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

11-1-1884 Volume 02, Number 11 (November 1884) Theodore Presser

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Recommended Citation Presser, Theodore. "Volume 02, Number 11 (November 1884)." , (1884). https://digitalcommons.gardner-webb.edu/etude/278

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/ THE ETUDE. CONTRIBUTORS. LIST OF NAMES OF THE CONTRIBUTORS TO THE LADELPHIA, PA., NOV., 1884 ETUDE FOR 1884-’ 85

A. Von Adelung, A Monthly Publication for Teachers and Students of the Elsie Allen, Pianoforte. Miss Subscription Ratrs, $1.25 pkr Yjsar (payable in advance). Thomas A ’Beckett, Single Copy, twenty-five cents. Dr. Aloys Bide/., Specimen Copy sent to any address for ten cent*. E. M. Bowman, furnished to Teachers at one-half the regular Extra Copies will be D. De F. Bryant, retail rates. Postage Free. Geo. T. Bollings, Office, 1004 Walnut Street. Willard Burr, Jr., the delivery of mail, all letters should be In order to facilitate G B, Cady, directed to TWO EVILS THEODORE PRESSES. A. J. Gantvoort, Fred 0. Halir, Look Box 252. Philadelphia, Pa. The struggle for livelihood in certain localities Geo. IT. Howard, in England must he something desperate. A F. 0. Jones, music toucher there inserted an advertisement in the Second-class matter.) (Entered at Philadelphia Ppst^Ojflce ices he engaged for Mrs* A. Chambers KHehum local papers that her g§rv can $2.50 a 'quarter,, ‘'distance no object, " Another, T. K. Krebs, fiy* By a Blue or Bed Pencil Mark drawn across desires pupils at. the moderate price of 12 cents Calixa Lavalle, per lesson. Then a lady, who has studied several this paragraph subscribers will understand that Dr. Louis Maas, years in Germany, from a distinguished teacher their subscription to this publication expires with Hamilton Macdougal from whom she holds high testimonials, will give hour-lessons, two per week, for the sum of one it is promptly renewed will give that issue , and. unless . , Dr. TV. S. B. Mathews, guinea, (about $5). This is illustration sufficient John W. Metcalfe, discontinued. , he to satisfy the American teacher that England is no W. H. Neave, El Dorado for the music teacher. The only safe- PRIZE SONG Miss Julia E. Nieholls, guard against this kind of thing in our own coun- Albert B. Parson, try is for each teacher to become more and more begets confidence, ami Etude will award a prize oi a gold medal competent. Knowledge 'The j S. N. Pen field, will allow no such to the following words. The confident# in our own ability for the best setting B. Roney, H. humiliating prices as above quoted. text to be used as it stands, or in part, at the dis- Madame Emma Seiler, country the crying evil with some of our cretion of the composer. The composition to be In our . is making. They .sacrifice on written for one voice, with piano accompaniment.' TV. H. Sherwood, best musicians money of their talents, their genius, their The competition is open only to composers now A. H. Snyder, the altar Mammon life. They become grasping and greedy for gold. residing in America. All manuscripts must be Albert A. Stanley* devotion to music is mere mockery. They sent in before January 1, 1885. The manuscripts Their J. S. Van Cl eve. activity, but their musical must bear a fictitious name, but an accompanying keep a great commercial is dead. They never play a note for their sealed letter, bearing the same fictitious name, must activity improvement is at an end. contain within the full name and address of the own satisfaction. Their ARTISTS' CONCERTS They treat all the beauties author. No letters will be opened until a decision They have stagnated. of music in the same way a pilot does the lovely has been reached awarding the prize, and then only IX INSTITUTIONS OK LKAliNlNI which he passe# as a means for the letter of the successful competitor. The Com- scenery through dismantled. right to reject all getting along. Beauty to them is mittee of Award will reserve the space in this issue We have given considerable loveliness through manuscripts. All unsuccessful manuscripts will : Their eyes do not take in the to the furthering of a scheme we have inaugurated, pass. It is to them a mantle of black. therefore particu- 5 which they be destroyed, the composers are ' namely, the introducing of Artists Concerts into ! We cannot answer which is a greater evil to the larly requested to retain duplicates. Seminaries, eth have the Female Colleges, We the price ot tuition to Committee of Award will consist of some i profession. To drag down The entire management of these 'concerts when given : the known musicians in the country. The $2.50 a quarter or drag down music to a traffic for of the best by Dr. Louis Maas or William H. Sherwood, and purpose of making $60 a quarter. Those teachers names Will be announced in due time. ; trust this effort will induce' other artists to enter and musicians who sink all artistic impulses tor this field. the sake of hoarding up money have an incurable THE+STRETiM. We have ipdhced these two artists to make two disease. They seldom are redeemed, and very soon By N. A. S. tours during the season, especially for the benefit they are shelved—-they are behind the times. They of institutions of learning. We have guaranteed Bubbling through the sandy earth, subscribe to no music journal. They never com- them a certain number of concerts for each tour, Where the cattle stoop to drink, pose. They swear by Hummel, Kalkbrenner, and

Here the streamlet has its birth. ; Dussek. They never encourage anything new By the meadow’s grassy brink, in art. Young and rising artists are rather received Springing from its crystal source, coolv, and secretly they will do everything ,to in- its course. Hence it flows upon , jured hem and everything else that is progressive and for the good of art. Money is the cause of it Through the fields the waterjywind, all. Naturally, they are endowed with more than Creeping softly over rock# ordinary gift for music, but the craving for money Here and there the banks are lined has overcome all their other impulses; which ended With wild grasspsfreeds, and docks all their enthusiasm and usefulness in promoting , Many a fragraptTlower dips true art. Freshning qnmsture to its lips.

Flowing merrily along, For its waters never stops, It bubbles forth its wooing song To the blushing clover tops. Or it sings in harmony With the cricket’s minor key.

Soon its course of peace must end, Soon shall cease its happy dream, When its pure cool waters blend With the broad and turbid stream; MinMiner with the river’s roar, : — E E

THE HUT D .Dm 193-

- .MUSIC TEACHERS’ NATIONAL less expense than traveling perhaps one thousand not. We have our special text-book, eaeh'one is rerpuieii

' to study, with the aid of lexicon and map, the assigned lea- V ASSOCIATION. miles for it. The convention man, who all the year son. We meet on our regular day, we read the leflsoa over, round immures in the back counties, must be taught each one is. asked questions upon the subject under discus- The next meeting of the Music Teachers’ Na- to keep his seat and behave himself. The teacher sion. Biographical sketches are related oi tional Association, which will be held in New York who advertises him or herself through the asso- places and persons (principal characters) mentioned, are City next July, is the most critical and important ciation should be hissed down and excommuni- passed around among the class, and much is .gained' in the of all meetings of the organization since its origin. cated. There are members who are willing to way of general information concerning the lives of the masters, the different schools, etc. It is also our. habit to Its past has-been its formation period. It has now undergo untold sacrifices for the association, while, have some member of the class prepare an essay upon the become known throughout the length and breadth on the other hand, there is a horde of interlopers life, character, compositions of some particular person, . and of our land. It has become responsible for several ready to step in and advertise themselves unwan- his style, relation to other styles of music, etc., and also to very important movements, besides its national tonly, and then go off and flaunt and sneer at the perhaps compare two or three of the different composers, character must begin to assert itself, and it is in organization persons of that kind should not be their traits of character, and the' influence of these upon ; their writings. These lessons are and can he made mart respect to this last feature we offer the following invited to take part in the proceedings. delightful for the student, enabling him to gather an untold suggestions We earnestly wish the association prosperity, amount of knowledge as he goes along, which he Otherwise There lire now two other National Associations and. trust the managers will throw off the old would never think of or pass by altogether unnoticed, they in the United States which should not exist as dis- regime and place the association on a broader basis are the means of broadening and enlarging his views in many ways, they bring before tinct bodies, namely, the Elementary Teachers’ As- commensurate with the possibilities of its useful- him works and names which, are forcibly impressed upon the mind in connection with the sociation and Tonic-Sol-Fa Association. The former ness. There is time enough yet to investigate the writer, Whoever hears of the passion music of Bach, the held its last meeting in Madison, Wis., the latter working of older national associations, and profit glorious symphonies of Mozart, Haydn, and Beethoven or in this city in February last. It would not only by their experience and principles. There cannot of the greater among the many rich treasures of the more increase the usefulness of these bodies, but be had a better set of officers than the present to modem classists, without being filled with an ambition to

