “all Heaven the music of ancient Greece and Rome. The result was ding a formal farewell to his friends in the various them from striving for mere popular success—and in the last years of his life the greatest creative power. the strictest discipline, to preserve their voices. and earth seemed to open before him.” the development of the Dramma per Musica through towns he had visited. He began with Rome, where— kept them both poor, though their music has enriched The oratorios Saul and Israel in Egypt (supposed to have Actual composition, as we know it, began in the Unlike Bach, Handel never married. Once he made Jacopo Peri (Euridice, 1600), Monteverde (Arianna and it being Christmas—he heard the famous pifferari of the world. Yet Bach must have enjoyed many mo¬ church, after the adoption of the Gregorian “tones, Orfeo, 1608). The music of these early works was Calabria play on the bagpipe the melody which they been written in twenty-eight days), belong to this ments of triumph, even if they brought little pecuni¬ the attempt, but the lady’s parents would not permit period. Following Israel came the ode L’Allegro, il or modes, in A. D. 600. These were based largely on entirely declamatory and was, one may say, the pre¬ have performed in Rome from time immemorial dur¬ ary reward. His wonderful organ improvisations at addresses from a “mere fiddler.” Later on. when the P ensieroso ed il Moderato. To the Irish belongs the ancient Greek models. But the monks, who did the cursor of the Lyric Drama restored later by Wagner. ing the holy week, and he introduced it afterwards in the Thomaskirche, in Leipsic, won admiration from all “mere fiddler” had become prominent, they hinted that honor of having first performed the Messiah, the most composing, were really amateurs, sure of a living Cavalli, Cesti and Alessandro Scarlatti relieved the the little pastoral symphony which precedes the arrival quarters; and if the phonograph had been in exist¬ they would no longer oppose his suit; but by that sublime and popular of all Handel’s oratorios. Handel apart from their work. The same is true hven of the monotony of the continuous recitative with arias; later of the shepherds in the Messiah. ence then, permanent records of these improvisations time his ardor had cooled. Handel, like Bach, be¬ composers introduced concerted pieces and finali, thus wrote this work especially for Dublin, where it was Troubadours, who flourished six or seven centuries came blind; but he continued his activity up to his after Pope Gregory. When the Troubadours disap¬ would have been invaluable. developing the true opera perfected by Cimarosa and Handel in London given for the first time in 1742. Such a crowd was ex¬ death in 1759. He had not the consolation that Bach pected to hear the first production that the following peared, their followers, the hired Jongleurs, became Mozart. German composers first imported dramatic Arrived in London, Handel was requested to write could take in his household (for the latter had become music from Italy and then produced it for themselves. for the Queen’s Theater an Italian opera, the subject notice appeared in Faulkner’s Journal: the first mediaeval professionals, since they reverted Bach’s Placid End to the wandering minstrel existence, and even amused the father of no less than twenty children), but he When Handel produced Almira the lyric drama was being Rinaldo, in Tasso’s Jerusalem Delivered. The “This day will be performed Mr. Handel’s new grand In 1747 Frederick the Great invited Bach to Pots¬ the public by tricks, giving rise to the modern term was respected by all. When he appeared at a perform¬ in a transitional condition. In Hamburg opera was poet of the libretto, Rossi, was given so little time that sacred oratorio called the Messiah. The doors will be dam, where his son, Carl Philip Emanuel Bach, held a juggler. But their life was none too easy, and they ance Of his Samson many were moved to tears at the performed in a mixture of German and Italian. The he prefixed his work with the following letter: “I im¬ open at eleven, and the performance begin at twelve. permanent post. When the father arrived, the king were often classed as “rogues and vagabonds,” along words: same was the case in France and England. Almira was plore you, discreet readers, to consider the speed with The stewards of the Charitable Musical Society re¬ sprang up from supper, saying, “Old Bach is here, a work of this class. Its libretto contained fifteen which I have had to work, and if my performance does quest as a favor of the ladies not to come with hoops with strolling actors. and hastened to welcome the distinguished visitor. “Total eclipse, no sun, no moon, With the rise of the contrapuntal school, the social All dark, amidst the blaze of noon.” Italian airs and forty-four German songs translated by not deserve your praise, at all events do not refuse it this day to the Musick Hall in Fishamble Street. The Bach tried the new pianos at the court, but said he Faustking from an Italian original. Many of its beau¬ your compassion, for Herr Handel, the Orpheus of our gentlemen are requested to come without their swords.” position of musicians became decidedly better. Yet Burney said that when the blind composer was led tiful inspirations were used again by Handel in later age, has scarcely given me time to write, while This courteous accommodation on the part of the even at this time the composer depended upon patron¬ to the organ (from which instrument the performances works; among them a Sarabande in F played in the composing the music, and I have been stupefied ladies and gentlemen, it was declared, would enable the age rather than earnings or upon some definite con¬ were then conducted), and afterwards led forward to nection with church or court. Thus Palestrina, great¬ third act, which reappeared in the guise of the delight¬ to see an entire opera set to harmony with the stewards to seat one hundred persons more. bow to the audience, the pathos of the occasion was highest degree of perfection in no more than a fort¬ est of contrapuntal composers, thought his career ful Lascia ch’io pianga in his opera Rinaldo. That the On the 6th of April, 1759, Handel directed the per¬ so great as to prevent many from enjoying the music. night’” The success of Rinaldo was brilliant The ruined when Pope Paul IV dismissed him from the composer was very fond of it is shown by the fact that formance of the Messiah at the Covent Garden The¬ Gluck was another of the fortunate ones who won opera was put on the stage with a scenic magnifi¬ papal singers. When the Council of Trent thought of he used it again for a third time in his Italian oratorio, ater, and after the performance was over he was seized full success while still alive. His Parisian career, cence which was quite extraordinary, the realism being abolishing music in the church service, because of cer¬ II trionfo del tempe e della verita. with a deathly faintness, and on returning home he carried to such an extent that birds were let loose to under the protection of the unfortunate Marie Antoin¬ On this occasion I must point out that it was quite tain abuses, Palestrina saved the day by his “Mass of fly about the stage in the scene which represented the was placed in his bedf from which he was destined no ette, and the vindication of his operatic reforms by customary with Handel to borrow from his own works. Pope Marcellus,” which, with two other masses, enchanted gardet) of Armida. the triumph of his Iphigenie in Tauris, which oblit¬ Some historians go so far as to assert that he some¬ showed that church music could be made dignified and The fecundity of Handel was prodigious. Enough erated the rival work on the same subject composed times genially borrowed from the works of other com¬ After a short trip to Hanover Handel returned to effective. But the composer received no pecuniary London, but, being first ignored at court, he was ad¬ to say that he composed 23 oratorios and 44 operas, 39 reward, though the mass was ordered written in the by Piccini, are familiar to every student of musical posers. of the latter in Italian. vised by Baron Kielmansegge to prepare music for the archives in notes of double the usual size. A later history. During his last years of slowly failing health, The Italian visit (1707-1710) was one of the most occasion of an excursion of the royal party on the In person and character Handel was like his music, set of masses, dedicated to Philip II of Spain, brought spent in Vienna, he could look back upon a career of important events in Handel’s career, as it was*the means Thames. Handel took the hint, and composed a Serenade large and powerful. He was kind and generous to a that monarch’s thanks—and nothing else. Yet_ Pales¬ of coloring his style for the rest of his life and giving well-deserved and well-earned success. He died of called Water Music, which the composer himself con¬ degree that his roughness of manner and the blunt trina’s life was not without its triumphs, and in 1575 it a fluency and suavity and grace which it is question¬ apoplexy. ducted in a boat which followed the royal barge. The humor of his conversation could not impair. He never a procession of fifteen hundred people from his native Mozart’s Unhappy Last Days able if it would otherwise have possessed. Also, his married nor did he ever show any inclination for the King was surprised and delighted and became recon¬ place entered Rome to celebrate his glory, and marched Mozart’s life was much less happy. His early mas¬ fondness for painting had its origin at this time. Also, his cares and joys of domestic life. practical advantage of the visit was the mastery he ac¬ ciled to the composer. about singing his compositions. His later career was ter, the miserly Archbishop of Salzburg, subjected quired of the Italian language and writing. Here be¬ Handel was appointed director of the chapel of the Handel required uncommonly large and frequent sup¬ clouded by the deaths of his sons, and he died a him to indignities that the veriest servant would resent, gins the great diverging line which so substantially dif¬ Duke of Chandos at Cannons, where he composed the plies of food. It is said that whenever he dined alone forlorn and lonely old man in spite of the friendship and even objected to his making concert tours. “I ferentiates Handel from Bach. Bach, never having twelve works known as the Chandos Anthems, as well at a tavern he always ordered “dinner for three,” and of powerful cardinals. don’t like such beggary from town to town,” said the placed himself in contact with the Italian masters and as the Chandos Te Deum and the Suite de Pieces for on receiving as answer to his question, “Is te dinner Archbishop; but he gave no financial reward to the their compositions, preserved the Teutonic sternness and the harpsichord, a series of compositions, among them retty?” (Handel never lost his German accent) “As The Scarlatti’s rising composer. Joseph II, the emperor, started to methodical austerity, while Handel added to his Ger¬ the famous air, with variations, known under the name soon as the company come,” the waiter would say. “Den The rise of the harmonic style, and especially the offer Mozart a court position, and then changed his man erudition Italian beauty and grace. The Harmonious Blacksmith. His chief work at Can¬ bring up de dinner prestissimo. I am de gombany.” development of opera, enabled many of the early mind. After hearing The Escape from the Seraglio, Handel stayed first in Florence, where he brought nons was the oratorio Esther, for which the Duke Although he lived much with the great of his day. Italians to earn a true professional living Thus the emperor said, “Too many notes.” “Just enough for out his first purely Italian opera, Rodrigo, which was paid him £1,000. Handel was no flatterer. He once told a member of the Alessandre Scarlatti, who composed over a hundred the subject, your majesty,” the courageous composer received by the Florentines with the greatest delight, In 1719 he was engaged by a society of noblemen as royal family who asked how he liked his playing of the operas, and his son Domenico, prominent also in answered; but the royal favor was withdrawn. In and the Grand Duke of Tuscany showed his apprecia¬ a composer for a new undertaking which had been violoncello: ‘ Vy, sir, your highness plays like a harpischord work, could let past successes conso c later years Mozart’s most famous operas earned him tion in the substantial gift to the composer of a hun¬ formed under the title, “Royal Academy of Music,” prince.” When the same prince prevailed on him to them in their closing moments, though the latter had insignificant returns, Don Giovanni, for example, dred sequins and a service of silver plate. To crown all having for its object the establishment of Italian opera hear a minuet of his own composition, which he played lost his money by gambling. bringing in only one hundred ducats. Mozart might the prima donna Vittoria Tesi, either on account of in England. A fund of £50,000 was raised, and the himself on the violoncello, Handel heard him out very Even more fortunate was Lully, who rose from have done better elsewhere, for England would have the composition or the comeliness of the writer, fell King contributed £1,000. The first thing was to secure quietly but when the prince told him that he would scullion duty to become the leading court composer at welcomed him, and the King of Prussia made him a desperately in love with him. Handel did not seri¬ the leading singers, and for this purpose Handel pro- call in his band to play it to him, that he might hear Paris. .His many operas and ballets brought him liberal offer. But he seemed to prefer Vienna, with its ously encourage the attachment of the young diva, but ceded, in February, 1719, to Diisseldorf and Dresden the full effect of his composition, Handel