' know more of them, and of the master minds which have strengthen the Music Teachers’ National Associa- undertake what is here proposed. • The next meet- conceived and written them. It seems to me that we ought tion by combining or incorporating them, and all ing will call together at least one thousand teachers, not to give ourselves wholly up to technique, to the mfe- other National Associations /that pertain to music. and the aim of the officers should be to do the “ chanical nicety of executing” (alas ! how often ’tis this), The Music Teachers’ National Association has most good to that number, and interest them in the etudes, and pieces, etc. We should, if we expect to turn held together thus far with surprising tenacity. It future welfare of the organization. the mind and education of the student into higher patiife was owing to the zeal of a few ardent advocates leading him out into a field of unbounded study, developing him many sidedly, if we may be allowed expression, rather than any strength the association had as a the Through the kindness of Mr. J. Brotherhood, of pay more attention to the study of the literature of music, It is body. now beginning to have prestige and of which is Stratford, Ontario, Canada, we have received an there a very ample selection in the English lan- force of its own. Contingencies will arise that guage, and this reminds me, can we not increase a greater interesting little pamphlet relating to an invention will have to be met. Divisions of labor will have desire among students for the study of Harmony? The of his own which he calls the “Technicon,” and majority to be made, new responsibilities assumed, etc. of pupils seem to entirely ignore the importance

which, if it can lay claim to one-half ' the inventor 6f studying this most interesting and wonderful science, The plan of the organization should, in our says about it, is destined to revolutionize the study which should go hand-in-hand, with their every-day work. opinion, be altered to suit the ultimate ends in Of course music schools provide for their pupils in this di- of piano-forte technique. It is admitted by all Hew. The manner in which the programme has rection. But the greater number of pupils have no concep- piano experts and students of the instrument that been carried out in the past has obliged every tion of the meaning of the word, whereas they should have much time is wasted, we are almost tempted to member of the association to listen to some speci- already studied it somewhat at least. May we not ask pur say, in the study of technique. It certainly has a private instructors to take a greater interest in these matters ? alist in some department which was intensely in- depressing effect on the nervous system to master They can do very much in this direction. teresting to perhaps only a small number. The thoroughly the modem' requirements in the art. JOHN W. METCALFE. voice teacher does not come to the meeting to hear The ceaseless repetition is hurtful, too, in a musi- ope or two papers in his department and be obliged

- - cal sense. It dulls the ear to a certain extent, and

T HI II] B

One of the most difficult efforts of the mind is to perform Ques. — ught the appoggiatura to he played with the GEMS FOR LITTLE SINGERS. By Elizabeth U. Emeb* - a composition mentally, which is a wonderful act of the im- note of the aecomparliament, or j ust before the heat ? If it is SON AND GeBTRUDE SWAYNE. agination and a supreme test of the memory. By mental intended that the appoggiatura should be long, as it is fre- An exquisite contribution to the rather meagre collection • performing I mean to hear and see every note aud its correct quently in the works of Beethoven and the old masters, of songs for childhood. The two gifted ladies, whose work mechanical delivery, locating the same upon the key-board, naturally it might be played with the note of the accom- lies . before us, have succeeded thoroughly in accomplishing >all through the effort of the imagination, without looking paniament, but if the appoggiatura is short, and therefore the difficult task, writing with simplicity and completeness. at or touching the instrument. If this test can be success- unaccented, should it not be played alone, as a very short To write in an attractive manner for children is no easy fully overcome, We can rest assured that we are masters of note immediately preceding the longer?—K. matter, but here the little ones will find delightful music, a both ourselves and the composition in question. I would Ans. — ppoggiatura, whether long or short, when con- new setting in fact to nearly all of our baby lyrics. The not advise this practice too often, as it is too severe. The nected with a chord should he played exactly with the notes sweetness and originality of some of the selections are well mind has also vastly more to do than the hands in obtaining of the chord, as in the following examples : — worthy of notice. The illustrations are very neat, and the the effects of tone-color, and only after the mind demands whole hook can call for nothing hut the highest commenda- them will they be produced. would not bore for oil if We Written. Played. tion, we did not know what oil was. Mr. L, O. Emerson, the well known musician and the - ~ • inr _ j jt J _ zi father of one of the young ladies, lias lent his able experi- To train a pupil according to the impulses of his senti- £ »— - - 1— = P H * ence toward the book. " ment upon the principle. “It is sentiment which governs h=m I:::.;. P -:S ^ all,” that “sentiment is the chief qualification” for music, We have received through the courtesy of the composer, “which is entirely a matter of sentiment” would only make Mr. L. Thomas, a bright, little Minuet in G Major, called of him a dull dreamer, incapable of soaring beyond his own “The Return.” It is fresh and unpretentious, and the personality. And how narrow is every personality, how modulations are musical, in fact, it shows the hand of the. meagre and monotonous, when it has not been extended and skillful composer. We understand Mr. Thomas has some sublimated by the survey and appropriation of all that lies beautiful songs in press, and will look with interest coming within the scope of a guiding and searching intelligence. from his pen.

The result of the announcement in last issue re- HUMORISTICS. garding the publishing of all back lessons of Mr. Howard’s u Course in Harmony” has been very Musical Egotism. Herr Maestro, ( who has been in-

satisfactory . Copies can now be had at fifty cents a dulging the company with two masses, three symphonies, a dozen, or five cents each, postage free. Several hun- dozen imp omptus, and a few other little things of his own.) “ Vill you not now zing zomesing, Miss Anchelica?” dred have been sold before the publication. It is Miss Angelica (with difficulty pulling off her gloves) hoped that many teachers will begin to teach har- — “H’m, h’m ! I’m afraid I’m a little hoarse to-day; but if—” mony to their entire class with this pamphlet, at Herr Maestro— (with alacrity) “Aeh, soli !_In zat case I .vill not bress you. I, liaf goinbosct a zonata in moll least this is a good time to make the experiment. F ; (shall I play it for you ? Yes?” (Proceeds to do so.) By the time the classes have studied thoroughly Ques. — f what use is the third pedal on pianos?—T. already what has been published; the whole book Ans. —It is, on modern pianos, a tone-sustaining pedal, A Sensitive Plant.— (Herr Pumpernickel, having will be nearly completed. by means of which any particular note or group of notes just played a composition of Ms own, bursts into tears.) can be sustained after the hand is removed from the keys. Chorus of friends—“Oh, what is the matter? What can ” SHU?©*1— Very useful in such salon pieces like Gottschalk’s “Last we do for you ?

’ Hope, ’ in which the melody-note is played the middle of Herr Pumpernickel—“Ach! nossing, liossing! Bot ven I the key-board, and both hands immediately move to the hear really coot music, zen must i always veep.” iiestwns upper end of the key-board, leaving the melody-note only climbed to sustained, thus avoiding the confusion of sound which the AN agitated foreign gentleman up the editorial after getting liis pedal produces. rooms yesterday afternoon, and, breath, said, Questions pertaining to the study of the Pianoforte will receive atten damper [ “I \ ish to ask you a question. J laf you attended ze zinfonie tion, and answers appear, usually, in the following month, if receive before the viftemsth of the current month. The writer’s name mus conzerts zis vinter?” The editor confessed that he had. j Ques. is the harmonic chord of nature ? P. —What — “ “ accompany letter to insure an answer. ] Veil,” said the foreign gentleman, vill you answer zees? Ans. — The overtones. A musical sound remains in its I haf study' ze music for ze last thirty year, an I sink I knows pure and unaccompanied state only an instant. It imme- zomesing about him. Vet I go and I hear ze long zinfonie, Ques. 1. Please explain through The Etude the differ- diately generates or calls into existences series of additional, and ze conzerto on ze piano, and ze fantaisie upon ze violin; ence between harmony and thorough base?--F. though far feebler and waning, sound. Thus, if the funda- and I vill confess me zat, at ze first hearing, I oonderstancl Ans. —They are both used sonononiously yet thorough ; mental tone should have thirty vibratious per second, the leedle or nossing of him. And, as I seets and leestens to ze base is strictly speaking not harmony. In the earlier operas order of the succession of the satellite tones would run as music, I hears ze young ladees all around me, who I cannot the recitatives and arias were accompanied by the simplest, follows : 60, 120, 180, 240, 300, 360. The harmonic chord but sink knows less of ze music zan I, who hafzo mooch study harmonies, indicated by figures written over the notes of the of nature, founded on according to the above formula, * C him, and zey all say : How beautiful ! How mooch soul base staff, which was the only one used. Out of that grew ‘ consist successions : !’ would of the following C, G, C, E, G, zere is in ze gomposition ‘How grand ze development ! the science of thorough (or through) base. The Germans *, C, D, E, Fs, etc. This is as near as our notation will B ven, by gar, I oonderstands nossing ! I, myself, who haf so call it general .base the French sustained and the Italians ; represent. mooch play zc piano and ze violin, and hear ze best music continued base. When playing by figured base was the j in Europe. Am I so mooch ze fool, and is ze American custom, the player was expected not only to play the j simple i Ques. Please answer the following questions through mees zo mooch ze smarter zan am I ? Vill you answer jne chord indicated by the figures, hut to build upon the indi- Etude. j The zat, my kind friend?” Boston Journal. r cated harmonies all kinds of florid counterpoint, imitation, j 1. What are the distinguishing characteristics of a major, etc. From this you can learn the difference between it ? j minor, diminished and augumented third —R. Rubinsteib^s Sensibilities. Rubinstein, who has bees and harmony. Ans. — ajor third, minor third, diminished fifth, and lately on a visit to Stockholm, has told some amusing stories j different capitals in the social circles 2. Please define phrasing? augumented fifth, respectively. of his sojourn at the of Stockholm, where he has been received with much enthu- Ans. The art of blending and separating phrases, also the 2. Between what two voices are hidden or covered fifths * siasm. ‘Why do I sit as if I were asleep when I play ?’ ’ he modulation of the tones composing the phrase, so as to ex- and octaves especially noticeable ? said, in reply to a question, “ I will gladly tell yon how press the musical idea. The tones of a musical composition Ans. — etween the two outer voices. that is. Some five years ago, I gave a. concert in London. unit® themselves into many musical ideas or thoughts, one 3. When can the leading tone descend to the fifth in the My audience seemed very interested, and I myself was well depending on the other, generally indicated by curved lines, succeeding chord ? disposed. As I was playing Beethoven’s Appasionata, with- these are phrases. The uniting and contrasting these in- Ans.- -When the base move in contrary motion to it. out thinking, I looked around, and there, at the other end. complete ideas (phrases) is called phrasing. of the piano, I saw a lady gossiping as fast as possible I It 4. Does the 7th of the chord founded on the leading tone 3. What do you think of Cary’s “Class Book”? was like a douche gf ice- water. I closed my eyes at once, need a preparation ? and since then I have never dared even to cast a glance at Ans. — e know the book to he an excellent piano forte Ans. ot necessarily. — Another douche, of different primer, containing much knowledge for young teachers. an audience.” a kind, Rubin- in Paris. His Ocean Symphony had bfeen- is iii the stein received The knowledge put form of questions and answers. Ques. Please tell me the meaning of programme music? — played. The composer himself had conducted the orchestra, Teachers have complained to ns that the primers are too J. * — and received -the stormy applause of the public. Friends concise. Cary ’s ’ book is very fall and complete, having one alike crowded around after the perform- hundred and ninety pages, and bound in a neat cloth cover. Ans. —Descriptive music, like the Pastoral Sonata of Beet- and strangers him delighted, saying that it had event, The book is going through its third edition. hoven, Battle of Manassas, efc. ance. All were been an in the musical world, and that all Paris was fall of it. Well 4. What other methods besides Bassini can you recom- satisfied, Herr Rubinstein went to the hotel ; and, on his way, mend for base voices. he met one of the first French composers, who, with surprise ” “ Ans. — abiaehe’s “Method for Base 'Voices. NEW PUBLICATIONS. and pleasure in his eyes, called out : What, you at Paris, Nava has written one of the best works for alto or base Herr Rubinstein ? This is a pleasant surprise ! But you are voiee. Garcia, Damoreau, and Osgood’s methods are among not thinking of appearing in public ?”— Pall Mall Gazette; It gives us pleasure to call the attention of our readers to the most reliable. a little work, “Six Preludes,” by A. D, Turner, of' which “ Ah” gushed a youth, taming from the piano where he “ , the editor of the Keynote N. Y. (Archet), says, The sonata to the extent of about flve doljftirs* Ques.— oes the word trio have the same meaning in all , had just played a proper use of the damper pedal is practically exemplified in ! ' damage to the instrument, “how divine is music I could . . pieces?—'T. s . an unusually intelligible manner,” corresponding in its live without it my soul is filled with music*” “Ifyqnr not ; Ans.— he word trio is often misused by writers who are treatment of the proper use of the damper pedal to Sher- soul is filled with music,” remarked a young lady, who laid deficient in knowledge of form. When rightly used it is wood’s essay on this subject in our Sept, number. Elson, been a tired listner tp his performance, “why don’tyou let A