could contain much renown; but his conducting became the direct ill-paid service. He was finally made court dance com¬ he allowed her to follow him to Venice for the purpose and engaged Senesino, the world-known eunuch (his himself no longer, and ran out of the room crying: cause of his death. In those days the musical leader chopin’s last hours poser, at the equivalent of four hundred dollars a of singing in a new opera which he had prepared for real name was Francesco Bernardi) Boschi and Sig¬ “Worsher and worsher, upon my honor!” used a staff, with which he pounded on the floor. In the theater St. Chrysostom, of that city. It is peculiar nora Durastani. From Dresden Hiindel went to ITa!!e (Continued on page 378) JUNE 1920 Page 879 THE ETUDE the etude constitution. After that event, Chopin Page 378 JUNE 1920 c i who had shock to a weak n quarters. and in his excited the cemetery. Among them was Scluffie ’ Sud. returned alone to I visions. The chivalry 0f year; but this sop to Cerberus was merely to prevent only recently met Beethoven for he first » ^ state, he thought ^ ;n revjew. a„d hfi him from going to London. denly Schubert arose and proposed a toast ^ Po|and seem d^ his own condition that he rushed Mozart’s last great work, the Requiem, was composed great tone-master who should die Was it a w ^ grew s0 fngh d dered about the streets. But under strange circumstances. In 1791 a black-garbed * presentiment? For Schubert himself *£**** ^*^*^*<^ remained =- Nature’s Springtime Symphonies man came to the composer’s house to order it, paying agreT"er to die; and he followed Beethoven to the Acmcs that a^...,-od.ed ^ thc great ^ half the price at once, but refusing to give his name. the grave in little more than a year. his mind, an nervous shock, Chopin came He returned later for the finished work, but operatic Polonaise, "sp’teot he dodged Polish back to partial health and ^n ^ ^ ^ and Soloists matters had delayed it and a new date was set. Mozart Schubert’s Poverty Revolutionary s J. that the great. patriotic then began to brood over the affair; and tang m poor Schubert’s life was not one that tended to longevity; By MRS. LILLIAN M. WHITE health, he became convinced that the stranger was a and yet it was not what would be called di sipated. S'?leased from the frail body, messenger from the other world, sent to presage his Poverty led a band of poets, musicians, and others The Yearly Miracle is Here! The Trees are Filled with Feathered Chaus death. At this time, too, Mozart thought that someone unite in a little community, and join forces m keeping aSr Tt f comp^sTr^was perhaps, the least known was slowly poisoning him. His premonitions were cor¬ the wolf from the door. This group included such of aH the great composers during his lifetime. This the temple of nature, penetrating to the inner shrine, rect as far as his end was concerned, for he died (of famous names as Hiittcnbrenner, Mayrhofer, Lachner largely because his phenomenal ability as a pianist as its shape, while the tinkling music produced when but seldom do we find a musician even at the porta . V « encased in a coating of ice re typhus, it is said) when the work was nearly finished. i that field chieflyrhienv as a performer. Hence it is that while the value of bird song as an and Spaum, besides- Schubert. The last-named was me made him familiar The stranger then reappeared and took the composition, acknowledged leader, and the social gatherings oftta inspiration is freely utilized, its interest as pure music is little understood. It is for this reason I would tell leaving the balance of the money due. This mysterious group were called “Schubertiades,” in his honor. When spite'of 'the greatness of the Faust symphony story was explained in part when the man in black was in trumpet tones, if I could, that interwoven among any of thesesc juviaijovial communists -had mono, the entire, or JLCSLes Preludes.i ri'mw* Wagner•-<=> , borrowed. much from zsl h afterwards found to be the steward of Count Walsegg, properly fed and wined; while the lean days ^ and at a Bayreuth rehearsal, =ru«r^fSd^si^ the mass of bird music are strands of as pure melody group was properly ieu ana wmvu, -- * them-; ana at a . ~.. The heaw sullen roar of grinding ice when stream as ever graced the compositions of man—melody, let a rascally nobleman who wanted to palm off the were passed in famine and enforced prohibition. If one his father-in-law), Here papa ^ a”/William Quayle 'Ll L boo, l.Cet. C*£ it be understood, as measured by the human standard. Requiem as his own. of thegroup had to make a visit, he borrowed1 the best wur themes.”. - “So--u much a.thc better,"better, repliedrenin Liszt. It almost seemed as if fate wished to pursue Mozar y°”r . .• :ll 1_ It nnur ” LlSZt S death tOOk Mr. Oldys also affirms that among birds there are even beyond his death. On the day of his funeral, in articles’of attire that any of the comrades possessed “The public will hear it now...... B°Z S iiStl bonbon dote those varieties of feeling and taste that diversify man¬ place at Bayreuth, fitting enough as the scene of that December, 1791, a great storm arose, and the few and thus made a respectable composite costume. Once kind Were it possible to translate bird songs into event He had attended a performance of Instan friends who accompanied the hearse turned back at he Schubert missed his spectacle case, and after a long terms of humanity, we could liken the owl, crow, blue- after'a tiresome trip from Muncaczy’s chateau; and cemetery gates. The body was then laid m one of the hunt, he found Schwind calmly using it as a pipe bowl. instrumental music is rarely humorous, but two jay and a few others to some rather coarse, loud- exhausted nature proved too much for him. c slept who hoard lb. Oman told large common tombs, with many other coffins—and lost. There was a supply of tobacco, but no funds for a sounds at least in nature have that quality—the gle voiced individuals, the robin to a bustling housewife, through the performance, and died a few days later When the search was made, later on, 110 one could pipe, and a hole bored in the case, with a tube inserted, 'STjrJSSS ofAher longing .. «= »« £ cheery and confident. Does not Mr. Matthews identify the master’s resting place; and the Mozart made a suitable substitute. ' . from lung trouble. . . I StbuJLie o. VS3S wonders of ,‘fht ,h« conld winter coating of ic f ^ ’Robolink as heard at rendering of their songs show this? monument in Vienna now stands over an empty grave. Schubert’s poverty came in' part from his modesty, Wagner’s long fight for recognition, and Ins rise to and lack of aggressive “push;” but the chief cause o greatness during his lifetime, are of too recent -late to [e—Sr?h^S“«Pon which ^ .«** midday in Summer. F Schuyler Matthews says, “No Haydn and Beethoven it was the ridiculously low- prices that were paid -tor demand extended mention. But the success was in other bird can cram so much pure fun into one short Song of the Robin Haydn passed a more fortunate life. Born in a one- his work. Thus the publisher Diabelli bought a large every way deserved, for if Wagner, the man. was some¬ Snn'ted'litoriet ”nd -rot. again, and «»»% story Croatian farm-house, he attained comfort, if not number of his best songs for about ten florins apiece— times petty and mean, Wagner, thc artist, wa, always moiiCealofethenmost memorable examples of the music too much dignity, in his long career as leader of Prince and made twenty-seven thousand on the Wanderer faithful to a high ideal, even when he had m> hope that i „,ir,y sr'birSn, h« ^ .bipg, ... .bar which I heard Esterhazy’s private orchestra; and his London trips, alone ! Later on, when Schubert’s great facility in com¬ his works would ever be publicly known. about brick, and through hi, inflwmcn « moons ago in the Grand Caverns at Mamtou, Colo marked by the performance of his best symphonies, position had had the effect of overstocking the market, Perhaps thc cases of Wagner and Tschaikovsky give rado. In one of the underground chambers we saw brought him fame and respect. He, too, died in Vienna, he had to sell some of his immortal Wmterreise us the real idea of the way in which genius should be suspended high against the wa , a groupo though not without homage of an unusual kind. The numbers at the ludicrous sum of twenty cents apiece! treated. Wagner was helped to success by King Lud¬ stalactites gleaming thin and white in the pa e candle Napoleonic forces were bombarding the town; and The composer’s poverty, and the enforced irregularity wig of Bavaria; while Tschaikovsky found a benefactor light Our guide climbed a ladder placed directly when a shell fell near his house, the composer called of life resulting from it, brought the inevitable result. in Mine, von Meek, an engineer’s wife, who sent him under these fantastic formations, PCoduccd a Piece of out to his servants, “Don’t be afraid, for you have In 1828, at the age of only thirty-one, his constitution an annual pension for many years. This suggests that wood from a wall-crevice, and with it struck genty Haydn with,you.” Finally the city fell. But even the gave way. An intense loathing for food, followed by there should be private funds or public foundations for the stalactites in irregular order, according to enemy knew Haydn’s rank in music, and gave him the extreme weakness, led directly to a delirious condition, the support of great composers. Under such an resnective tones, giving to us many familiar a P utmost respect. One French officer visited him at ms with fever. In the lucid moment that comes at the arrangement, geniuses of the Mozart-Schubert upe pealing melodic The effect was indescribable death-bed, and sang In Native Worth with such expres¬ close, he turned to the doctor, and said, “Here, here, might have been kept alive for many years, and pro-, There, in that weird, dimly-lighted chamber far under sion that the composer tried to embrace him. Haydn s is my end.” This most spontaneous of all composers, duced many more great masterpieces than they did. ground, was produced music not to be heard last musical act was to have his servants carry him to who gave the world lyric works of the most expressive Yet too often, even with the best of intentions on the where on earth perhaps, and the tone-quality, was in¬ the piano, where he played his Austrian National Hymn beauty, left only sixty-three florins; and his brother part of others, true genius remains unrecognized, and eyes to see or, as Longfellow put it, comparable, celestial! . . . transcrib- three times. Then he retired to his room and prepared had to advance the money needed for the burial. help arrives too late. A fascinating pastime in Summer is to try transer b Mendelssohn’s career was exactly the reverse of “That is best which lieth nearest ^ t ing the tones of the various crickets and wmged m Song-sparrows can be compared to people more t0During the same bombardment of Vienna, another Make from that thy work of art. Schubert’s, and the former’s wealth and success make sects that make the night vocal. Below is a venfie refined and joy-giving. The sparrows are especially composer sat cowering in a cellar, fearing that the noise the latter’s poverty seem doubly sad. Mendelssohn Very good, but why limit our use of the marvelous example. It is at a very much higher pitch and versatile musically. Mr. Matthews finds similarity in would ruin his already impaired hearing. This was no became the idol of the English public—was even rated Handel’s Success y 8 From the Gaelic comes this, me is repeated indefinitely. their themes or motifs to certain melodies of Wagner, less a man than Beethoven himself. But all his precau¬ too high. Mendelssohn was of a rather delicate consti¬ (Continued from page 3/6) Verdi, Chopin and others, and calls the song-sparrow tions proved of no avail, and' he finally lost that sense tution, and probably could not have withstood adverse S3 .TffK*. - Nature’s cleverest musical genius. which seems to be the one special requirement of the circumstances. His death was caused in part by the One Sunday, having attended divine worship at a Bradford Torrey (than whom a better observer of musician. When his great ninth symphony was brought exertion of composing Elijah, and in part from the country church, Handel asked the organist t" permit SghSt pS,lhkl,d“eW>mcn. .('«*.•»“ »< To he sure the eye receives impressions more swiftly bird life never existed) tells of being in the White out, the audience went wild with enthusiasm; but the shock caused by his sister’s death, the relationship be¬ him to play the people out, to which thc organist po¬ tCn'hTc'.;, bJ the Phihty to hear p,ord>w.nd Mountains one clear, frosty October morning, and dur¬ composer, who had not heard a note of the music, was tween the two having been most intimate. litely consented. Handel accordingly sat down to the also totally unable to hear the applause Finally the ing his walk seeing a song-sparrow alight on a rail organ and began to play in such a masterly manner audience Hit upon the idea of waving handkerchiefs, so SwndK t'hVi; worid as would the ability fence and pour forth an exquisite bit of melody. As Schumann and Chopin as instantly to attract the attention of the whole con¬ that he could at least see the plaudits. On many occasions mingling with these tones I have it sang, from its throat came a tiny cloud of vapor, Schumann who was Mendelssohn’s rival i certain gregation, who, instead of vacating the seats, as usual, Beethoven’s character was marked by a vein of rather ,0B*,mein tell u, that when need ft heard those of the owl, which from a dl*tan?e l0, that rose in a spiral above its head, clearly visible in ways gicw iv, ...slowly. His romantic fierce brusquerie. A dreamer of human brotherhood, i, grew to fame much n remained for a considerable time listening in silent a new organ “r sense arises, during the process of de- their blood-curdling quality and blended well with the the frosty air. Mr. Torrey’s comment was, “What was courtship of Clara Wieck, in the face of parental opposi¬ he was too often impatient of whatever smacked of admiration. that if not visible music?” tion, resulted in a marriage that inspired him to pour crickets’ chorus. sham or incompetence. Thus the cook who fought The organist began to be impatient and at length, ad¬ forth his best, and create a long succession of master- him stale eggs was stood in a corner and pelted with dressing the performer, told him that he was con¬ works. Yet he was much less known than his pianist Song of the Owl them; a waiter who served cold soup received it back vinced that he could not play the people out, and spouse; and when Clara once played at court, a certain as a shower-bath; and the pianist Himroel, after im¬ advised him to relinquish thc attempt, which, being nobleman asked Schumann, “Are you, too, musical?’ provising brilliantly for fifteen minutes, was treated to done, a few strains from the ordinary organist in the ?r^1oJS'n‘Sd”2b,“^Se^ofbothth. the remark, “When are you going to begin ? Beethoven In England the vogue of Mendelssohn prevented Schu- mann from being properly understood; and one of the accustomed manner operated like the sounding of the alienated many of his old friends, and even offended fire alarm, and emptied the church instanter. K'SwfthSt”!rfn't S Sd,“ d Sony his doctor (Malfatti), though the latter generously former’s critic-acquaintances spoke of Schumann s A few bright moonlight nights were so much like music as “the broken-crockery school.” Just when the Resuming, we find in Handel’s career the following returned to treat the composer during his last illness. When we come to the blue-birds we are reminded real breadth and nobility of his works was earning salient points as especially responsible for his unpar¬ Which was dropsy. Beethoven’s lack of respect for alleled success: of quiet, gentle people of domestic tastes and pure oulward show extended even to the aristocracy Yet in gradual recognition, the composer was attacked by The opposition of his father to his musical career, ideals of home happiness ; indeed, so shy and spite of many quarrels, Beethoven received much insanity. He recovered from his first nervous break¬ foZn5a,,e"oisn „ mode, but on. who ha, » down, but a second attack was attended with less for¬ which made it the more attractive and desirable to the sweet is their warbling song that no wonder Tho^eal' homage and many tributes during his life. boy. called ;t “The violet of sound.” The quality of tone While on .his deathbed, Beethoven grew to appreciate tunate results. He insisted that the spirit of Beethoven was trying to communicate with him; he constantly The “command”. _ of the Duke of Sachsen-Weissen-■_ is more difficult than some to reproduce, ‘ quavering, Schubert’s music. On being shown a picture of Haydn s tentative, uncertain, a bit sentimental and tender. birthplace, he exclaimed, “Strange that so great a man heard the note A resounding in his ears; and-he claimed fels to devote the boy to the study of music, to which should have been born in such a hovel.” He also looked that certain themes were brought to him by spirits. One humble subject like Handel’s father could not make serious resistance. work.” through a new edition of Handel’s works, and summed of these themes, which he noted down, was used by Blue-bird Brahms, in the variations that close vvith a funeral The wonderful musical training received from a -Oven-bird’s Song them up in the remark, “Das ist das Wahre,” which 6 Allegretto Sempra legato e tremolo may be slangily translated as “These are the real march. Sensing that his reason was going, Schumann competent teacher like Zachau. of one of its engines, echoing and re-echoing among thing.” Beethoven’s actual death took place during a actually tried to drown himself. His last two years The intimate friendship with the highly gifted the high peaks of our Rocky Mountains, is distinctly thunderstorm. After a specially loud crash, he shook were spent in an asylum at Endenich. Mattheson, which was a continuous inspiration to the re¬ his fist at the elements, as if making a last defiance Chopin was another of the delicate type represented sponsive young artist m How many have noticed the variety jnvohimeand against fate-and fell back dead. People of all ranks by Mendelssohn. Like his music, he was all emotion; His sojourn in Italy, which added to his Muse all tone quality, of windswept maple, elm and pme and Field called him “A talent for the sick-room.” Matthews’ book is a gold mine for musica1 ****? . united in homage to him at his funeral, winch became the charm and all the graces of the land “where the S3? Someone speak, of “The airy brewer, of *, lovers. Henry Oldys, in a magazine article entitled Even during his happier years he was always something oranges blossom.” an impressive and tremendously crowded occasion. pines beating forever upon the shores of sffencfc The Music of Bird Songs, says: “Poets have thronged After this funeral, a group of musicians stopped to of an invalid; and the rupture of his long friendship As Beethoven said of him: Each tree has its own particular note, as individual refresh themselves at an inn, on the way back from with George Sand (Mme. Dudevant) proved a great A MONARCH OF THE MUSICAL KINGDOM. JUNE 1920 Page 881 THE ETUDE tiie etude Page 880 JUNE 1920 Types of Pianists John Burroughs calls this the finest sound m nature The Tanagers and Rose-breasted Grosbeaks are and asks why the poets are so silent regarding^ types of rich, full natures. The song of the Tanager why it is not as deserving of praise as the song of the By Maud H. Wimpenny contains the double tone or burr, which Matthews says Nightingale about whom English poets^"following can only be imitated by strongly humming and whis¬ quisitely. For answer we- mention the v/vtf —Miss Wimpenny is a piano teacher who tling at the same time. One of my pleasantest memo¬ poems: “The Lift of the Heart, by F'^aheth ; h attention to scientific character analysis.] The Teachers’ Round Table ries of the gorgeous bird is connected with a perfect Adams; “The Hermit Thrush,’ by Edwin L. Sab ; June day, a mountain landscape, a tall, solitary, blue- “A Sylvan Sembrich,” by Frank Dempster Sherman Who are the most naturally gifted pianists? Conducted by N. J. COREY green tamarack tree in the foreground (a landmark “The Hermit Thrush,” by Mary Higgmson; and the Men or women? . I for miles around) and a jubilant strain of the song of are others of equal merit. „ ,„rv Possibly many will declare at once that men are the T rh ” "What to Teach," etc., and not technical problems P"taini*S*° a Tanager—a vivid ball of scarlet flame in the very An artist friend of mine who has for half a centu y most gifted. This, however, is a serious error, for tip-top of the tamarack! Can you see the color? lived in the silence, yet recalls with keenest delight science has shown that many of the vocations and call¬ Here is what I heard, thanks to Mr. Matthews nota- and strong emotion the song of the Hermit Thrush as ings supposedly best suited to the brains and the capac¬ My Teacher Myself ^ he heard it at less than ten years of age. During one ities of men are equally suited to women. tice is done, and how the fingers are hel .Munng of our many conversations on that song of enchant¬ Tanager What are the human characteristics which make the Brain Factory Needed tice, and certainty that exercises are simple enough been unaSbfe ^study ^{“fgPbesVto'prMBce until ment, he wrote the following: “At the church of St. individual adaptable for piano playing? What distin- n A married lady (Swedish) has taken six In many cases the foundations are bad, and a thorough suchatdimfa“ei 'can again afford a teacher? I am John, Lateran, Rome, is a choir of Nuns They sing t :* a xip- nroeress is most excellent, yet she eighteen years of age.”—W. M. behind a latticed screen and are never visible. Among considers her work a failure, as she had planned course of preliminary study and training s them is a thrilling, tear-compelling voice which is some¬ Here are some: . ■ Se six lessons and learn the rest by herself. Table exercises, and then finger exereuses on th,e key times heard in solo. No one. knows who it is, no one The Mathematical Mind.—The association of music She finds a great deal of fault 'e™™****™ without making a sound, then with just enough added ever sees the singer, but she is known through Rome with mathematics in the old Grecian and in the medieval amf more y FASCINATION WALTER ROLFE GRAND POLKA DE. CONCERT A brilliant concert or exhibition number, in dashing style with plenty of octave wor . r_ Moderate_-^ * < Si Si, Si^\ «S2 /* \ mf m - ft ' n - f —1 i; From here go back to ft and f lay to Fine. * From here go back to * and play to Fine,then go to A. ** Copyright 1920 by Theo.Presser Co, JUNE 1920 Pagr 387 THE ETUDE BOLERO OF SPAIN B1KL„CD„„tI. a heavy blow on the tambourine. 'allow the* women When danced by the Spaniards, the Bolero is done at a slight- Iv!,ower "an o/r mode™ waltz, yet the effect is much livelier owing lo the heavy accent that is almost always placed on the first heat of the measure. The Spaniard accentuates this peculiarity wi iS C^ motionThaMs so wonderful in effect when numbers dressed m ma¬ tanets (small wooden clappers held in the palm of the han ny colors do this dance. Grade 3. the Spanish musicians make the accent still more pronounced with Allegro scherzando m.m. J = 126 1 f To be played without use of damper pedal P r . - | ‘f—[ P P ^ ---pU > 1 9J 3 1 ^ 5 ____^ i ^ m A \ ^1 i jU L . 1 ffT^n~rfH- y rf P f f . | -znj: f J- 'i1 rr J ' 1J N '|J 1 5 4 5 ■<* 3 2 a | 'sp'| I | n subitoj) f > > j i lT > * >' ” ' > 9 *A tritish Goprightsecured Copright 1920 by Theo.Presser Co. JUNE 1920 Page 388 JUNE 1920 WE DDING^PROCESSION A fine new wedding march, dignified and sonorus just right for June, the month of brides. U SECONDO Alla pomposo M.M.J = 108 THE ETUDE Pnge 390 JUNE 1920 JUNE 1920 Page 393 THE ETUDE LANGUAGE OP THE FLOWERS WALTER ROLFE ^ graceful original melody introducing agreeably an old operatic favorite. Grade * Allegretto moderato m.m.J = 108 IN THE FAIRY DELL Atuneful characteristic piece, affording special opportunities for the study of various chromatic passages. negro \ ivae O JVL. IV1. •■= 144 /J ^-—^4 ~ ,mi —I t |_j_1 1 8 2 1 z -- (- °Pyright 1917 by Theo. Presser Co, J^op^ght seCAued^ JUNE 1920 Page 895 the ETUDE SmUta M# Rates Advance My 1st Recreation is the Secret of Two Things determine the pnces ol^e^ap^rTt ’the^resent moment is paper. The other « postage Whit£P«f ^ ? of the country Good Work higher and scarcer than uI!Leseffective on July 1st. Every item of Noneofthese.uomior,^uara^d. below will be sent promptly uron the terns given premium catalogue sent promptly on request. THE ETUDE Page 896 JUNE 1920 H'he Brunswick Method of Reproduction Judge by the Tone —that is the way to select a phonograph ALL makes of phonographs HERE, again, is a new con¬ ception. We introduced ^ _. are not alike. Phono¬Phono- an all-wood, moulded, oval graphs differ because of differ¬ amplifier, connecting directly ent methods of reproduction. with the tone arm, with no cast Each make has its method. THE TONE AMPLIFIER metal throat between. WITH GRILL REMOVED But time has brought many This is the new-day way of tone amplification. It in¬ This brings full tones, non- volves a scientific principle. It is built entirely of wood. advancements. And The Not merely the front—but clear back to the Tone Arm, metallic. It conforms with and connecting directly with it. There is NO metal cast¬ Brunswick has been the leader acoustic laws. It brings a new ing to form a throat. This Brunswick principle brings finer, clearer tone — in finer reproduction. naturalness, greater reality. with an absence of metallic sounds. Hear The Brunswick yourself. Your own ear will appreciate the tone superiority. The House of Brunswick Our aim is for finest tone. has introduced several domi¬ So we ask you to hear The nant betterments. First came Brunswick first — before you The Ultona, our all-record re¬ decide. You’ll recognize in¬ producer. It brought a phono¬ stantly its betterments. Your idea of tone will change. You graph that would play all rec¬ will realize that great advance¬ ords at their best. Previously, THE ULTONA ments have taken place. each phonograph favored only Here is another feature of the Brunswick Method of We suggest also that you Reproduction. The Ultona plays all records as they should its own make of records. That be played, whatever the make. No attachments are nec¬ hear Brunswick records, which essary, no makeshifts. The Ultona is inbuilt—it is an meant limitations or bother¬ exclusive feature on The Brunswick. It is the most ad¬ likewise bring improvements. vanced all-record reproducer known and Brunswick owns some attachments. the patents. You’ll want to add some to With The Brunswick it is no longer necessary to be At a turn of the hand the your collection. Brunswick dependent upon one make of records. All are at your command, and all played at their best. Ultona presents to the record Records can be played on any the proper needle, the proper phonograph with steel or fibre diaphragm. No makeshift at¬ needle. The nearest Bruns¬ tachments are necessary, no wick dealer will be glad to compromises in tone results. play this super-instrument for you—so that you will know The Ultona brings out all the by comparison that it offers shadings of reproduction for transmittal to the amplifier. new delights. THE BRUNSWICK-BALXE-COLLENDER COMPANY T E General Office.' S23-6G S. Wabash Avenue, Chicago Canadian Distributors: Musical Merchandis, B„.chHne»lnP™cip.lCWe..lU«W Sales Company, 819 Yonge Street, Toronti States, Mexico and Canada O o RA AND JUNE 1920 Pag* 399 