jbkradin the second part of minuets; galops, etc., where the -of Boston, as well as Archer, of N. Y., speaks of the high ' little of it out occasionally ?” V v-. fittit part is heard again, after the tario. It is generally of a grade of music contained in these Preludes, and we Confi- milder, quieter character than the first, as the “trio” was dently recommend it as a valuable addition to the teaching Alwaycrplay Wagner's music if the piano is out of order (pltoted--'in earlier tithes by only three instruments, hence works of the piano repertoire. Not difficult. Send to ns and you do not wish your visitors to discover it.-r-Boaton : J - it, Folio. the name. v , \ for Price, $1.00. ; RTISTS’ CONCERTS

OUTS MAAS.

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33 ETUDE.

. such, progress that at the age of twelve years, at a THE ETUDE BOUND. MUSIC TEACHERS’ BUREAU. J farifa ' * ".'X. AV benefit concert in London, he executed successfully, L among other pieces, a Polonaise by Chopin. About Thebe will be placed for sale on December 1st a Violinist wanted. A young man capable of this tune- he wrote, also, his first musical composi- very limited number of The Etude bound in one teaching violin and perhaps other orchestral in- tion. When he attained the age of fifteen years he volume. The volume will contain every issue struments can procure a good opening in one of declared positively that he would not become any- of the journal since its establishment, October, the growing western towns, in connection with a thing else but a musician. The family had visited 1883.loon, Theremere will be tnreethree styles ofol binding,binding,—a prosperous and enterprising music school. Ad- Germany during the summer, and after having plain library binding for $2.00 a volume, a neat dress this office. examined the boy, Yineint Lachner, as well as half leather for $2.50, and an ornamental half Joachim Raff, recognized the gift with which he turkey-morocco, with the name of the purchaser fa last his parents their con- printed on the cover, for $3.00. will send these , was endowed. At gave We I " sent, and in the autumn of 1867 sent him to the volumes by express unless thirty-five cents is en- Harmony students will please notice that Exer- Conservatory of Leipsic. Here he was the pupil closed for postage. The volume will also contain cise III., in Lesson XII., in the present instalment of Moscheles, Reinecke, Hauptmann, David, etc., an index, a sketch of the life of the editor written by of our Harmony Course refers to the first four of after Mrs. gifted of and made such rapid progress that one year J. C. M. Jordan, one of the most Loeschhorn’s Studies, Op. 65, Book I. These and a half he appeared with great success at a Southern writers. This sketch will not appear in studies may lie found in the October number of concert t>f the Conservatory in the salon of the any subsequent issues of The Etude. We have The Etude. Gewandhaus, as piano-soloist in Reinecke’s Con- placed the volumes at exactly cost of binding and certo in F sharp Minor, and as composer in an the subscription price of the journal. Our aim is overture for Grand Orchestra, in C Minor. The to have The Etude in a form that it will not be NEWS OF THE MONTH. following years were spent in diligent study and in destroyed. The contents of the volume we believe 1871, in his nineteenth year, he made his artistic to have enduring value. It is only now that the Saint-Saens may he Here.— Camille Saint-Saens may debut, as pianist, in a Court Concert in the Grand back numbers are being copied in Europe and possibly visit the United States during the season of 1885-86. Ducal Theatre at Weimar, on which occasion he translated into other languages. The copies could executed Chopin’s Concerto in E Minor, receiving have been sold over andmver again, separately, as The father of Ur. Louis Mass is yet, one of the most active and capable of London musicians. much applause. The same winter he played for subscription, but we have carefully kept back these the first time in the regular Gewandhaus concerts volumes for this purpose. There are already quite Felix Dreyschock has written a new Piano-forte .Concerto at Leipsic. The summers of the following years a number of the volumes promised, and we hope and will shortly introduce it to the public. he spent in Weimar with Liszt, who evinced great they will all be taken up before the next issue, Xaver Scharwenka has drawn several piano students from interest in his progress, especially in composition. which will close Volume II. Leipsic to Berlin, where his conservatory is located. Here he wrote his first string quartette, which (’ Jose fly, the pianist, is giving instrumental concerts in Cali- later appeared as Op. by Breitkopf and Hartel. 8, fornia during the present month. It pleased his master so well that he allowed him TEACH ERS^ TABLETS. to perform it at a matinee in presence of the Con- Josefly was born in Museoloz, Hungary, in the year 1852. The following schedule for practice will com- cert Master Kompel and his colleagues, and he He took lessons of Moscheles and Thalfoerg. mend itself to every conscientious teacher and also accepted the dedication of it. The report of Liszt’s blindness was entirely false. His student. The idea is not new, but its adoption is The winter months of these years were spent in health is unusually good, and he says he does not expect to only now becoming general. We have avoided a concert travels. He played in Berlin. Dresden, become blind until death closes his eyes. complication in the formula. The two inches Munich, Hanover, Stuttgart, etc. He also spent blank space under “ remarks” will answer for any Josef Rubinstein committed suicide at Zurich the other six months in Wiesbaden with Joachim Raff, who day. For what reason nobody knows, unless it was from particular direction,- etc., a teacher might wish. was an old friend of his father,'and who had taken nervous difficulties bordering on insanity. We have found in our own teaching formulas of great interest in him during his childhood. Raff', this kind of incalculable benefit to pupils. We Sophie Menter has definitively accepted the piano-forte who had formerly brought him to Liszt, introduced have used for years only blank pieces of paper in- professrosh'p left vacant at the St. Petersburg Conservatory him to von Bulow and other great artists, who, on dicating with the more unmethodical pupils the by the death of L. Brassin. - their passage through Wiesbaden, visited him. exact number of times we expected each thing to Under the direct influence of such men it was no A Berlin piano firm proposes to commend itselfto the public be practiced. course of this kind soon produces wonder that his musical abilities developed so A by introducing for students’ use an instrument the strings of, system in a pupil’s practice, and puts a speedy which will be covered with felt, tints muffling the tone so rapidly. In 1875, when only twenty-three years end to the aimless careless study. It will take that it is heard only by the performer. of age, he received an appointment as professor of and a short trial to convince teachers that a plan of piano in the Conservatory of Leipsic, which ap- Dr. Mass gave a interesting musieale at the Boston N. E. this kind will better work out of pointment, on account of his youth, was frought get more and Conservatory on Tuesday evening. The programme included in Major, four numbers by Chopin with double honor. The next years he devoted pupils. Beethoven’s sonata C others by Schubert, Liszt, Wagner and Schumann. principally to the instruction of his numerous pupils, though he still performed publicly, and JxIETHQD Frojo’s Life of Ci.emknti. Signor Giovanni Frojo, tha composed diligently. He numbered among his In this space will be celebrated composer, pianist and musical critic, has written Eveiy pianist should pupils fine pianists, of have an excellent lifeof Clementi. become some some whom printed the name and acquainted with it. since acquired fame as musicians. Most noted address of the teacher, & among them is Miss Helen Hopekirk, of Edin- When Haydn received from the Uuiversity of Oxfoid a burg, who has performed successfully in England, or anything desirable. doctor’s degree, which, since 1400, iiad been conferred on and who will this winter make a concert tour Daily-s-Praetice, four persons only, he sent in acknowledgment a piece of music exhibiting a perfect melody and accompaniment whether through the United States. In 1878 he married F read from the top, tlie bottom, or the side. one of his pupils, a highly talented musician, Miss Bertha Feiring, of Christiania, Norway, who An unpublished symphony by Mendelssohn has been dis- had come to Leipsic to complete her musical edu- covered in manuscript in Berlin. It is for stringed instru- 1 “ r cation. After having been actively engaged for Technics, ments. The MS. bears an inscription by Mosewins, A symphony by Felix M. B., a youthful work, dedicated March five years in Leipsic, he was' again seized with the 1825, to Mosewins, by the composer,” How fast they are dug wandering fever. He gave up his position at the I Scales, up lately. conservatory and accepted an engagement as im- presario for a seven months’ concert tour through A piano lid Bupport has been lately introduced in Bos It Is automatic in action, cannot get out of order, is effe< the whole of America. A short time - previous to Studies, in operation and strong and serviceable. Carlyle Peterspen „s the time appointed for starting he was stricken has used the invention for some months in his Academy,WJadm

i “ with typhoid fever, and remained an invalid for says : They work to my entire satisfaction, and what is JSSiSti two months. This made the fulfillment of his en- rare in such attachments, are entirely without vibration. gagement impossible, but since he had determined ~ In an article in the Gartenlaube, Dr. Hauslickfthe , ~ to America, and had made all prepara- to come nese critic, complains of the modern piano epidemic w tions, he accomplished his design and landed in finds so many victims, especially in the feminine w< t New York, accompanied hy his family, November The state of affairs in regard to music is in Germany an gous to that which prevails in England in regard to n 12, 1880. After having spent a few months in New The price for the above, put up in books of 100 writing, scarcely novel in dozen having foi Director of one a a man . he received an appointment as York, each, with card printed in square space, will be as author, Hanslick expresses the deepest pity for ‘‘all tl the Philharmonic Society, in Boston, Mass., which young girls who wish to make piano playing the 'aim of t1 he accepted, and has since made th life, and to base their existence on their small sbar- ' l- ~>me. osity. Without fail they are doomed to regret having dev* so much troi and diligence >. o ah accox Mr. Mss. William Sherwood - fa jgjw York aww&ye fefeete «rri iltli mi

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; , , 203 I r THE GROWTH OF PIANO dementi’s great and famous school of study, “ Gradus ad mann, and others. In 1842' he became Cantor at Leipsic, and PLAYING. Parnassum,” which no player, of our time even, dares or teacher at the Conservatory, where he died in -1888, Be can omit to study. a fine composer and laid great stress, upon unity of idea and dementi’s numerous Sonatas, which can be used with symmetry of form.—(Idem.) Prepared for THE ETUDE by A. J. 6ANTV00RT. great profit for instruction, are pleasant, smooth and grace- ful. They contain an Italian spirit in a German dress. THIRD PAPER. To this class belong I HELLER AND CHOPIN. With Carl Philip Emanuel Bach begins anew era lor 1. J. B. Cramer, born 1771, at Mannheim; resided in [18] The works of Heller are at least, as important as those of the Sonata (for he is the Haydn), as London and died there in 1858. His Etudes, which form precursor of Joseph well Chopin. With the exception of the “ Concerto,” the in respect to its meaning, its soul, its form. almost the key to Beethoven’s Sonatas and were lately re- as With him “Trio,” and the “ Mazurka,” he has attempted the same modern music begins to forth. vised by von Biilow, are indispensable to any one who already show His chief work, class of compositions. The “Study,” the “Prelude,” the “Sonatas for Connoisseurs desires to become a good performer. and Amateurs,” was lately pub- “Sonata,” the “ Scherzo,” the “ Impromptu,” the “Ballade,” 2. John Field was born at Dublin in 1782 went to St. lished in its original form by E. Fr. Baumgart, of Leipsic. ; the “Nocturne,” the “ Waltz,” the “Tarantella,” the “Pol- Petersburg in 1802, at which place and in Moscow be re- Hans von Biilow elaborated some of his Sonatas for concert onaise”—these are the forms most familiar in his writings. ‘ ‘ use. His work Treatise on the True Art of Piano Playing, ’ ’ sided until his death in 1837. His compositions, and espe- , In every one of these he has been even more prolific, than cially his celebrated Nocturnes, are delicate, fervent, and . of in the first article, is spoken j ustly celebrated and renowned. Chopin. s% full of the beautiful melodies. are I., most They evidence of Part two editions of which ’were published in 1780 by Like Chopin, he comes of a nationality sympathetic with.'. the superior singing quality of tone, which was then a fea- Schweckert, of Leipsic, contains in three divisions,—-1, in- France, of a race remarkable for musical talent. Chopin ia ture of the English pianos, as well as of their prevalent struction in fingering instruction in style (which here ; 2, Sclavonic; Heller is a Hungarian. But his music, let us deeper touch. One of the greatest pupils of Field was Carl includes ornaments, such as appoggiatures, trills, mordentes, say at once, is altogether German in character, and does nos Mayer [20]. etc.) instruction in execution and interpretation. Part ; 3, betray his origin. We have tried in vain to discover in Mj 3. Ludwig Berger, bom in Berlin in 1777, lived during II., one edition of which was exhausted in the same year numerous compositions any trace of his nationality, of that- his early artistic career at St. Petersburg, and afterwards in Part I. was published, contains a course of instruction in coloring peculiar to the popular songs of Hungary, or even his native city, where he established himself as a teacher. harmony and a guide for extempore playing. an echo of any of those Zingari melodies so common, His best pupils were “Mendelssohn, Heinrich Dorn [21], Joseph Haydn added the so-called Durehfiih rvmgs-Satz throughout his native country, and so wild and peculiar in Wilhelm Taubert [22], Albert Loeschhom [23], and Carl {the - elaboration of some one motive of the first part) and their effect. Only in bis Album dedie a la Jeunesse do We Eckert [24.] established the tripartite form of the Sonata. find some faint trace- of them; and perhaps a little mere 4. Aug. Alex. Klengel, bom in Dresden in 1783, died in Mozart adopted the precepts laid down by Haydn, but markedly in one of the PkantaMe-etucke which are dedicated 1852, is renowned for his celebrated Canons and Fugues, of added in the first part another entirely distinct motive, to Madame Berthold Damcke. One exception, however, which he wrote a great number. His friend, Moritz Haupt- which was called the Mitt el, or Seitensatz (middle or second- must be made j for we find this character unmistakably in a mann [25], published the best of them under the title of ary subject). intensified beautiful Polonaise, of which we shall have to speak here- Beethoven the inner meaning, the “ Canons and Fugues,” and they are evidence of his great after. soul,, and expanded the form, especially the Durclifuhmgs- abilities as a profound theorist and contrapuntist. Satz, so that his Like Chopin, Heller has written for the piano-forte oi|ly. Sonatas urerinodels which no one has ever 5. Henri Bertini, a pianist of French family, was born in excelled or Like him, too, his compositions are all original, and, with equalled. London in 1798. He settled in Paris in 1821, and died at the exception of a few of his earliest works, he has not The form of the Senate, which is also the basis of quartettes and Meylan in 1876. He is most renowned for Ilia excellent yielded to the temptation is of contemporary pianists whodls- symphonies, constructed as follows : studies, the best of which (op. IPO, 29, 32, 66) are almost The first movement, is called especially the Sonata- play their musical skill by more or less brilliant variations which more equal to Cramer’s studies in pedagogic value. His piano form or Sonata-piece, is divided firstly in three parts. The first part, upon operatic airs. school is- now superceded. which is divided from the others by a double bar, consists of the “ Like Chopin, again, Heller is a dreamer, a poet, a Pen- . Principle Subject, the Second Subject or Song Group, and the Close, which are generally connected with each other by a series of tran- BIOGRAPHICAL NOTES ON THE PRECEDING. seroso.” Like him, he has a horror of vulgarity; his “form” sitional figures, or harmonic or melodic sequences. The Second Sub- is exquisite, his idea always noble; and yet Chopin has ject, which forms the counter subject the Principal Subject, is, to [18] Gael Philip Emanuel Bach, the third son of acquired a brilliant fame, which has not yet followed when the Sonata stands in a major tonality, generally written in Job. Seb. Bach, at in first Stephen Heller. the key of the dominant; and when the Sonata is in a minor tonal- was born Weimar 1714. He ity, it is written in the parallel major. The Close conforms to the studied law, but as he had been educated in music from Let us inquire into the causes of this difference in their same rules. The second part of the Sonata-piece consists of the childhood he soon betook himself to that as his profession, destinies. We shall find them first in their circumstances, elaboration (Durokfriehrung of either subject of the first part, and j and became “ kammermusiker ” and cembalist at the court and secondly in some characteristic differences in the genius closes generally after rich modulations, with a pedal point on the dominant. The third part is a repetition of the first part, however, of Frederick the Great. As composer, director, teacher, and of the two men. . I with this difference, that the Second Subject and the Close are in critic, his influence was very great. He belongs to the Chopin came to Fradfce at a time when the enthusiasm the principal tonality. Sometimes it is followed by a Coda. transition period, from his father to Haydn. His works are of the French for Poland and the Poles was at its height. The second movement, Andante or Adagio, is in the Song-form or remarkable for refinement and elegance rather than power. His own fate was associated with that of an unfortunate it is s theme with variations (Beethoven, Op. 14, No. 2), and is the true touchstone for the genius of the composer and the artistic taste He died in 1788.