f#E ETUDE To Willard Henoch BOATING CARL E MUELLER, Op. 10, No.i Representing . compose, net, to our music pages. A graceful Saro.roUe by a promising American writer Grade 8. Special Notices Tempo di Barcarolle m.m. J = 76~ -- "7 ' Worthwhile Worth While Works S ANNOUNCEMENTS Books for For Use In Summer Summer Reading Music Classes_ and Self Help Work SUCCESSFUL FIRST INSTRUCTION BOOKS INSURING INTEREST AND THOROUGHNESS TWO or three months of interesting profit- ■* able study along some special line may make a world of difference in all your music Beginner’s Book work next year. Best of all most of the SCHOOL OF THE PIANOFORTE- VOL. ONE following books make eery entertaining read¬ By Theo. Presser, Price, $1.00 ing to one whose chief joy in life is music and Us makers. This elementary piano instructor has had an unprecedented success, being welcomed by teachers everywhere as just the thing.for the young beginner: the next thing to a kindergarten method. The publishers know ofg no elementary instructor used more extensively. The rudiments of HOW TO UNDERSTAND music, notation and elementary work are thoroughly covered in a most IX/IITCIf A CONCISE COURSE OF iviuoig MUS1CAL culture delightful manner. The first grade of study up to, but not including, the By W. S. B. MATHEWS Price $2.00 scales, is the scope of this work. Student’s Book SCHOOL OF THE PIANOFORTE—VOL. TWO NEW MUSICAL MISCELLA- By Theo. Presser, Price, $1.00 Intended to follow The Beginner’s Book or any other first instructor, nies WSSrSS^LSSc this volume has met with a flattering reception. It bridges the gap between the instruction book and the graded course or the conventional series ot studies and exercises. Major scales receive detailed treatment up to and SsSSasS including four sharps and four flats. At the end of the book all the scales THE MASTERS AND THEIR A PIANO COURSE OFFERING MATERIAL FOR CLASSES OF EVERY GRADE The Standard Graded Course of Studies DESCRIPTIVE ANALYSES OF FOR THE PIANOFORTE PIANO WORKS TEN GRADES—Price, $1.00 each—TEN VOLUMES By W. S. B. Mathews The Standard Graded Course is to Music like a keel to a ship. With this carefully selected “keel” all other material may be added as needed and the whole musical training will be well balanced and progressive. The STORIES OF STANDARD course comes in ten grades—one dollar for each grade. With special work TEACHING PIECES FOR fluring the summer the student should be able to master an entire grade in THE PIANOFO two months. A HARMONY CLASS APPEALS WHEN A CLEAR, CONCISE BOOK IS USED Harmony Book for Beginners Music Theory and By Preston Ware Orem, Price, $1.25 Lays a strong foundation for future musicianship by giving the main Writing Book GREAT PIANISTS ON PIANO ' essentials of the subject in such simple, understandable and interesting man¬ By CARL VENTH PRICE 75 CENTS ner that it will prove invaluable in the class or for self-help work. This work has proved a success from the start, and many world-known musicians, such as There is nothing that impresses a new¬ John Philip' Sousa and others, have congratulated the writer on its merits. ly-learned fact more firmly in the mind than to put it down in writing. There is nothing that requires a more STUDY BECOMES A PLEASURABLE PASTIME exact memory than the rudiments of MUSIC MASTERS OLD AND musical theory. Therefore, this book. IN A MUSIC HISTORY CLASS It provides abundant space for writing NEW the^reatest musioansS 0F the exercises given and can be taken up with almost the first lessons at the piano. Teachers may obtain a copy of this Standard History of Music invaluable work for examination By James Francis Cooke, Price, $1.50 on our liberal On Sale Plan. A history that has pleased thousands. Music lovers are here furnished THEODORE PRESSER CO., PHILA., PA. MUSICAL SKETCHES interesting reading, and the music student is supplied with 40 story lessons in music lore. This history has been used with great success in summer class work by hundreds of teachers in all parts of the country. OLD FOGY Specially Selected Material for Summer Classes Anthem Collections Gladly Sent for Examination Write and tell how many punils you expect and the kind of classes you are planning, and we shall gladly send to you material for examination. REMINISCENCES OF A MUSI¬ The plan is to keep what you need for your pupils and return the balance. Per Dozen, not postpaid, $3.00 The Volunteer Choir Anthem Devotion CIANS VACATION ABROAD Anthem Treasury Anthem' " “ Worship— Anthem Offering Anthem Repertoire Anthem Service Model Anthems THEODORE PRESSER COMPANY Anthems of Prayer and Praise le^ESSHSESF* Complete descriptive circular gladly sen* on request 1710-1712-1714 CHESTNUT STREET, PHILADELPHIA, 1 THEODORE PRESSER COMPANY 1710-1712-1714 Chestnut St., Phlla., Pa. ie mention THE ETUDE when addressing o THE ETUDE Page 400 jvNimo RECEPTION waltz In the style of Air de Ballet, to be played in rather free time-Grade 3% MARION ^ARONI Waltz M.M.J-r 54 JUNE 1920 P.,g, 4 (),> THE ETUDE /age 402 JUNE 1920 THE ETUDE SWEET LILACS A tuneful drawing-room piece, with an REVERIE CARL WILHELM KERN,Op.427 SWEET^CLOYER _maillee loeb-evans agitated middle section. Grade 8'a Not too fast M.M.J=72 a A“running waltz” which miiy be taken at a rapid pace, provided the rhythm be kept unimpaired. Grade 3 a SI* ? 1 3—1 3 Tempo di Valse m.mJ-=72 mm cresc. :_f1 * s i_— w ^53=5 British'Copyright secured Copyright 192b by Theo.Bresser Go". JUNE 1920 -Page 405 THE ETUDE Page 404 JUNE 1920 THE eT"DB WE TWO R.O.SUTER BURMESE DANCE valse petite KOULI KHAN . , ..(-tractive solo of light character; showy,but easy to play. Grade 3 To be played more slowly than the usual waltz time, with a lazy and characteristic swing, r An 'lttraCtlVTempodiValse Tempo diYalse M.M.J = VIOLIN 3,.— IS-"" (\li j-t. 1rj-^ ti y . p— .p . = f= U . / ft =^t € 3'— 4 ^ Tl m M. 3/ i 3/''^ ft 3# A u l ♦ ■ w- W * r5r L*LaF r i i (rLv f | f i#- ♦ i J* J* : f-ij A- LJ JLJL ritish Copyright secured Copyright 1917 by Theo.Presser Co, British Copyright secured JUKE 1920 fffE ETUDE free 406 .TUNE 1Q20 THB ETUJ)p SWEET MAGGIE Sw. Strings H.ALEXANDER MATTHEWS MARCH OF THE MARIONETTES * A SCOTCH SONG p Ch. Soft 8' ng./tco™ song. A characteristic Scotch melody .ei.tcfull, hnrmomzed. ' Pare\?ed“?ipie(, ERNEST H.SHEPPAR6 Very simply P An effective teaching or recital number, in characteristic vein, with excellent opportunities for tasteful registration. Moderate march tempo, with humor m m J=_ws MANUAL PEDAL - ----7--r“T-. ,T « whis-Der in the dark, And her ChClarine^ _ ver-raT goodyeLsas^y^With a soft eye ^ike a doe’s, And her smile is al-ur-i 3*8= ffrr rff 1*5* Sw.Soft 8' 1 j ■ # — Ped.to Ch. Ped. uncoupl ed . - fit f - f ——1 add V Flute jt” T5 '—- jl* s—■ d* r "■ " It i = 0§ 3 THE ETUDi JUNE 1920 Page 409 Page 408 JUNE 1920 Tgs ETUDE JUST WITH YOU OMILLI NEAPOLITAN SONG G.ROMILLI .„.'^JESSSUS03B»- ^ c A ndn nt.Pi In the style of a Neapolitan folk song, with a very catchy refrain. A good teaching song, easy to sing. Andante cheer, And hope 11-I.m.^y hre,^ , Pace fMe^Uheor-ro., dreaded All, ,11 thrive, un - r.^ JUNE 1920 Page JJ1 THE etude Some Astonishing Effects of Music Upon the Body Pttge 410 JUNE mo THE ETUDE WILLIE’S PRAYER By Edward Podolsky Fight Film pe.—At the highly successful ing every imaginable expedient to endeavorw by a vwry popular writer. [EDITOR'S national Conference held to restore his memory, l)r. Conwell suggested “Why not try musicf” A quartet from the cfer- Baptist Temple, of which Dr. Conwell is the foreman cator and philanthropist. Dr.' To Save Your Teeth W" !i) Tf Co me ell, who, through his leer /«»«filaro*the0*!)Id man were procured, and Rl tnurs and other earnings (particularly the quartet rehearsed these sonys and then Inlth “Acres of Diamonds”) has educated went to his bedside and sang them. While All Statements Approved by High Dental Authorities wim . Q0 voung men and women. Dr. they were singing the old man's memory re¬ turned, and his mind was clear and expres¬ ,77 n stirring address, which was sive. He told where he had secreted all his ee°cX‘eil with great applause by the Huper- papers, and conversed intelligently with his Millions of germs breed in it. risurS'resting ZZncNpaXnfnU relatives. When the quartet stopped sing¬ ing his memory seemed invariably to leave They, with tartar, are the chief earefullyenc(1 .nit fvconducted m'a". tanunder IlusplUll scientific (w hich,supervi- by him. The experiment was tried several times with success. None know the peculiar cause of pyorrhea. Also of many J!0” ,,, was founded by Ur. Comcell). He powers of music. We arc all guessing to a 7 tin' the case of one man who, for a long other troubles. cmr had lost his memory completely He very great extent, but that wc arc dealing %7s’*7cry elderly^ man, and Ms relatives with a wonderful force this fact and those o find o related by Mr. Podolsky in the following ar- Dental science, after years of rs. After tiele clearly indicate.] searching, has found a way to The anatomy of the reason for the en¬ (middle earl ends in the center of the combat that film. Able authorities joyment of beautiful music is simply the tongue and connects with the brain, re¬ have proved the method by many acting alike to the sensations of taste and body's happy expression of the beneficial careful tests. And now, after years effects produced on it. These effects are sound. Hence, good food and good mu¬ sic is a most ideal combination, a most of proving, leading dentists all over virtually the pleasurable satisfaction of America are urging its daily use. certain of the body’s physiological crav¬ ideal factor toward better health. ings. Ami it is. primarily for this rea¬ The Influence of Music on the son, that the popularity of a great mu¬ Nervous System Now Sent for Home Tests sical masterpiece depends on the virtue Even in the time of the Greeks, and of its effects on the body of being of a probably much earlier before them, the For home use this method is nature to fulfil the requirements of bod¬ influence of music on the nervous system embodied in a dentifrice called ily gratification. Pepsodent. And a 10-Day Tube Musical effects are essentially the reac¬ was known,'and even employed as a tions produced on the animal economy, therapeutic agent in the correction of is sent without charge to anyone and these reactions are of two natures mental ailments. Evidence of this knowl¬ who asks. beneficial and detrimental. The results edge is demonstrated by the records of It is Film that Ruins Them Pepsodent is based on pepsin, the of the favorable reactions, stated in brief, Clinias, Empedocles and Xenocrates, who were reputed to have cured maniacs by digestant of albumin. The film is are: a decided aiding in the process of This is why brushed teeth dis¬ melodious sounds. In modern times the albuminous matter. The object of digesti-m; fortification against the rav¬ color and decay. And why old ages of the detrimental emotions; re¬ case of Philip V of Spain is very well- Pepsodent is to dissolve it, then to methods of cleaning have proved moval of the disturbing factor of the known to every student of medico-music. day by day combat it. deranged mind; and, in some cases, the This unhappy monarch was saved from so inadequate. insanity through the singing of Carlo The way seems simple, but for removal of abnormal bodily functioning Your teeth are covered with a (in several recent cases of the sleeping Farineili, the castrato soprano. long pepsin seemed impossible. It slimy film. It clings to them, sickness a cure was effected by means of Even as music has been used as a cure must be activated, and the usual for mind disorders, it has, moreover, enters crevices and stays. That violin music'). Tiie detrimental reactions agent is an acid harmful to the been used as an agent to dispel the detri¬ are of an opposite nature. film is the cause of most tooth mental emotions (anger, fear, dejection, teeth. But science has discovered a troubles. harmless activating method. And Music and Digestion despair, etc.) which' are temporary ini- pairments of the normal functioning of The tooth brush does not end it. millions of teeth are now cleaned From the earliest times the value of the brain. It was this power of music The ordinary dentifrice does not daily in this efficient way. music at the dinner table was realized. to summon and dispel the emotions at It was for this reason that Epictetus dissolve it. So, month after month, will that led Plutarch to observe: Musica Let a ten-day test show what called a table without music a manger; that film remains and may do a magnis dementat quam vinuin, (Music this new way means. The results and because of the realization of this ceaseless damage. are important, both to you and truth, musicians were considered a dining maddens like wine.) Interesting in the annals of music in yours. Compare them with results necessity and were rarely absent from the That film is what discolors—not this efficiency is the story of Pythagoras, feasts and banquets of the Greeks and the teeth. It is the basis of tartar. of old-time methods and you will who, seeing a young man transported Romans. It was several centuries later It holds food substance which fer¬ then know what is best. with rage about to kill his unfaithful that Sir Thomas More, in his Common- ments and forms acid. It holds financee, caused a gay melody to be Cut out the coupon now so you zv,’illIII, provided for music at the meals the acid in contact with the teeth played by a musician who happened along of even class in a model community. won’t forget. with him. The effect on the young man to cause decay. And about two hundred years later the was most fortunate, for it replaced his satirical Voltaire was led to observe that insane anger with a most perfect calm. people were in the habit of going to the Nor is it said differently of Alexander, opera in order to digest the dinner they whose reaction to the stimulations of had previously eaten. These observations music was so intense that the musician were made unconsciously perhaps, with¬ out knowledge of certain physiologic Timotheus had the power of arousing him to anger or soothing him to tran- truths in them, but they are none the less quality by the music of his lyre. The New-Day Dentifrice significant. The reasons accounting for these mind It is only of late that we have come to reactions are many and voluminous, but the certain knowledge of music’s influ¬ they all point to the fact that music, by ence on the digestive organs. In a meas¬ ure our knowledge is due to the investi¬ virtue of its movements (presto, allegro, gations of the eminent scientist Pawlow, adagio, largo, etc.) stimulates the mind into mad passions or calms the mind into Ten-Day Tube Free who carried on extensive experiments See What It Does THE PEPSODENT COMPANY, on the digestive apparatus of animals. soothing rest. Get this 10-Day Tube. Note Dept. 558,1104 S. Wabash Ave., Chicago, Ill. Stated briefly', music, by arousing pleas- Thus are several effects of music on the human body enumerated, hut still in surable emotions, promotes the flow of how clean the teeth feel after Mail 10-Day Tube of Pepsodent to the digestive juices. This increased flow that wonderful God-gift are hidden vir¬ using. Mark the absence of the causes a more thorough digestion of the tues that make life a celestial soul-song, slimy film. See how teeth whiten Name. food. Still a more curious fact is that or scorch our souls with a hideous chant as the fixed film disappears. the principal nerve of the tympanum from hell. Learn what clean teeth mean. Address. Only one tube to a family. Balance and Musicianship The day of the long-haired, wild-look¬ important assets to the musician of to¬ Zaiihl Hit others ing, dishevelled musician has passed. The day, whether he he an artist before the MUSIC PRINTERS and ENGRAVERS up-to-date musician is as well dressed, as public or a teacher. It will pay to keep SEND FOR ITEMIZED PRICE LIST AND SAMPLES carefully groomed, as businesslike, as a perpetual watch upon one’s outward gentle-mannered and conventionally appearance, upon one’s manners, and. aware as the business man. Broad cul¬ above all, upon one’s general culture and COLUMBIA AVE. AND RANDOLPH ST PHILADELPHIA, PA. mental outlook. ture and a sanely balanced character are Please mention THE ETUDE addressing advertisers. JUNE 1920 Page 413 THE ETUDE tiie etude expiration. Engrave this on your mind, course, replenish the lungs. Often, how- EMERSON PIANOS “I ended corns forever in this scientific way keep corns, to pare or pad Millions have said that them, or to use the old harsh about Blue-jay. treatments. Others tried it and told Here is the new-day way, others the same story. gentle, sure and scientific. It So the use has spread.until was created by a noted chem¬ corn troubles have largely ist in this world-famed lab- disappeared. If you have a corn you can It is ending millions of settle it tonight. And find the corns by a touch. The relief Works that Please Practical Teachers way to end every corn. is quick, and it ends them Apply liquid Blue-jay or a completely. Emerson Piano Co. Blue-jay plaster. The pain Try it tonight. Corns are will stop. utterly needless, and this is Soon the whole corn will the time to prove it. loosen and come out. Buy Blue-jay from your Think what folly it is to druggist. D. A. CLIPPINGER of me. Don’t I JUNE 28th —JULY 31st in church?” Blue=jay gsiSiSSi Plaster or Liq aid The Scientific Corn Ender BAUER & BLACK Chicago New York Toronto Nadine TINDALE MUSIC CABINETS Face Powder Just what you (In Green Booxes Only) have been wanting Will keep your music »;& am Keeps the Complexion in order, free from e Jt, Beautiful damage and where you Soft and velvety Monev V back if not entirely pleased can easily find it. Var¬ Nadine is pure and harmless. ious sizes, holding 200 orations*. ^M^ns’ofdelighted to 1200 pieces or mote. value. Flesh, Pink. Brunette, .ding toilet counters. If they I Oak or Mahogany. rail 60c. Dep t. E | Send for Catatog I National Toilet Co., Pari*, Tenn., U. S. A. | TINDALE CABINET CO., 8 East 34th ; Spare Time Work Will Bring You Pleasing Rewards See Page 395 sis'XzF'*''™ " ser' of it. -wk1*»-*,-iaswh Please mention THE ETUDE when addressing advertisers. JUNE 1920 Page W THE ETUDE the etude Page 1,16 JUNE 1920 Sometimes the accompaniment doubles ing were lacking in Handel’s day. This the voice melody; sometimes the ac- assertion is easily proved by a compari¬ . accompaniment has a counter-melody, son of one of Handel’s own scores with * thich must be brought out; in either a modern one by Tschaikowsky or R. Tase the melody will be played (usually) Strauss. To play passages from The on one manual, and the accompaniment Messiah like the following is difficult: on another. The rhythmic movement, if pro¬ ChoruS: “Glory to God" nounced, must be reproduced with fidel¬ ity on the organ. This may involve some alteration of the printed music. We Department for Organists may generally set down as a principle, however, that direct imitation of the :.;v' 1 Edited for June by HAMILTON C. MACDOUGALL, Mus. Doc. rhythmic movement as printed ought to 'i be attempted first. The. tremolando, Professor of Music, Organist and Choirmaster, Wellesley College though not strictly a rhythmic movement, is one of the most puzzling of the orches¬ “Let the Bass of Heaven's Deep Organ Blow." Milton tral idioms to be translated into terms of the organ. Illustration 7 is a suggestion as to a possible treatment. It will be noticed that as played we have (1) Organ Solos and Accompaniments when Played from Two-Stave or Piano Copy melody in the bass; (2) motion in the tremolo in the inner part (r. h.), and (i) Vox Celestis do not blend with orchestral If all the music the organist had to a sostenuto element in the whole notes strings. Be sparing also of the pedal 16 use in the church service were written (r. h.). ft. Observation will help to decide what on three staves, with complete registra¬ stops are more suitable for the various . tion and pedaling, this article would be solo voices, the tuttis, etc. quite unnecessary. The inexperienced organist and the pianist who is called Obbligato Accompaniments upon to officiate at the organ while the T~ Good judgment is necessary where the regular player is away have to cope with accompaniment (as in the case of many of many difficulties growing Out of the [A word of caution may not be amiss: the festival anthems of the English copies they have to use for their accom¬ do not tie notes if, through the tieing, the school) has an independent part and is of paniments and solos. These.often give rhythm becomes indistinct. But of that real value in itself. The temptation to “go them no help whatever as to registra¬ more later.] it” is great; but the organist ought to re¬ Melodic and Rhythmic Figures tion, as to the manual to use, as to when member that after all “Where MacGregor to -use the pedals; they often include Using the Pedals The characteristic phrasing ought to sits there is the head of the table.” In be carried out on the organ even if it passages that go outside the compass of It is not easy to know when the ped¬ other words, the voice or voices are the seems a trifle unorgan-like: it is better One must not do them legato for at the organ keyboard; they must be als may be effectively used. If the or¬ thing, and the organ must not arrogate to Elements of an Accompaniment to err a little bit in the latter direction adapted or arranged for the instrument. least three good reasons. (1) If played ganist has some orchestra experience, itself the chief place, even with an obli¬ than to lose the phrasing. Often an or¬ It will be seen on analysis of any accom¬ legato they will not imitate the orches¬ There are, first, those accompaniments particularly if he has played cello or gato accompaniment. ganist is reluctant to reproduce literally paniment that there are in it several tral phrasing; (2) they will infallibly be that are written on two staves and in¬ bass, he will have some idea when the a bright staccato figure on account of elements, each of which will prob¬ blurred on the organ; (3) while some of tended for the piano; second, those ac¬ pedals are called for. In accompanying Offertory Solos its seeming bad taste. All combinations the groups can be played legato others solos the pedal has a tendency, if sus¬ ably have to be represented in the or¬ companiments to anthems intended for To accompany the offertory solos of legato and staccato, especially if m cannot, hence it is best to choose that tained, to pull down the voice, to make gan. There are (1) melody and ac¬ the organ, but with no pedals indicated, from a piano copy is a very ticklish task, a reproduction for piano from orchestral method of execution that will be consist¬ the accompaniment drag and sound thick. companiment; (2) rhythmic movement; and with very little registration marked; demanding all the resources of the or¬ score, ought to be as faithfully rendered ent throughout. The groups of sixteenth A staccato pedal here and there (as if and -(3) characteristic phrasing. These ■ uird, vocal solos, duets, etc., sung at ganist. What was said a moment ago as is'possible. It may be that orchestral notes in For Unto Us will easily seduce pizzicato) is about all that ought to be may not all be present; sometimes they the offertory and accompanied often, in¬ about the damper pedal must be kept figures may be suggested only through the player with a legato inconsistent with attempted. At climax points a sustained are merely hinted at in the piano, and some modification of the original, but deed usually, from copies made with steadily in mind if the accompaniment the left hand part and with the whole pedal is effective for a chord or two. must be supplied by the organist. In il¬ much depends on the judgment and good straight piano accompaniment; fourth, -is to sound organ-like. The left hand spirit of the movement. These remarks apply to the 16-ft. pedal lustrations 5 and 6 the piano only sug¬ taste of the organist. In illustration 8 arias and choruses from the oratorios part offers many difficulties. Take, for In considering The Messiah one must only. If there is a melody in the tenor of gests the continuous accompaniment, but we see a passage, apparently unorgan¬ with the accompaniment condensed from example, the following. (Note that the choose between the W. T. Best edition the accompaniment the left hand will play this is worked out consistently in the like, with marked phrasing, much stac¬ the orchestral score, and hence subject to sustained element is supplied by the left and the older Vincent Novello edition, the melody while the fundamental bass organ. cato, and with the sustained element both published by the modern house of adaptation; fifth, the various preludes, hand) : will, necessarily, be taken care of by the missine The organist will have no ex¬ Novello. The former is much more dif¬ postludes and offertories, originally for pedals. cuse, however, for failing to play the ficult to play from, but more logical and the piano, but susceptibly of arrange¬ passage as written. consistent. A player of modern execu- ment for the organ. Accompanying Anthems tive powers will be well advised to play from the Vincent Novello copy. Many Piano Accompaniments on the In accompanying anthems from a two- of the best modern American editions are Organ stave copy the lay-out will be more organ- improved reprints of this edition. The In playing piano accompaniments on like, and the difficulties will consist in Presser edition, for instance, embodies the organ we may well take into ac¬ registration, choice of manuals, use of the best ideas of Best and Prout. count the damper pedal. This gives a pedals. It is well to avoid playing too solid background of sustained harmonies loudly, especially when accompanying a Piano Music on the Organ against which the melody, arpeggios and solo voice; the sustained organ tone will A good many pieces written for the rhythmic figures are projected. Some¬ easily drown out the voice. Singers differ piano have much in them that recom¬ thing has to be added, when played on very much in their des;res as to strength mends them to the organist. Some of the the organ, and this something to be of accompaniment; if singers are likely Mendelssohn Songs Without _ Words, added will usually be a chord or series to sing off the key they will prefer a many slow movements from piano so¬ of ohords. As an example, take the ar¬ strong accompaniment; they will ask for T2TT natas and symphonies; some of the peggio passage on the last page of Gou¬ a “support,” but what they really want is Chopin Nocturnes, much orchestral mu¬ something that will keep them on the sic without too much movement or too nod’s There is a green hill: To play Thick Chords Accompanying Oratorio Music pitch. A soft 4 ft. flute tone or, better much elaboration—these are used by all this as it stands is ridiculous. The notes Thick chords on the organ are not n We now come to accompaniments to still, a violina 4 ft. is excellent for the organists. ' of the arpeggi will sound like leaves essary to give a full, rich effect, oratorio choruses, solos, etc. If the or¬ purpose, since it does not involve a loud Some clever players will attempt any¬ blown about the dusty street in a windy though there are many pieces (Guil- gan takes part with orchestra in The accompaniment. The 16 ft. stops will in¬ thing on the organ, and it cannot be gain¬ autumn day. Let the left hand play a mant's Grand Choeur in D major, for Messiah or Elijah the organist need only duce flattening by the choir. Accompani¬ said that one may learn the capabilities chord suggested by the arpeggio, while example) where they are employed with play the organ part as written, but if the ments for a solo voice will naturally be of the instrument in this way quickly the right hand attends to the arpeggio much success. In the two lower octaves organ furnishes all the accompaniment played on the Swell or on the Choir, if and interestingly; one will, after a while, itself. It may be necessary to modify the of the manual compass they sound the case becomes much more difficult. the latter is enclosed. At climaxes loud come to note the things that are impos¬ arpeggio itself, as 'ndicated in the illus¬ muddy. Illustration 4 suggests a way Let us look at some of the choruses and chords, if staccato, will not be too loud sible, those that are possible, but not ef¬ tration as played. in which they may be transferred solos in The Messiah and note some of for the solo, but this is an effect that fective, and those that are both possible our instrument. the problems involved. and effective. Experiment and the criti¬ ought to be used sparingly. If the reader has ever heard a per¬ cism of a judicious friend or friends are formance of The Messiah with adequate String Accompaniments the indispensable factors in a decision. 