—(Mathews’ “How to Understand Music.”) people. To sympathizing hearts and lively imaginations of the performer. [19.] Carl Ditter von Dittebsdorf, born at Vienna he appeared to wear the martyr’s crown. He had the mys- The third movement, Minuet, has the form of a dance. This form in distinguished himself early by his excellent musical terious fascination of a visitor from a distant counify, was enlarged by Beethoven into the Scherzo, in which humor in 1739, instrumental music was for the first time employed with success. abilities, and especially by his excellent performance on the Chopin fell upon the Age of Romantacism, and his life was This form, however, appears regularly only in quartettes and sym- violin. Prince Frederick von Heldberghausen took him a romance. A blighted love, a lost country, health so feeble phonies. into his household (1751) and provided for his further mu- that his life seemed hut a breath what more was needed The fourth movement, the Finale, is in the Rondo-form. After — the principal subject, follows a second, and sometimes even a third sical education. He soon took the place of Haydn as to touch the hearts of beautiful duchesses, who prided them- and a fourth subordinate subject. The Subordinate Subjects (Neben- director of the royal orchestra, and in that capacity devel- selves upon being called his pupils, and crowded around Ms satze) stand in the relative keys of the Dominant, Sub-Dominant, oped into a prolific composer of comic operas, of which he piano-forte whenever he condescended to let his fingers and the Sub-Medient. While the first movement of the Senate is wrote more than thirty, and of which “Doctor ai d Apothe- roam over the keys. His very death was romantic and i generally of a serious, energetic, and noble character, the Finale is mostly characterized by cheerful serenity. cary ” is the most popular, and is performed sometimes even added to his fame. That bed heaped up with flowers, the Although in the above the general form of the Sonata is briefly in our days, and always with great success. He died in great ladies weeping around his pallet, the soul exhaling sketched, it must not be imagined that ali Sonatas are worked out 1799, in great poverty. (Paul Handlexicon der Tonkunst.) like a breath of air from the body which had scarcely held and finished in this manner as if cut afterthe same pattern or model; — on the contrary, deviations end changes which are peculiar to the [20] Carl Mater was a favorite German composer, it prisoner— ali this was a romanee in itself. Resign of the composer and the character of the composition are piano virtuoso, and teacher, born at Konigsberg in 1802. Such circqmstances gave to the music of Chopin an un- 'common, That is perfectly natural, and simply confirms the rule. When twelve years old he was already an excellent pianist, precedented celebrity and success. Everybody wished to The perfecting of piano-technlc went on hand-in-hand with the be called pupil of few. mprovements which ensued during the close of the last and the and made a professional tour through Germany, Holland, a master who had but Everyone eginning of the present century. Not only dexterity and velocity Poland, and Russia. In 1819 he moved to St. Petersburg, wanted to play his music, though there were few indeed .'ere cultivated, but cantabile songful playing received also needful where he resided as teacher until 1835. The rivalry be- who could comprehend and master its inmost significance. ttention. tween himself and Adolf Heuselt drove him away and he set- Moreover, his music had in it all the elements which suited In the first rank among the schools thus formed we must tled in Dresden, where he died July 2, 1862. He wrote more that romantic period. Chopin was one of the despairing name the schools of Clementi and Mozart. than three hundred compositions for the piano, but although heroes of his agq/ His tones had about them an element of tragedy Muzio dementi, born at Rome in 1752, occupied a re- full of taste and refinement they have no depth.— (Idem.) deep ; and as his sorrows were real, they found a sponsible position as organist when only nine years old. [21] Heinrich Dorn, a musician of the present day in ready echo in the hearts of men. This, too, must be re- At the age of fourteen he succeeded by his wonderful play- Germany, born at Konigsberg, Prussia, November 18, 1804. membered : Chopin was a man of high position. His very ing in enlisting as his patron a rich Englishman, who took Dorn is one of the most able conductors of his day, a melo- despair was lofty and aristocratic. His music was essen- him to England, where, through the persistent study of the dious composer of operas (ten in number), many sympho- tially the music of the salon It must, however, be con- works of Dominico Scarlatti, Handel and Bach, he became nies, overtures, piano pieces, etc.— (Idem.) ceded that it was not his greatest works that the public & composer and artist of the first rank. In 1780 he made [22] Wilhelm 0. G. Tattbkrt, Royal Opera Director most appreciated at first, but his short, yet most exquisite, an artistic tour to France and Germany, and obtained and professor in Berlin, where he was born in March, 1811, pieces—his Mazurkas, W altzes, and one or two of his Noc- many admirers by his brilliant and effective performance. was an excellent pianist in his, day, also a composer of turnes. By-and-bye his more important works came into In Vienna he was challenged by the Emperor Joseph II. to operas, church music, symphonies, piano trios, and solos, vogue, when players found how well adapted they were to a sort of musical tournament with Mozart, on which occa- and songs, among which the Kinderlieder are notable. He the display of their execution. Ever since they have bean--, sion he (Clementi) performed his own famous B Major is mostly known and admired as being an excellent con- in constant demand. Sonata, the first two measures of which became part of the ductor and the originator and founder of the Berlin Sym- Heller has not, perhaps, attained the great artistic origi- Overture of the Magic Flute. phonie-Soirees of the Royal Orchestra.—(Paul Handlexicon nality of Chopin. But hi) music deserves to be classed ia very Mozart, on the same occasion, played some variations, der Tonkunst.) I close proximity to that of his illustrious rival. How is and both finally improvised on a theme furnished by the [23] Albert Lokschhokn an excellent pianist, was it, then, that justice,has been so tardily rendered to its mmits. Emperor. Clementi said afterwards of Mozart’s playing: born in. Berlin in 1819; He is the author of many valuable Partly, perhaps, because he came to Pans unknown, said “ I had never before heard anybody play with so much soul studies and other pieces, and professor of piano at Berlin by his own choice remained unknown. He did not ptayhis and feeling. One Adagio, especially, was a revelation to since 1858. He is a prolific writer, his latest opera number own music. There was no romance about his history, Rut - | me, as were also several of his. extempore variations, the being more than fifty,—(Idem.) there -is another reason inherent in the veryebaradt MpA theme for which was furnished us by the Emperor, and - [24] Carl Eckert, violinist, pianist, composer, and con- music. At t$e very moment when there was a jfttf upon which we, alternately accompanying each other, were ductor, Born at Potsdam in 1820. Composed an oratorio, great execution, Heller had declared war againal to construct v&riutions “Judith,” in 1841. In 1851 he accompanied Sontag in her never would worship that false goddess. In his ctempceatlpwp Ditter of Dittersdojf [19] the then idolized composer of tour tfc ou all it deep feeling, not display. Moreover, though hk is melancholy, it is the popular opera “Doctor and Apothecary,” said.of these, e Consei h j a Berl , in which capj h ost not tragic. His sorrow is modest; it the two greatest performers of their time : “In dementi’s distinguished.—^Mathews’ “How to Understand Music.”) shrinks ftom demonstrativeness. Chopin's music has ao»2t • -playing. Art reigns, and reigns alone in Mozart’s playing, Moritz r/a , - » orisi thing domineering and imposing about it H«llerS|'fe« fcs j [25] V ; it SquI rival each Dresden In 1792 . He studied the , on r is, is more chastened and self-controlled. His isthe

. j&...... L* Sf: As a criterion of the high degree of artistic skill then tinguished No self, andjMj8 existing, we have but to examine the Piano Concertos by Dresden. He .taught u Ifesart) which mu in fact symphonies 8>r tbe plan®, and sit well as i ioiia, and fe — I I

204 : TBlIE] etude.

THE MUSICIAN. of entertaining other people’s friends, for he gets his feed. those attempts at musical instruments which are recorded The dinner artist belongs to the most useful species, for he as the first inventions of the earliest sages.” readily gives his services for the small consideration of ice -On a Good Touch.—I have hitherto said nothing of a We have been handed by the author, Mr. Emil Liehling, cream and chicken salad. Comparative strangers feel at part of your study which is involved in what I mentioned a very interesting sketch of the musician, which will no liberty to ask his services and feel insulted when refused, almost at the beginning of this chapter, and which is a doubt be perused with profit and pleasure by many musi- for such services are not considered worth anything in the very important one how to acquire a good touch. Some cians and lovers of music. — way of remuneration. As at the musieale given by Mrs. people think that a matter so entirely of gift or tempera- “If we glance at the present state of music in the world, ‘ Ponspnby de Tompkins,’ when Herr Liebliardt has just ment that it cannot he acquired, and perhaps a perfectly we find a most wonderful activity displayed. Music is played, to him comes Lady Godolphin, who says, 1 You play charming touch cannot be acquired, but a bad one can be taught everywhere (such as it is); there may be homes charmingly, Herr Liebhardt; you must visit me ih the children without mothers (and vice versa), but never without a very much improved. We teach our walking, country and see my roses. I have the loveliest roses in piano. Even the staid old fanner catches the prevailing entering a room, and dancing, though these are things which England.’ Herr Liebhardt answers : ‘I dank your ladyship mania, and investe the products of the soil in a cabinet children do without learning, and consequently often do ver much, but I haf a vife and five children, and they cannot organ, vulgo melodeon. Everybody studies music. *From very badly. A good touch may be acquired by study, lif on roses.” the high-priced teacher to the young lady who advertises assisted by observation how to produce the fullest and most “ As a matter of fact there is too much music. Artists that the best instruction will be given in exchange, for beautiful tone with the least effort. Now in this, as in shoot continually over people’s heads by offering them board—they are all busy. It is taught everywhere, whole- everything else in art, the surest path to perfection is the things beyond their mental grasp, and the public, alarmed love- sale and retail ,* at the musical colleges solid appreciation of observation of nature. If we want to extemporize the by the detonation, dodges out of sight. Music is only one progress is shown by the bestowal of gold medals, and every liest chords, we observe how Nature groups her harmonies of a great many channels through which culture may be year a large number of incipient teachers are let loose upon —on the natural chord, which springs from the root—and reached. The excess to which it. is being carried at present the unsuspecting communities. There is, especially in the we play three or four key-notes, two-fifths and only one- is sure to experience a reaction. What we want are serious western cities, a fashion among young ladies, with whom third curiously enough, almost exactly the same propor- artists who value their art highly, and a public who will ; there exists no necessity to do so, to teach a little in the neigh- tion which obtains, they say, in the perfect chord of color, look upon music as less of a pastime and upon artists as borhood and among their immediate friends. It is true that of which the purest light is formed, namely, 8-16ths of blue, more than mere playthings.” Indicator. the public at large is comparatively safe, hut still it hurts 5-16ths of red, and 3-16tlis of yellow. The continual cor- some more needy person. And while this desite to be ‘ on the respondence between the laws of sound and of color are make’ as well as the rest of the world might be inexcusable very interesting, when you can capture a wise person who if the head of the family had been toying with lard or some THE FOURTH FINGER OF THE understands both, and will impart his or her wisdom. Now, other slippery commodity, still teaching ought to be left to LEFT HAND- to return to onr subject, the nearest resemblance to some those who, having studied music as a profession, choose to children’s touch on the piano reminds one of the first exercise it as such. For the ETUDE, by ALOYS BIDES, LL.D. attempts a child makes with a pencil. How it dumps “ The public can only be of service to the musician in those dear little fingers tight on the pencil, and digs a line to three ways : It can either take lessons from him, or go into paper, so deep, so dark, so like We all know that there are motions which we can per- the unfortunate a black his concerts, or give him an occasional good dinner. If an form semi-consciously and mediately, while we could not groove, that you have to take the paper quietly away and able musician has the good sense to carry on the business perform the same consciously and immediately. The dif- begin again. That is exactly the effect of an uncultured art business is sure to succeed any- part of his in a way, he “touch the piano, it is perfectly ineffective for, to ferent motions of the vocal organs belong pre-eminently to on and ; where. Good teaching is at a premium, and high-priced that category. bring out the richness of a tone, the wire must vibrate as teachers most eagerly sought, but not exactly on account of I hold, moreover, that in the use of the fingers we 'can much as possible, and a hard knock kills the vibration. If their price. perform consciously, with ease, only such motions that we you think of the movements of beautiful things in nature, “It is here, where the executive artist (the one who sings go through semi-consciously. At any rate, I find in this and what that of a lady’s hand “should be, of the dainty or plays himself, and has perchance reached a high degree proposition the satisfactory explanation of the marked dif- softness of the antelope’s tread, the floating delicacy of of proficiency) has the advantage over the mere theorist. ference which exists, in totally untrained hands of adults, the falling snow, even the tender grasp of a friend’s hand, Advanced work can only be done by practical demonstra- between the fourth finger of the left hand and that of the yon will train your touch on the piano after a different tion. There is not enough of the absolutely definite about right. I find 'the former, in nearly all cases, more easily fashion, remembering what is said of all power—that real music to admit of its being taught by mere explanation. manageable than the latter. strength is the most quiet in its ways, although the most But the trouble with many musicians is that they do not Now, a moment’s consideration will make us aware of resistless. It is the mighty forty-ton hammer at the arsenal attend to their business properly. They presume upon the the fact that, as a rule, the first three fingers are the only which beats great bars of iron with a quiet ease which is patience of their patrons in every conceivable way, and ones that are put in constant requisition in the uses of life, bewildering, and yet the next minute will crack a little when, by numberless irregularities, they have succeeded in the fourth and fifth being called to assistance in a common scattering their class far and wide, they complain of want of nut without destroying it. Therefore eschew a hard touch grasp, but not resorted to for their separate capabilities. as a blow to your dog or your horse. appreciation on the part of the public. Now the public is you would A good (I hope 1 may be pardoned for disregarding the peculiar deserves gentle treatment, will it perfectly willing to pay well for good work, hut it wants the piano and repay a uses of the fifth finger in holding a cup of tea or in en- work in return for good money. hundredfold. deavoring to relieve a stopped ear). Now this, of course, “ This brings us to concerts. They never pay. Only rich Repose of Good Playing.-— would also impress on occurs usually with the right hand, and it has for conse- musicians give concerts the poor ones can’t, because they my readers the expression of the music you are learning. ; quence the fact that the accustomed channel of volition, so are poor enough already. They are exceptions—there is I have spoken of the quietness of a really good touch. Have to say, runs toward the first three fingers, but not at all the. concert for the benefit of various objects connected with you ever noticed the repose of tone generally of a fine ren- easily towards the two others, which are thus placed at a the church. Perhaps it needs calcimining, or a n p w water dering of music? A sort of quiet command, like that of great disadvantage. But with the left hand the case is dif- “ p;tcher for the Sunday school is wanted—at once a concert which Hamlet says : Use all gently, for in the very tor- ferent, since tlieie are no fingers used preferably to others is arranged and the money is raised. Or an ambitious com- rent, tempest, and, as I may say, the whirlwind of passfon, in the common uses of life, and thus they all respond in the poser has still more ambitious composition to bring out. In you must aequire«and beget a temperance that may give it

same way to the summons of will. ’ that case, his friends whose hearts bleed with sympathy are smoothness. ’ For there is the same result of weakness and Hence the difference between the two fourth fingers in bled in the pocket; or the pet of an admiring circle of inju- mediocrity in music, which can he so easily seen' in all art, totally untrained hands of adults. Again, after a certain dicious friends desires to go to Italy, just to finish her vocal when it is degraded. It is forced to exaggeration for effect, time of training, that is of exertion of the will, the superi- studies, not because she needs it or some lady of fashion because there is not the real power- Will yon read Ruskin’s ; ority generally given to the right hand will cause the right has a protege who needs some in the latter case money ; tracing out the degredation of sculpture in the exaggerated fourth to soon supercede the left in ready usefulness. ' some friends are invited to contribute a sum entirely out of violent contrasts dying Renaissance will you and of the ; proportion with the enjoyment of- the entertainment offered, notice the h&rsh and turbulent effects of some pictures, for the privilege of attending a select affair at some great when the artist has thrown mass after mass of the most mansion. METHOD OF STUDY. brilliant colors on his canvass, and after that wateh the “The artist, of course, is only too. happy to assist at ail exquisite dreamy tenderness of those soft grays andjjrowns, these affairs. He gets no pay, but he. has the privilege of SECOND PART. so quiet a relief to the one sparkling bit of color which re- furnishing his own carriage. If invited to play at church joices in its setting in some of the old Dutch and modern concerts, the delusive hope is held out to him by the com- Musical Literature (Continued).—You will enter Flemish and French masters, not to mention our own mittee who call that it will help to spread his him name, better into Mendelssohn’s works if you think how he painters or, for a grand example of quiet strength, will ; increase his influence if a brother artist gives the concert, ; grew up under the most rigorous discipline of a well- you see what our own Girtin (on stand No. 46 in the he knows the result beforehand, as at a benefit concert it ordered home to practice, in the full glow of his mag- British Museum) has done, and with what power and self- would be robbery to take pay. nificent powers, the childlike obedience and reverence for command he has expressed a great thought, expressed it so “ The truth of the matter is that the prolific amateur has parents and love of home which called forth a few words I quietly and unobtrusively that you cannot know till you spoiled the business. Everything is done now by amateurs feel I may quote as a remembrance how the son was as carry it away in your heart how the master’s power has who might he called artistic flirts, for they simply coquett noble as the musician: “I cannot express,” says his told upon you ? Think over these things, and take the with the Muses. We have amateur base-ball clubs, ama- ‘ 1 father, what he has been to me, what a treasure of love, .outcome of this thought into your piano work. Restrain teur oarsmen, amateur tally-ho drivers, and amateur opera patience, endurance, thoughtfulness, and tender care he has your fortissimos, and work up to them like a. great ground troupes—-why not amateur musicians and amateur musical lavished on me, and, much as I owe him indirectly for a swell of the sea, till the grand effect comes as a natural clubs? Amateurs are never criticised but they criticise thousand kindnesses and attention from others, I owe him consequence of all that has gone before. with a vengeance. They never sing or play badly. Their ' far more for what he has done for me himself.” This was Imagination There is another very performances are always characterized by a profusion of in "Playing. — the love he earned by a reverence and self-denying obe- curious result of the finest playing, which will never he soul and sentiment, which no professional can ever hope to dience, of which I may give one example. He had from a attained without the moderation self-command I have possgss. In fact, all soul and no technique. If they only and child a passionate desire to visit Sicily, and, after long alluded to above hut it requires also other qualities— khCw their place well enough to keep it, but spurred on by ; the plaudits of other amateurs, they keep on undismayed years, when he had become famous, the opportunity came mean the wonderful art with which a really great player of accompanying a party of friends thither but when he and musician will, as it were, altogether obliterate himself, in their career of wreckage. For it is one of the peculiari- ; ties of the species tliaf they always applaud a brother ama- wrote for leave, and his father thought it best to refuse and be simply the life and soul of the music he plays, as teur, copiously, but wink at each other ominously and main- that permission, he left the bright sea. coast from which Mendelssohn, when he played, made yon forget everything tain an attitude of extreme reserve in showing their appre- they sailed, and came on his lonelier way home to study, but the one thought he was expressing. Bntthat requires ciation of really artistic performances. Their interests are without a word of complaint or resistance. an entire unselfishness like his, an imagination which too identical, too dear to themselves to admit of wasting I often tell our little people what they may learn from threw itself into the work he was interpreting, till it came their applause on outsiders. Thus the standard of art has music is far beyond the small surface they can see. The out transfigured, as it were, and cast everything else into : very semi-capable fashionables. self-control of exactness, the discipline of learning to give the shade. A singular instance of this sort of iHfdginativer much -been lowered by ' “ T>e dinner question is one where the public meets the intense attention, the habit of obedience to proper authority, power came under my observation a little while ago at * artist. If he is asked to travel in a street car on a stormy besides the reading of great and generous thoughts in that concert where a very great artist played, 'there had been night three or four miles, and has the pleasure of walking language of music which some poet said whs " the angels’ the usual routine of a morning concert, peoplefind place home titter Cars have stopped running, at the imminent risk language in Eden,” and, as another Writer remarked, ‘‘the becoming slightly uninteresting, while aftepsoon M. feega of being sand-bagged, he is happy to do so for the privilege recollections of the harps of the angels may have prompted to glimmer on the hortsoh with a pleating excitement, ,v T 331 IE1 ZE3 T XJ 33 ZB. l .