51 ,;;n orchestra he will have noticed that the Much depends on the instrument. If it In accompanying Violin or Cello solos J»{§ |f rapid, brilliant passages are not played be modern, marvels may be accomplished V f * with the organist’s legato, but are de¬ in festival services avoid string or reed A few general hints may be of help tached—that is, they are played with a stops in the accompaniment; stops like in the choice of piano pieces for the or¬ SK bow to a note. This results in a non- the Open Diapason. Stopped Diapason gan voluntary. Choose pieces (1) in legato rendering of considerable bril¬ will be found useful. The Oboe or the not too quick tempo, that is, not so quick IT5* Ui‘r‘" liancy. Refinements of orchestral phras- JUNE 1920 Page *19 THE ETUDE THE etude The Duties of the Music Committee In Conclusion as to suggest a dance movement or to in¬ duce undue exhilaration in the hearer; What has been said in this article has By John A. Van Pelt Sctioraaeker Mendelssohn’s Spinning Song, from the been merely in the way of suggestion. MUSICAL AMERICA [AUSTIN ORGANS) Songs Without Words, is a piece of good The problems presented will have other The leading International Musical The selection of the music committee,' However, if the social idea is not held Style F Nearly 900 instruments in use music, but in too quick tempo for church solutions, no doubt; every organist of Weekly Newspaper Devoted to in America including over sixty- if it is to be a working force, is just as well to the front all the time, interest use. Choose pieces with the chord ele¬ the Musical activities of the world. within the organization will die out.. four manuals. A record of me¬ experience will have his own way of play¬ important as the careful selection of the chanical prelection unequalled, and ment prominent; one's thoughts turn ing the kinds of accompaniments that Profusely Illustrated Choir parties, excursions to beach or GRAND naturally to MacDowell—and many of director or organist. The music commit¬ of tonal beauty unsurpassed. have been described. The general prin¬ Subscription Price; for One Year: tee should not be made the dumping country picnics, even an occasional candy- Testimonials and approval from his pieces are useful for vesper organ re¬ Domestic . . $3.00 pull and popcorn after a rehearsal, are the greatest names in America and citals. Choose pieces whose effect is ciples involved, however, will, in all cases, ground for what is left over after other be the same. Melody and accompaniment Canada . . 4.00 church offices are filled. Put persons in things that go far towards keeping up The quality of its tone from organists of foreign extraction. not too closely bound up with the damper the interest of the choir members in their There la nothing finer In the pedal, and do not attempt those that are must be distinguished and adequately Foreign . . 5.00 that are a success, persons of ideas and enraptures the heart as its world than a fine Austin. tact. They need not necessarily be mu¬ organization. The church should see to it characterized by much melodic detail. treated. As regards music written for that the wherewithal is forthcoming to beauty of construction de¬ AUSTIN ORGAN CO. Pieces in the modern harmonic style (for piano or for piano accompaniment, the sicians, but should such be on commit¬ tees they should have breadth of vision, carry out these social activities. lights the eye. example. Debussy’s delightful Clair dc influence of the damper pedal is to be 165 Woodland St. Hartford, Conn. generosity and caliber. Otherwise the The church that takes the narrow view Lune) do not come out so well on the noted and.allowed for, and those things OfcMUSIC TRADES that the young people should contribute The Leading Weekly Paper devoted best of choirs with the best of directors organ, unless composed for it. The un¬ hinted at or involved in the music, but their services to choir work wholly as a Schomacker Piano Co. yielding organ tone does not lend itself to every branch of the Musical In¬ can go to pieces. Above all, the music not expressly written, must be worked matter of religious duty is a church whose Established 1838 to the shimmering indefiniteness and dustries. Contains all the News. committee should be composed of men GUILMANT out by the organist. Is Constructive and Educational. and women in favor of music and of choir is fore-ordained• to failure. All Philadelphia, Pa. opalescent half-tints of such music. work and no play makes Jack a dull boy; Profusely Illustrated good music. . Organ School Duties of music committee: The small¬ he was created that way, and as a normal IT IS A VALUABLE ASSET TO THE human being he has a right to expect com¬ est duty of the committee is to hire and Dr. William C. Carl, Director pensation in one form or another for fire. (This may be news to many.) Such Mozart as an Organist and Organ Writer services rendered. He may not express H. Alexander Matthews 150 Students Holding Positions Subscription Price; for One Year: committees usually consist of from three play on an instrument with no sweetness, this feeling in so many words, or even ac¬ | SCHOOL OF COMPOSITION Very few organists have the idea that, Domestic . . $3.00 to five persons. The chairman transacts Practice Facilities no expression, which allows of neither knowledge that lie has such a feeling. But except for the F minor Fantasia written the business and is held responsible. The Canada . • 4.00 consciously or unconsciously he does pos¬ The Individuality of Each piano nor forte, but goes on always the activity of the others usually consists in | Summer Correspondence for a mechanical organ. Mozart ever Foreign . . 5.00 sess it. And it is the lack of recognition Student Studied wrote anything for the organ. Mr. same’ ” “All that has nothing to do with being reminded yearly that they, are on Course - it. To my mind, the organ is the king or off of said committee, or in noting new of this psychological fact that has doomed Frank Sawyer tells us IS organ sonatas many a choral organization—secular as 1 Harmony — Counterpoint — Composition THE faces in the personnel of the choir. After have been published by Breitkopf Sc Har- of all instruments.” “Well, do as you this marked degree of interest shown, no well as church—to failure. like!” The professional choir is paid in money ; tel in their complete edition of the works Purchaser’s Guide one can understand why the choir is not of the composer of Don Giovanni. Mozart became organist and Deputy the amateur quartet choir of the small Capellmeister at Salzburg Cathedral at a success! Mozart (born January 27, 1756) mpst The only move is too likely to be to town .church is paid through the individ¬ salary of 500 florins. He had to play the ual pride which its members find possible have begun his studies on the organ at IMusic Industries get a new director, or organist, or to 01 Walnut St., Fhila, Pa. a very early age, since we find that organ at festivals, for accompaniments (INCORPORATING THE PIANO AND eliminate the music entirely. There is a to enjoy in a choir of such limited mem¬ ORGAN PURCHASER’S GUIDE) bership as to make the personal equation when only seven years old he performed and interludes at set places, these giving Capitalize Y05IR Ability preponderance of shifting of responsi¬ him an opportunity for improvising, For 1020 THE WORLD PAYS FOR SKILL bility in our church work, and it reaches recognized; but the chorus choir, in addi¬ “Amaryllis” Valse Lent, 25 cts. in the chief churches of the towns “Florillo’^Concert Waltz, an excellent teaching which he loved. The Cathedral had a This profession now offers unusual opportu¬ its climax when an organization is ineffi¬ tion to any direct pleasure derived in the through which, in his early travels, he The Twenty-fourth Annual Edition nities lor making monev. It is uncrowded, your training and service singing—which is a large organ at the back of the entrance, Now Ready. Contains complete time is your own. Our Correspondence Course passed. Mozart’s father was an excel¬ with tools, and the wonderfulTune-a-Pbone, our cient. sufficient appeal to but a small percentage four side organs in front of the choir authenic list and grading of Pianos If the music is to be a success, the Two Thounsanhd copies o} cUs^cs at 15 cts per copy. lent organist, and the gifted boy, no patented instrument of precision in sound, make of members—must receive its compensa¬ and Organs manufactured in the the seemingly difficult easy to understand by any¬ director must be sure that his music com¬ doubt absorbed with eager readiness and a little choir organ below the,choir, one. isnilotna given graduates. IByearsof success¬ United States. Also some account mittee knows its duties and responsibili¬ tion through some form or forms of so¬ SEGER BROTHERS where the choristers sit. The large or¬ ful correspondence teaching. Write for fret* book. 1547 St. Nicholas Ave. NEW YORK CITY everything his father taught him. We of the leading Phonograph and ties to the choir; otherwise his coaching cial enjoyment appealing to those making gan was used for grand occasions and Talking Machine Manufacturers, NILES BRYANT SCHOOL OF PIANO TUNING read, “At the monastery of Ips, while their 1207 fine Arte Institute BATTLE CREEK. MICHIGAN should start with the committee and then up its membership. for preludes; there was also an orches- Music Roll Makers, Supply Houses Moreover, encouraging appreciation traveling companions, three monks, were with the choir. Helpful Lists of Teaching Material & Musical Merchandise Concerns. means much to a choir, appreciation ex¬ saying mass, Wolfgang mounted to the TEACHERS OF MUSIC! Are you getting the The greatest assistance the committee Cheerfully Sent Those Interested pressed by the pastor, the music commit¬ organ loft, and played so admirably that What is the style of these sonatas? Price 25 cents per copy best results obtainable from your pupils? can give is in planning and carrying out Theodore Preiser Co., 1712 Chestnut St., Phila. Pa. tee, members of the congregation; and, the Franciscan friars ,and the guests they They consist, each of them, of a lively The Music Student’s Note-Book social activities for the choir and other above all, helpful cooperation between were entertaining rose from the table movement of moderate length in two young people of the church. From the parts and in regular sonata form. The ~Special Offers pastor to the janitor, every one concerned these and the director, organist and choir YOU. TOO, CAN HAVE and came, open-mouthed, to listen to membership, making for “atmosphere, BEAUTIFUL. subjects are sometimes very pretty, the Uat‘l "' Send 3! should realize that the choir is a social him.” Another account is, “Making an Addrtss: J. Ha the right spirit and service, contributing treatment is free and skilful. They are asset to the church and its young people. EYEBROWS excursion to Heidelberg, Wolfgang > Subscription a to the common good of all concerned. usually written for two violins and ’cello, \ TRADES nnd___ The choir contains the element of.wor¬ and LASHES played the organ at the Church of the < issue of THE PURCHASER'S GUIDE $C.OO From The Church Choir. They add wonderfully to to which the organ part is added. Jahn { TO THE MUSIC INDUSTRIES O ship, service, education and training. one’s beauty, charm and at* Holy Spirit, and so astonished his audi¬ Be the Best Paid Teacher ence that the Dean ordered his name to is the authority for the above descrip¬ tion, as I have never seen the works in THE MUSICAL AMERICA CO. be inscribed as a memorial on the or¬ THE MUSIC TRADES CO. question. I am inclined to believe from Susie and Her Piano ed nightly, win noun: gan.” And when he visited London he 501 Fifth Avenue, New York Ate and promote grov Selected from late Pipe Organ Issues played before King George and Queen Jahn’s description, that they are written srasSsnss By Arthur Troostwyk Cat. No. Title Composer Price Charlotte, and is recorded as surpassing very much as Corelli’s sonati di chiesa teen defighi 15271—At Sunrise.Diggle.40 his own clavier playing when he sat and sonati di camera are written, with Kill fhetlaii Root will break a baby grand to ride, make it 15970—Twilight Devotion .. Pease ..40 down at the King’s organ. the burden of the music taken by the America is the only nation in the jjyjKs 7fJk£rlbLTgkFkow'.‘iNt- •" canter, and fox-trot and prance; give it 15944—Andante Pastorale . Galbraith. . .50 An interesting side-light on Mozart’s strings, and the organ filling in from a world where the average family can LOOK FOB Th» Girl »ilA t*« It . on e»el 16103—An Evening Melody.. Galbraith.. .40 the musical third degree; or an under¬ feeling for the organ is given by Saw¬ figured bass. spend five hundred dollars for a piano, 14772—Moonlight.Fry singer.. .50 standing of the frightfulness of her 16670 — Andante Pastorale.. .Alexis.50 yer in a quotation from Mozart in Mo¬ It is interesting to know that Mozart the sole purpose of which will be to annoy the neighbors for three or four crimes against music. 11515—The Angelus..Rockwell .. .50 zart’s own words: was such a skilful organist that he | fashion say: 11543—Pastorale Scene.Ludebuehl. .50 years while Susie is growing up; after A few years ago, we turned out “When I told Herr Stein that I should shared with us the responsibilities, the : the use or 11840—Adoration, Chant “artists” by the hundred. “Painters of annoyances and trials of the organist’s which time it will serve, once in a fort¬ Angelique.Rockwell.. .50 like to play upon his organ, for that I night, for father to tap out Over china and of wood; “Masters” of art, life, and that he has left us some music 13557—Chanson De Matin. .Gillette ... .50 had a passion for the organ, he was There, with the index finger of each who burnt Gibson heads with a hot poker 14172—At Evening.Kinder- .40 for the instrument that he admired. TUBE FREE I is necessary so long as sleeve- greatly astonished and said: ‘What! a on an imitation tennis racquet, and gave | less gowns and sheer fabrics for sleeve! 15396—Solace.Pease.40 H. C. MacDougall. manlike you, a clavier player, willing to And because we have taken our musi¬ it to their beloved for a birthday gift. | are worn. It assists freedom of move . cal advantages so carelessly, foreigners Without thought of what was beautiful, | ment, unhampered grace, modest ele¬ gance and correct style. That is why THEODORE PRESSER CO., PHILA., PA. call us “uneducated.” Abroad, the Arts or of what was fitting, or of the real mean something, and only those have Keeping Step with the Bridal Chorus No Repairs! No Blowouts! ■essence of art, we shunted our young “they all use Delatone” Tube Free! tNc> PROFESSIONAL DIRECTORY LISTINGS I Keeps Skin Smooth, Firm, Fresh ARE PROFITABLE —SEE PAGE 362 • -— — Youthful Looking To dispel the tell-tale lines of MRS. BABCOCK Powdered SAXOLITE OFFERS Teaching Positions, Col¬ leges, Conservatories, Schools. “ti^htens’^and Also Church ahd Concert Engagements CARNEGIE HALL, NEW YORK Please mention THE ETUDE when addressing 01 advertisers. JUNE 1920 Page U25 THE etude THE ETUDE Page bU JUNE 1920 Junior Etude Competition Puzzle Corner The Junior Etude will award three Each of the Following Represents a Word pretty prizes each month for the neatest and best original stories or essays and Young Folks’ Musical Composition answers to puzzles. Subject for story or essay this month, PRIZE CONTEST “Summer Practice.” It must contain not r-|-«0 encourage an interest in the subject of musical compo- over 150 words. Write on one side of the paper only. Any boy or girl under | sition among children and young people, THE ETUDE fifteen years of age may compete. herewith announces a Musical Composition Prize Con¬ All contributions must bear name, age test for pieces written exclusively by Young Folks under the and address of sender (not written on a age of sixteen. separate piece of paper) and must be sent to Junior Etude Competition, 1712 The competitors will be divided into two classes— Chestnut Street, Philadelphia, Pa., be¬ Class I Young Folks under the age of Twelve Years. fore the twentieth of June. The names of the prize winners and Class II Young Folks from Twelve to Sixteen Years. their contributions will be published in Three prizes will be awarded in each class to the winning the August issue. Please comply with all of these con¬ composers: ditions and do not use typewriters. 1st Prize 2nd Prize 3rd Prize $15.00 $10.00 $5.00 Honorable Mention for Wild and Tame Music The True Art Who Knows? Conditions Compositions 1. What is a symphony? I. The contest will close on January 1st, 1921. The Contest is open Did it ever occur to you to think of By Aurore La Croix music as a wild thing? Probably not, 2. What is the nationality of Galli- to Young Folks of all nationalities. Curci? for there is certainly nothing wild in Once upon a time Mr. Pianist, Miss fingers, that thou playest so many notes II. The compositions may be a Waltz, a March, a Polka, or other lovely Soft nocturnes, or pokey old 3. Who was Stephen Foster? Violinist and Madam Singer were having in such brief space.” similar Dance forms. studies. But on the other hand, it is con¬ 4. Name five of his most famous a big argument. III. Each composition must be not over sixty measures in length and Mary Josephine Hogan, uorotny tinually “getting away from us” if we Many years passed by and Mr. Pianist songs. Geraldine Golden, Edith McLaren, Vivian “The piano is the king of all instru¬ may contain two or three original contrasting themes, or melodies. Newton, Silvia Marie Manouge, Helen do not practice, isn’t it? How often often thought of what the Listener had 5. Who wrote “Lohengrin”? Schoner, Luvile H. Rice, Jennie Knapp, have you heard advice from wise old ments,” declared Mr. Pianist, with great IV Each composition must bear on the first page the line in red ink Wilma Rheinbolt, Margaret Griffeth, Frances said. 6. Do the long or the short pipes of R Obletz, Josephine Agnes Blanche, Evelyn folks, like this (especially in the sum¬ authority. “Perhaps it is true,” he mused to him¬ a pipe organ make the low tones? ‘■For THE ETUDE Prize Contest.” R. Ditto, Eva M. Gould, Margaret Beazley, mer time or whenever we have to glye Madam Singer was silent, but Miss Georgia O’Neil, Alice Dowd, Jim White Wil¬ self. “Pianists have sought to display 7. What is an anthem? V. On the last page the full name, address and age of the competitor up practicing for a'while). “Don’t let Violinist would not let the statement liams, Harriet E. Formwalt, Helen Gordon, technic at the expense of art, and so the 8. What does a dot mean when at the last birthday. Anna Lutz, Catherine Stouffer, Ruby Zim¬ your music get away from you.” “Do pass unchallenged. “What thou sayest piano has come to be misunderstood,” merman, Anna Earle Crenshaw, John Ran¬ placed after a note? dolph Phelps, Evelyn Smith, Lois Hopkins, not let go of your music.” “Do not let may be true,” she said, “but like all and he set himself to the task of making VI. Attached to the composition must be the following properly signed 9. What is the meaning of Do, Re, Clyde Wagenhorst, Kathleen Hicks, Marie your music slip back.” kings, it has many shortcomings. For in¬ a true and perfect art, and greatly did guarantee by the composer’s teacher, parent, guardian or minister: M Reeves, Dane Cummings, Margaret M. Mi, etc.? Now, if it is always watching and stance, it cannot draw tears from men’s he succeed, for he loved his art. Dyson, Grace T. Brown. “This composition was written by--• waiting for a chance to get away from hearts as can my violin.” Finally Fame came to him, and he was whose age is . and was to the best of my belief composed us (and it succeeds if we give up our “Yes,” agreed Mr. Pianist; “there are a great pianist. and written without adult assistance. practicing), it really seems like a wild many things the piano lacks, but it is One day after a concert his old friend Answers to Last Month’s Answer to April Puzzle thing, does it not? orchestral, and it is the only one that Listener came to see him. “Ah, Listener, Signed: Allegro; Adagio agitato; andante; But what a lovely thing when it is does not need assistance front another' I am so glad to see thee again. Remem¬ Questions animato; arpeggio; largo; presto; sem- tamed 1 instrument as an accompaniment; there¬ ber- thou how thou didst humble me one 1. Bach was born in 1685. pre; tempo; vevace; moderato; maes¬ Musical Game to Teach Names Perhaps it is not the music that acts It is unnecessary to send an additional separate letter. fore I say that it is the most satisfying, day, and justly so, for boasting about 2. An opera is a large composition for toso. of Notes in Spaces of like a wild thing, but our own ill-behaved and I call it the king of instruments.” the superiority of my instrument?” solo voices, chorus, and orchestra, pre¬ VII. Piano compositions ONLY will be considered. hands and fingers. They really are wild “Well, what sayest thou, kind Lis¬ “Ay, Summer Schools S'urn.mer .Schools a Extraordinary Announcement! Summer Master School June 28 to August 7 [Six Weeks] JOSEF DAVID * FACULTY * VIOLIN ORGAN PIANO VOCAL CLARENCE EDDY OSCAR SAENGER LEON SAMETINI ERIC DeLAMARTER PERCY GRAINGER HERBERT WITHERSPOON MAX FISCHEL R C. GORDON WEDERTZ BISPHAM RUDOLPH REUTER MME. DELIA VALERI HELEN W. ROSS LHEVINNE ALEXANDER RAAB FLORENCE HINKLE LOUISE FERRARIS ELIAS BREDIN HAROLD MICKWITZ ADOLPH MUHLMANN RUDOLPH RElNEi.S EDWARD COLLINS MRS. 0. L. FOX LOIS DYSON AMERICAN CONSERVATORY MAURICE ARONSON EDOARDO SACERDOTE KATHERYN MILLS GRAHAM REED RAY HUNTINGTON MAX KRAMM BURTON THATCHER OF MUSIC LOTTA MILLS HOUGH MABEL SHARP HERDIEN LOUIS VICTOR SAAR JOHN B. MILLER repertoire and interpretation classes KARL RECKZEH ROSE LUTIGER GANNON Announces the exclusive teaching engagement for HARRY DETWEILER OSCAR SAEN^BM:TH^MTW.ERUyoc.,, C. GORDON WEDERTZ PERCY GRAINGER (Piar's the summer school of two world-famous artists BARTON BACHMANN HARMONY,■=5&r» COMPOSJTION COUNTERPOINT s” CANONS A^o^ nSmanS„ E,ir,iPAULINE“ HOUCKr Josef Lhevinne and David Bispham aside from giving private FELIX BOR0WSK1 L0U,S VICTOP _S«AR "“TJonr MUS.C toe, ballet, interpretative- PUBLIC SCHOOL MUSIC instruction will conduct Repertoire classes especially designed for teachers normal courses HAROLD B. MARYOTT AND CLASSICAL DANCING HERBERT WITHERSPOON (Vocal) HISTORY OF MUSIC Professional pianists and singers, for 'advanced students and HAF.OLD B. MARYOTT (Vocal) MAE STEBBINS0rIeD ^^HaDYS .PRICE PERCY GRAINGER (Piano) FELIX BOROWSKI teachers. Mr. Bispham will also have a class in Recitation to JULIA LOIS CARUTHERS (Piano) MAX FISCHEL (Violin) ..school orGo“0,CT Music. Only a limited number of students accepted. Apply WALTON PYRE (Expression and *T a i f a M FRENCH ADOLPH MUHLMANN Dramatic Art) AMEDE^NOBILI EDOUARD DUFRESNE EDOARDO SACERDOTE without delay. Special prospectus mailed on application. GLADYS BENEDICT (Dancino) SUMMER NORMAL SESSION =FREE SCHOLARSHIPS^ Mr. Saenger, Mr. Wither,pooa, Mme. Valeri. Mr.^i^Mr.Wini and Mr. Eddy h.vee«h ppfca'd» tl»t on request. SIX WEEKS, JUNE 28 TO AUGUST 7, 1920 SPECIAL COURSE IN PUBLIC SCHOOL MUSIC OF SIX WEEKS, JUNE 28 TO AUGUST 7, 1920 perW,“ho„ld he ■£. now. Private and Cha •» -here. FALL SESSION OPENS SEPTEMBER 13 Ninety Artist Instructors—Among the Most Prominent Might be Mentioned dormitory accommodations Public School ilusic: 0. E. Robinson. Piano: Heniot Levy, Allen Spencer. Victor Voice: Karleton Hackett, Ragna Linne, E. Musical Theory,Composition: Adolf Weidig, FELIX BOROWSKI, President Garwood. Silvio Scionti, Louise Robyn, Warren, K. Howe, Charles LaBerge. Arthur 0. Andersen, John Palmer, Leo Harp: Enrico Tramont.Helena S.Torgerson. DR. F. ZIEGFELD, President Emeritus KurtWanieck.Earl Blair.MayDoelling. Dramatic Art- Letitia Kempster Barnum. Musical College Violin: Herbert Butler, Adolf Weidig, Chicago Organ: William Middelschulte, Herbert Hyde, Frank Van Dusen. Ramon Girvin. Violoncello; Robert Ambrosius. And others of equal importance. ftfljj Y®81iF 620 SO. MICHIGAN AV^ChicagO, Ill. (SSaESSM) CARL D. K.NSEY, Yfc.-fr...Vent and xranaxee ,1 State :d free. Send for Catalog ai AMERICAN CONSERVATORY OF MUSIC IYCEUA\ KARLETON HACKETT. ADOLF WEIDIG; HENIOT LEVY, Associate Direc 571 Kimball Hall, Chicago, Ill. Splits Chautauqua JOHN J. HATTSTAEDT, President ^•observatory (INCORPORATED) Elias Day, Pres, and Dir. Summer School of Music of Dramatic Department Theodore Harrison, Dir. of Voice Department Faculty includes many July 5—August 13, 1920 | Summer School - - Piano for SUMMER Ernest Hutcheson - IUSIC-EDUCATION - - Voice MUSIC and TERM Horatio Connell - SCHOOL TEACHERS _s_.a JorthwesterX Sol Marcosson - - Violin _N! June 28th—August 1st . - - Organ Henry B. Vincent f UNIVERSITY Howard Clarke Davis - - School Music ! SUMMER SCHOOL OF MUSIC detailed information and fr World famous assembly program. New York Symphony the of M“lc’ Orchestra, six weeks, beginning July 5th. Six weeks under !:li competent instruction, in one of the most delightful summer communities found in America. Faculty of 20 artists and suc¬ Announcement Extraordinary! cessful teachers. Recitals. Interpretation classes and concert SEVCIK, teacher of Kubelik and classes. One free voice scholarship given by Mr. Connell. Cer¬ ■_other famous artists, lne OTHER SUMMER SCHOOL tificate in Public School Music. Ideal summer climate. Land World’s Greatest Violin Teacher, and water sports. Every condition necessary for enjoyable, 1 is under engagement as a Member PAGES successful, and memorable summer study. For interesting of the faculty for the season ot prospectus address SUMMER TEACHER’S COURSES 1920-21. Preparatory classes begin 423, 428, 430, 431 June 7th and July 5th. -teachers and PUPILS improve YOUR VACATION BY STUDYING ^ Institution GRANBERRY PISdHOOL Chautauqua (jj NEW YORK SCHOOL OF MUSIC AND ARTS New York Scientific Side of Music Chautauqi CENTRAL PARK WEST, CORNER 95th STREET for mastering Important Essentials not found in SUMMER Pianist. Text-books. Greater Progress, clearer unaer- Six Weeks Courses Iron, Jane U to September 1st stamting. Write to-day for full particulars. COURSE Accompanists Teachers’ Service Dept E. CARNEGIE HALL, NEW YORK Vera Arnica Johnson ^LinXar° m". Please mention THE ETTJDE when addressing o JUNE 1920 Page 481 THE ETUDE the etude Page 480 JUNE 1920 SOUTHERN AND NEW yximmer Schools ENGLAND SCHOOLS] BUSH CONSERVATORY CHICAGO EDWARD H. SCHWENKER EDGAR A. NELSON Secretary KENNETH M. BRADLEY Vice-President President Unsurpassed faculty of more than An Institution of 70 teachers, many of international National Prominence reputation. Among them are: SCHOOL FOR PARTICULAR- STUDENTS Charles W. Clark Moses Boguslawski Accredited Courses in Mme. Julie Rive