when something began with a strange feeling, as if of weird windows, I turned to my mother and said, “ Mamma, he have forgotten how they have arrived at, a given, result, or darkness, and then one seemed to sec, by night, a great sings the do that weeps,” meaning that the sad expression whether it is laziness and indifference on their part, I can- battlefield, the blackness and confusion, the horror and the of the cry belonged to the minor scale, as it really did. I not decide. I am inclined to think they have never systema- pity it till was then only three years old. tized their ideas into a definite form of expression. The/ of ; and in that dream all went on the music ceased. The artist told us afterwards, when we exclaimed Winn I was about six, a musician named Jardin called play ipore by instinct than by rule. Yes, rules are just as “ to her on the singular effect this music had produced, that at our house. I have a little boy,” said my mother, “who important in practicing as they are in everything else. seems to well she herself had heard this first when she was a sister of be organized for music. If you will try his I have heard many artists play in the coarse of my life, " perception it mercy, helping the wounded on a field of battle by night, musical Will, I think, interest you.” T was but I have rarely met with one who could give me any placed with my face in the and whenever she played it that time and place seemed to corner of the room like a practical hints about technique. naughty boy. “Now,” continued she, “ improvise, play come back, and she could only live again that terrible 1 went to Germany to study the piano with Tausig, than anything you like, he will tell you In you play, vision. How it came, and why it should also come to one what key whom I suppose a greater virtuoso never lived. At the first and through what keys you pass.” “ of her hearers, is not perhaps so easy to explain but if you lesson lie said : Flay me the scale of F sharp Major.”" I ; Jardin was much surprised at the unerring exactness ‘ throw your whole self into the thoughts you are trying to played it. The only thing he said was, ‘ Put the fifth finger with which I followed and indicated the different modula- express in music, you will find out then and not till then, on the top note of the scale, instead, of turning the thumb , tions which his improvisation had traversed. what that music can say to you. under and ending on the second,” which was; What I had It must not be concluded from this that a precocious cul- I will end by quoting a few words, which may interest been doing. He also said, “Carve your fingers,” and, in- ture of the ear is sufficient to make a musician capable of you as coming from the pen of the Prime Minister : deed, he made me curve them so much that it seemed, to me composing. But it is certain that one can initiate the ear “They who think music ranks among the trifles of ex- I was playing upon my finger nails. Not a word more did ! to musical language exactly as to spoken language, and can istence are in gross error, because from the beginning of the get out of him, who could play scales with a velvety smooth- develop the musical sense in a much larger number of world down to the present time it has been one of the most ness and velocity which seemed like a zephyr blowing over children than is commonly clone. forcible instruments, both for training, for arousing, and the keys. I know very well by subsequent experience that I have seen in my life many examples of what 1 advance for governing, the mind and the Spirit of man. There was I must have played that scale of F sharp Major with' a stiff- I have known children sing false because their mothers and a time when letters and inspiration had but begun to dawn wrist, and there must have been wholly absent from it nurses sang false and spoiled their ear. It is not the voice upon the world. In that day music was not unknown on either smoothness or velocity. All that I did was to play — which is false, it is the perception of the intervals which the contrary, it far mere servant and the notes correctly, nothing more. was so from being a has been falsified by vicious expressions.—Gounod. handmaid of common and light amusement, that the great Now, why did not Tausig take that scale through with and noble art of poety was essentially wedded to that of me, note by note, and show me how to practice it with one *