King Richard Czerwonky Embracing all Branches of Expression MUQIP Dancing For Girls and Young Wom Languages I’lLijIv Physical Culture Mme. Louise Dotti Herbert Miller MUSIC— EXPRESSION — ART’ — LANGUAGES Gustaf Holmquist Edgar A. Nelson Public School Music and Teachers Trainm^Course Normal Courses in these subjects and Edgar Brazelton SsiliSI?! Public School Music John J. Blackmore Mae Graves Atkins Mme. Justine Wegener Academic credits given to qualified FACULTY OF NOTED Rowland Leach Mae Julia Riley Summer Students Dormitory for Girls Which Provides the Proper Environment for Serious Study Summer Session Fall Term June 21 to July 24 opens Coaching with Artist Teachers Normal Courses September 14, 1920 Interpretation and Repertoire Classes safe CHOOSE YOUR “N®VATORr CAR^V^ ^ ^ Weekly Recitals by Famous Artists Dormitory Reservations for Fall Summer Classes Now Filling Rapidly should be made at once. The ideals, the method, and “fof^ainfa^-therefore, your whole future is largely determined by WRITE FOR SUMMER BULLETIN Remember, your success is entirely a matter = musical education and serious about your own sue- THE ONLY CONSERVATORY IN CHICAGO MAINTAINING STUDENT DORMITORIES iSKKS SlS. you .ucceed. Seriou. lik, .uuh . .uhool .,d and with EXCLUSIVE USE OF ITS OWN BUILDINGS a larger number of such students are coming here each season. WRITE TO-DAY FOR CATALOG AND LITERATURE FREE CATALOG MAILED ON REQUEST. Please state course of study and if Summer or Fall enrollment. Address: T. F. JONES, Registrar - - 839 North Dearborn Street, Chicago, Ill. _T»E t\ARY W°°D CHASETCI;h®°l Summer School in Public School Music at Chicago r=W °F AUJSIgAL ARTS COLUMBIA SCHOOL OF MUSIC h 8703 C M I C Al O O LVON * H,ALT BLDQ- Fletcher Music Clare Osborne Reed, Director School of Music Peabody Conservatory June 28 to July 31 S. SCHOOL FOR THE TRAINING OF PROFESSIONAL MUSICIANS Method School BALTIMORE, MD. 5 hours a day—5 days a week—5 weeks SHENANDOAlf COLLEGIATE ■ For full information apply to Certificate awarded upon completion of three Summer Sessions Annual Teacher’s Course INSTITUTE cnrmj HAROLD RANDOLPH, Director EVELYN FLETCHER-COPP TUITION $35.00 PER SESSION LEADING SCHOOL OF MUSIC IN features of the Course are Methods A CHICAGO, July 6th to 16th, 1920 s the leading endowed musical conservatory of the country 31 York Terrace, Brookline, Mass. and July 19th to 30th, 1920 .9 ?=nffingH,8t0ry ‘ ‘ WMV MtlSss, FIFTY HOURS tion of MARY WOOD CHASE. Summer Session a^ua ■ on Modern Tendencies in Music. Atlanta Conservatory of Music Staff of eminent European and American Masters including: ;?¥¥Tj >r of On the Road to T Course in Ear-Training. Elizabeth Coulson fiSM“thausW^er Mab^Thomas Carlotta Heller Virginia C. Blackhead Catalog. GEO. F. LINDNER, Director IR, 1ft Tuition $10 to $30 according to study Peachtree and Broad Streets, Atlanta, Georgia By soecial arrangement with the JOHNS HOPKINS UNIVERSITY credits in certain branches may be offered tiJHhe B. S. degree . of its being the only System with genuinely Practice Pianos and Organs Available ed and patented apparatus and games it has Circulars Mailed FREDERICK R. HUBER, Manager ailed a Kindergarten System andMrs.Fletcher- Arrangements for classes now being made Z5he American Institute of Applied Music TeTvaVtSy'dUfferent proposition to the Methods The ALLENTOWN BURR0WES COURSE built up by those without the musical ability to even appreciate what has been so beautifully accom¬ CONSERVATORY of MUSIC of MUSIC STUDY SALVINI TO PRESENT GRAP OPERA plished by the Fletcher Music Method, and only | SUMMER SESSION, JUNE 21st to JULY 30th RINDERGART BEETHOVENC^ERVATORYS'iS^jh through Us financial P^dmes^u ate^ to copy. 210 North Seventh Street, Allentown, Pa. PupUs-Stti.fi Courses in Voice, Pianoforte, Violin, Harmony 0„e of the oldest and best Music School, in the United State, 4525 Olive Street. St. Lou.s, o-_ ng at 206 West 7 Is SUMMER SCHOOL grand opera perfor ing ui M,ch subjects as modulation, improvn Productions whi NT. J. COREY VivlTwndso^Caval- i before studying F. M. M. had never com nse. and Cretel. Pagliacci and Pianist, Organist and Musical Lecturer t-pupils of the Salvini School, ^ in _orderPto enter ** or twe = W I N N I S Q U A M -- Navel. Varied and B.aatiMly mu.tr.ted Lecture-recital. « SUMMER SCHOOLS MR. and MRS. CROSBY ADAMS - - A Music and Vacation f amp for Young Girl* Ottawa, Ontario. Lnnual Summer Classes for Teachers of Piano atu^^and D»ppredation *of* Mual^^vove n , Colleges, Lyceun in* America, and only those meeting.thi tor the Study of Teaching Material daily into the delights of Comping. Beauti- Ear Training, Melody Thu'-activities throu, are accepted. But these restrictio>w ARE ADVERTISED ON MONTREAT, N. C. SSSkS EroicaSonata of MacDowell,” Mr. Corey; and Au^St “it is'coniidently expected^ July 8-23-1920-August 5-20 swsrtr- has the composer’s own endorsement, i young and girted vocalis other way than1 by the studying with iis originator Course with pai aphernalia. “^SlIyadApSd fo? music Khools an< their ability in these prod Evelyn Fletcher-Copp, has proved a protection t< Pages 423, 428, 429, 430 and 431 KATHARINE BURROW to the Metropolitan and Chi ’ idy in the field and to the public. H. P., Detroit, Michi 38 WOODWARD TERRACE, Detroit. Mich. Please mention THE ETUDE w Page 432 JUNE 1920 “Mistakes and Disputed s and Colleges Points in Music by JMaster Wessons in Louis C. Elson- The Talking Machine Department m INSTITUTE OF MUSICAL ART pianoforte OF THE CITY OF NEW YORK A BOOK INTENDED TO ASSIST Playing Special PREPARATORY CENTERS in different parts of IN UNDERSTANDING MANY ‘ POINTS IN MUSIC REGARDING Theodore Presser Co. the city for children between seven and twelve years of age. By E. M. BOWMAN __ , _ . ..nAorU 120 CLAREMONT AVENUE WHICH MUSICIANS DISAGREE FRANK DAMROSCH, Director new york city The most important steps for both the student andthe teacher are the first steps. Is Excellently Equipped to Serve Machine and Record Buyers Everywhere Mr. Elson has given a lifetime to This valuable pedagogic work Crane Normal Institute of Music this subject. Avoid humiliation by consists of a series of lessons in Training School for Superviaors of Music being right. It is a magnificent the form of letters from a mu¬ Convenient Payment Terms Skidmore School BOTH SEXES sician to his nephew, giving the ^ Voiceculbire, sight-singing, ear-training, harmony, thing to have positive information A Large and Complete Stock of Arts essentials of a course of study May be Arranged on Talk¬ and this work will straighten out in artistic pianoforte playing, Charles Henry Keyes, Ph.D., Presided! tioas in colleges, city and normal schools. many a slip-shod musical education. self-helps, short cuts and vital of Vfctrolas, Brunswick and A college for women offering broad general and 53 MAIN ST., POTSDAM, NEW YORK suggestions on the whole sub¬ ing Machine Purchases cultural courses, while providing splendid oppoe- ject of piano playing. No Price, $1.50 one can read through this Cheney Phonographs p- College of Fine Arts - (CLOTH BOUND) work without receiving splen¬ and General courses, with related subjects. ' At¬ did new ideas. tractive opportunity for High School graduates. Syracuse University Degree Granted. 4 year courae leads to B. S. 2 and Unexcelled advantages for the study of music. Facul Price, $1.25 — Cloth Bound ty of 20 specialists. Regular four-year course lead THEO. PRESSER CO. to the degree of Mus. B. Special certificate courses 1710-1712-1714 Chestnut Street THEODORE PRESSER CO. PHILADELPHIA, PA. SARATOGA SPRINGS, N. Y. Philadelphia, Pa. LAWRENCE CONSERVATORY A DEPARTMENT OF LAWRENCE COLLEGE m =0 ■A. education, with a splendid faculty teaching every br Beginners Book for Adults Suggestive Studies for Music Lovers By CAROLINE NORCROSS For detailed information and free catalog address Carl J. Waterman, Dean Appleton, Wis. Price, $1.50 This admirable book is based upon the principle that VIGTROLA Michigan State Normal College Conservatory of Music The Adult Beginner needs the quickest, surest path through the Style X Pricey $125 YPSILANTI, MICHIGAN elements of music and does not tolerate being bothered with Other Styles and Sizes $25 to $375 Courses in singing, piano, organ, violin and theory. juvenile methods designed for little tots who do not even know Courses for training supervisors and teachers of public school music. fractions. Graduation leads to a life certificate valid in most states of the union. Total living expenses need not exoeed six dollars per^week. Tuition and fees exceptionally low. The Adult Beginner must be gratified with melodic pieces of Talking Machines for Homes, Studio, CHENEY mature but not necessarily complicated character. CONSERVATORY OF MUSIC, BOX 9, YPSILANTI, MICHIGAN BRUNSWICK Classroom, Clubs, Camps, Outings, etc. Style 3 Price, $185 The Adult Beginner requires rapid technic developing studies, so Other Styles and Sizes $85 to $575 that he can acquire playing ability in a short time. Style 117 Pricey $250 Send for Catalogs and Descriptive Folders The Adult Beginner wants to know the “why” of music and wants Other Styles and Sizes $100 to $425 "y^niversity rALPARAISO it explained in the simplest possible terms. •I Caroline. Norcross’s “Suggestive Studies” does all this in excellent fashion. The MJVSchool ot Music UNIVERSITY pieces are from great masters, the technical exercises are short and interesting, the A Stock of Records Completely Covering All dC^a and Old Favorites our SCHOOL OF MUSIC explanations on harmony and form are given so that the musical appreciation of All the Popular “Hits” of the day are SThose of discriminating musical tastes. the adult in concert, opera, or with phonograph records is greatly enhanced. stock is especially rich with numbers that appeal to tnose u E PROMPtlY FILLED. Copies of this unusual book will gladly be sent on inspection. SEND FOR SELECTED LISTS OF VICTOR AND BRUNSWICK RECORDS. MAIL ORDERS ARE PROMP- PHILADELPHIA, PA. A Selected Luting of Victor Record* ^ somewhere a voice is on* : 13 =□ of Improved ic Study DUNNING SYSTEM for ~ The Demand for Dunning Teachers Cannot Be Supplied. Why.? -.BANGS, President HUNTINGTON COLLEGE CONSERVATORY REX ARLINGTON, Director NORMAL CLASSES AS FOLLOWS: Music D^jartinent of Huntington College^Endowed, MRS. CARRE LOUISE DUNNING, Originator. 8 West 40th St., New York City. Portland, Ore., Jun. Cntirlec Offered- VIOLIN, PIANO, VOICE, HARMONY, HISTORY OF MUSIC, PUBLIC ManHE?Brecklsen'jM Irving St., Toledo, Ohio. Louisville, Ky., June; Toledo. Ohio. July. courses unerea. SCHOO’L MUsic, languages, expression and dramatic art Harriet Bacon MacDonald, 3623 Pine Grove Ave., Chicago, Illinois. Chicago, July, Minneauolis School of Special Courses Giving Teachers Practical Work Applicable to Their NceitM Minneapolis, August. BOARDING FACILI Anna Craig Bates, 732 Pierce Bldg., St. Louis, Mo., Juno 14th. The secretary wilt be pleased to furnish full Mrs. Oscar E. Busby, 233 North Ewing Ave., Dailaa, Texas. Memphis, Toni details and supply any Information desired. Address, Box 512 - HUNTINGTON, INDIANA Jeanette Currey Fuller, 50 Erion Crescent, Rochester, New York. Rochester, J Mrs. Jean Warren Carrick, 977 East Madison St., Portland, Ore. Portland, August lain Clara Sabin Winter, 410 North Main St., Yates Center, Kansas. Wichita, Kansas, June 2d. N. Beth Davis, Whitman Conservatory of Music, Walla Walla, Wash. Walla Walla, July 12th. Mrs. Wesley Porter Mason, 3011 Worth St„ Dallas, Tells. Dallas, June 8th; Denver, Colo., August a 1.50 THE COSMOPOLITAN SCHOOL OF MUSIC Virginia Ryan, 1115 Washington St., Waco, Texas, June 1st. .„_.erj My He art at Thy Sweet Voice Bada, Egerer, Sextette (Lucia) ■ 74436 McUOTTimCK, Aneeie r lurwo .. Carrie Munger Long, 609 Fine Arts Bldg., Chicago, Illinois. Chicago, June 21st. (Samson amd Delilah) . J-*® 1 Caruso, Sembrich, Scottl and Sever 74468 Gluck, My Old Kentucky Home.... • • ■ Stella Huffmeyer Seymour, 1219 Garden St„ San Antonio. Teaaa. 0 Caruso, Tosti’s Rigolett-' Quartette ■■■■■■■■■■„ 74476 Williams, Dreaming of Home and Mother AND DRAMATIC ART " " D. WMis, 617 South 4th St., Waco, Texas. Baylor University, Waco, June 17th; New York Ci MyLord ('™i::, as 0 Sembrich, Caruso, Scottl, Journet, S 74499 Galli-Curci, Caro Nome (Rlgoletto).... Laura Jones Rawlinsen, 554 Everett St.. Portland, Oregon. PaPortland 8 Homer. O Host One of Whom I Dreamed Kimball Building, Chicago, Ill. Dr. Carver Williams, President Mrs. Ura Wrinkle Synnott, 824 North Ewing Ave., Dallas. Ten 3 Tetrazzini, The 1.50 rena, Daddi, Sextette (Lucia)... Offers to earnest students the fullest and n .table ACADEMIC COURSE of high grade, of Ruby Frances Jahn, Dallas Academy of Music, Dallas. Te (Traviata) any School of Music in the Middle West. .celled faculty of Artist Teachers. Maud E. Littlefield, 204 South Olympia St., Tulsa , Okla. >s University, June; Colorado Springs. Col.. July, August. THEODORE PRESSER CO. BE A MUSICIAN For informati. ress Dept. E. E. L. Stephen, Manager A Beautiful Way to Study the History of Music Cara Matthews Garrett, Bay City, Texas. Normal Class, June, 1920. --— “The Home of Music” bobel M. Tone, 469 Grand View St., Lea Angeles, Cal. Los Angeles, July 5th. unted, with the.a_._l_the actual m neriod or composer you are studying Elizabeth Haaemeier, 41 South 21st St.. Richmond, Ind. Richmond. June. refully prepared list with exilian; 1710-1712-1714 CHESTNUT ST.. PHU APELPHIA, PA. Mrs. Beatrice S. Eikei, Normal Class. June 5. 1920, Kidd-Key Cons., Sherman, Texas. History of Music bj iy be had upon request. Mr., H. R. Watkins, 124 East 11th St., Oklahoma City, Okla. Oklahoma City, June 14th am Minneapolis School of Music, Una Clayson Talbot, 3068 Washington Boulevard, Indianapolis. Indiana. INFORMATION AND BOOKLET UPON REQUEST Director, Dept, of Manic Director. Dramatic Ar Private Teachers jftg&jg*! 60-62 Eleventh St., So. M1NNE4POLIS, MINN. 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