music, so that there was no poet who was not a musician EXAMINATION QUESTIONS. hand ! Why did he not at least play the scale through ; there was no verse spoken in the early ages of the world before me as he practiced it himself ? Then I could have 74. How can a note which has been double flat be altered but vehicle, thereby got an idea. I knew nothing of the legato or wrist that music was adopted as its showing to natural ? Give the sign. move- the universal consciousness that in that way the straightest ment. All I knew that the scale ought to sound like a 75. Do we always use a black key to raise a note to sharp ? and most effectual road would be found to the heart and If not, give the exceptions. string of pearls, and that I couldn’t do it. That Was one affections of men and it is more than two thousand years of the things I had crossed the ocean to learn, and I had ; 76. What is the difference between accent -and emphasis? ‘ since Plato wrote : look upon music as a mere amuse- come to Tausig as the man who could teach me. To 77. What is meant by the inversion of an interval? ment cannot be justified music which has no other aim “ Yon must practice the scales every day,” he said, and he — 78. Is there more than one form for the major ? can neither f>e considered of value nor viewed with rev- never heard me play another one, though I did practice them 79. How do you find the relative minor of any major ? erenced ” I trust to your interest in our noble art to religiously every day. At the end of four years, having May 80. Is there not a way of finding the order in which the read patiently these lines of loving advice to young students spent an immerse amount of time over them, I,had, of course., major scales succeed each other ? from one who has seen and sympathized very deeply with made some improvement, -but I was still veiy far from being 81. Write the two scales, major and minor, beginning on able to - do what I now teach my own pupils to do in six months , the difficulties and needless troubles which our young the note Bh, without signature. girls have suffered from want of exact and careful training? My pupils practice one scale from ten minutes to half an hour 82. Write the signatures of F, B, Bb, G, A, C# Minor. Believe me, the same metho'd and self-command, exact- per day, while I used to practice them all a whole hour per day. 83. iiow many semitones are there in an octave ? in learning, in at the root of the I remember that my brain used to feel benumbed when I had ness and patience getting 84. What is a discord ? played -the last matter in will infinite value to hereafter, in one. But I show my pupils how to practice: hand, be of you 85. What is harmony ? rightly, ten minutes is many things besides the music you care for now, and will love and well spent worth more than an 86. How many different sounds may one note have by hour wrongly. and understand better the more thoroughly you practice it. placing accidentals ? Give them. After spending a year in Tausig’s conservatory, far to tell you working I think I may allow myself to digress so as 87. How does a bar of six sixteenths in 3-8 time differ myself to death over scales and the Grad us ad Parnussum, I an anecdote of difficulties overcome’ by a slow and heavy .from a similar bar in 6—16? Show the difference by writing went to Kuilak, with whom I studied three years and a half. child, which is related in the early life of a very eminent and explain a bar of each. The first year I took private lessons, and after that I man. He was an only son, and his mother a widow, and was 88. Is a chromatic scale the same in a minor key asinamaj or? put into the highest class of his lady pupils. he was passionately eager to distinguish himself for her 89. What is the mordente ? Give an example. Kuilak had an immense reputation, both as could not prayers the artist and sake but he learn. One morning at 90. Why are the intervals of the 4th and 8th called perfect? ; teacher. He was thought to have no superior in Germany, heavenly promise to those who “ask” haunted him sud- 91. Divide a half note into six equal notes. and even Liszt bad the greatest respect for him as a teacher. denly, like an imploring voice, and on the long country 92. Give the derivation of the term chromatic. Howwell I remember my first lesson. It was in the even- road which led to his school he used, after that day, to 93. What is M. S. and M. G. the abbreviations of, and ing, from seven to eight o’clock. I was shown into his large plead that promise. That boy became one of the most emi- what do they mean ? music room, wholly bare of any carpet or furniture except, nent men in India. I might also, when writing of Haydn, j 94. Why is not our normal scale called A instead of C ? two grand pianos in the centre of it. - A lamp stood on each have quoted a passage touching on this subject, for in his 95. How is the use of the soft pedal indicated ? one, making a circle of light upon the floor, while the djs- letter referring to the composition of the “ Creation”—his 96. What is the difference between Cadence and Cadenza? tant corners of the room were quite in shadow. In a moment noblest work—he says : “I knelt down every day, and 97. What key contains the following notes : A#, Gif, Kuilak stood before me. His personalty was extremely in- ’ ’ prayed God to strengthen me for my work. How many Djf, and F#? teresting and artistic. His deep-set eyes looked peiietratingly have had their energies quickened, their courage revived 98. Write the major scale of At*, and state- which notes at me through his spectacles, and his strong and passionate By the same means will never be known here. I may re- are the Tome, Subdominant, Dominant, and Leading-note. mouth at once impressed me. I said to myself: “Here is vert here to one more instance in the life of Charles Dickens, 99. Mention an artist, and no mere pedagogue.” Kuilak works of the following composers : Haydn, did not ask me things prayer than this world how “more are done by Bach, Mendelssohn, "Wagner ? to play a nor did he say anything about technique, dreams of” for the world hurries on, and in its clang and — 100. Write the minor scale of Eb without signature ? whatever. He probably thought that as I had been in clash and blindness, does not see the real powers, which, Tausig’s conservatory Much matter belonging to this Department remains over for a year 1 must know how to practice. like the light, work silently. Well do you remember a next issue. F He asked me what pieces I had been studying last. I sahib passage in his early life, when—a child hungering and Tausig had just given me Liszt's “Au bord d’nue sonne,” thirsting for the knowledge which would be to him power “Play it,” said ho, taking the music and setting it up on his and strength—a very sword for the battle of life—he saw HOW TO PRACTICE. own piano, at which he seated himself. I sat at the other his young sister receive honors at the Royal Academy of one and played by heart, as I had no second copy. I had Music? Like the monk who in old times saw a grand pic- then been about six weeks without any lessons, and sal had By MISS AMY FAY. ture, and felt at once the brotherhood of real greatness, a good chance to practice and learn it. Moreover, Tausig “ saying. And I, too, am an artist,” so the child—the future liad condescended to play the last of it for me, so I got a golden link of sympathy and generous kindness between Abtists divided conception of it. may be into two classes : those who have great small all English-speaking lands Kuilak gave me some additional beautiful Ideas and in England and a great natural gift for technique, and those who have to ac- about the - “ first half. “ Those skipping notes in the —felt, And I, too, would be great,” and went home with quire it by hard study. The first class play “ by the grace left band were a bursting heart, to kneel by his little bed pray for ’ stray drops of water sparkling through the air,” he said, and and of God, ’ as the Germans cleverly put it. The second have to certainly, as he played them, they were. I was inspired help. If you read on, you will see how only a few short work out their destiny slowly and painfully by the aid of man. and flew helped by his playing, and I imitated him as well as I could. weeks by before that prayer had brought its answering I have observed that those persons who have a gift for blessing a relative sent him to school and this was the When I had finished he exclaimed, enthusiastically, “Frau* — ; reading music rapidly, generally combine with facility of beginning of his future greatness. lein, Sie siud elne geboren Kunstlerin! ” (You are a born execution. They have an unerring instinct which .tell them artist/”) just where to put their fingers, and are obliged to analyze U Now, this was not true. I wasn’t a born artist, for if each note and its connection with the succeeding ones before I bad been I should have had that natural gift for technique they can play it. The latter requires a month to do what Ileparfmcnf. of which I have already spoken, and which born artists the former can accomplish in a few days, or even hours. always possess. It was evident later on that he did not My mother! had made me her pupil as well as her nurs- The slow readers have some compensations. They are able think so himself, for one dayJn a tirade lie gave me to know, ling, and familiarized my ears with sounds and with to play by heart, and have strong memories. For the very words. what an artist should be able to do, he turned short round Hence my perception of airs and of the intervals composing reason that they are obliged to work harder to copquer me- on his stool and said, “ What do you know about ptayfejg them was quite as rapid as my perception of words, if not chanical difficulties, they are apt to be better interpreters, scales in double thirds and double sixths?” and thee I more so. Before I could speak, I distinguished and recog- because they listen more closely. • If they cannot read the- playing them in most magnificent style himself,' -.X meectx nized perfectly the different airs with, which my ears were printed page® with rapidity, once learned, they are inde- confessed l hat I knew nothing, thoughl did uot add“thi^ira" lulled. Here is a curious proof. Everybody knows there pendent of the manuscript. The greatest artiste possess to him} as I might halve done. I then - asked Mm to ; is a- note which is called indifferently ut or do, and that the bothgifbj equally. mend me a work out of which to study them, He- A gga: scale consists of a fundamental note, which is .reproduced One would think that all artiste of high rank ought to be* to get Konteki-s technical exercise- wind Ms in the octave. We all know, too, that the scale is major able to impart to their pupils the principles of a fine once added the daily study of double thirds N gfaj and minor, according as the third and sixth form major or technique. Having got over ’ the hill difficulty themselves, sixths to my scale practice. Kuilak also told me to minor intervals,, and that the major is more gay and joyful, they ought to be able to retrace the steps they have taken h:s ' Octave School and Czerny’s School of the , : Virtuoao

the minor scale more sad and melancholy. -w -. with \ . eoi ious seboki-r. Many wearisome days I spent practicing this , One day when, listening do -the street criers beneath out Such, however, is not the case. Whether it is that they which is fatiguing to the mind to the last degree, and I' — ; E —— ,.

20€i t m: :m mt tj id m

would not., condemn a scholar of mine to it, since, useful as CONCERT PROGRAMMES. ,!t Is, there are others which are equally so, which are really Ell delightful to study. The Stuttgart habit Of playing Bach an School of Musical Art, Fort Scott, Kansas.—D Be F. . hour per day is much better, for it improves the mind as Bryant, Director ( Recitals Monthly .) well as the fingers. The sound of music that is born of human breath. ' Kullak’s strong point as a teacher consisted in his con {A,)—Primary. Comes straighter from the soul than any strain.

stantly with his pupils. Scliarwenka said day, - playing one Recreations and Duetts, from Urbach, Richardson, Lebert, The hand alone can make. - _ J in speaking Of him: “By playing with his pupils, Kullak -Stark, and Mason “ Ant _die_ YYacbt Parade, ”__Lichner; ; Genius.—Genius in the power of . rey.ealing_God trains their ear, so tnat they are insensibly led along. They Gazelle,” Piefke Blanche,” Arr “ Enke,” “La .; “Dame learn their points constant comparison him.” ; to the soul. Liszt. V weak by with Selections “Oxen Waltz,” duet, Mozart; “Morn- human Op. 6, ; He always used two grand pianos in teaching, which stood ing Song,” Lange “Fairy Wings 'Waltz,” Meyer recita- True Genius. True genius does not ; become ; side by side, he sitting at one and the pupil at the other. ‘ ’ ’ tion, ‘ What the Choir Sang about the new Church Bonnet. imitative in its admiration for that which is While it was a good plan in some respects, in others it was new, not, for it disaccustomed the pupils to plav alone, and his (B.) Intermediate. but instead receives from it only a fresh and beau- touch was so powerful that it drowned them out completely. “Heimweh,” Jungmann “Sweet Violets,” Spindler tiful impulse to discover new paths for itself.—C. ; ; ‘ * ‘ ’ ’ ’ But we got a standard of how a piece ought to sound when Angels’ ’ Lange ‘ Carolings of the Birds, Dream, ; M. von Weber. played by a great artist, and that was a great thing, and was Micheux “Villa Reception March, ” Rosewig “Fruhling’s ; ; ’ ‘ ’ ' Musical Intelligibility. grand simplicity, the secret of Kullak’s success as a teacher. ‘ ‘ probably Grass, ’ Schultz Richwood Polonaise, ’ \Verner Carni- —A ; ; And now I come to the man who taught me more about ” in the choice of musical motives enables the mu- val of Venice,” Oesten : “Am Abend, Richards “Cupid’s ; practicing than, all my other teachers put together. I allude Serenade,” Jungmann; Clayton’s “Grand March and sician to secure the quickest and clearest under- to Deppe, in Berlin. I owe the good fortune of making his Waves of the Ocean Galop,” Blake “II Baccio,” Axditi ; ; standing of his intentions, howsoever unusual they acquaintance to Mr. Sherwood, who met him before I did, “Mill,” Jensen; “Visitation Convent Bells,” Kunkel; introduced him. may be.—Richard Wagner. and who me to by a pupil six years of age (piano), “Battle of Manassas Deppe’s ideas are entirely original with himself Whether (from imitation) Blind Tom Martha, Potpourri (from Hummel, when asked, how he obtained such im- ; I do not know. Sometimes I am inclined to think he may : memory), Burgmiiller “Sonato Pathetique (2dmov ts) Beet- mense execution, answered, “ I owe it first to scales; ; of them from • have got some Wieck, as Wieck’s method ’ ’ hoven ' Turkish March, Mozart. ; secondly, to the scales and thirdly, again to the seemed to me identical with his in some respects. Cer- ; tainly, Wieek was a great master, as his daughter Clara’s (C.)—Advanced. ^ scales.” playing showed, not to speak of the many other great “ Le Desir” and “La Tendress,” Craxfier “March Mili- ££ ; Moscheles said, The atm of a pianist should ’ ‘ ’ ’ artists who were trained by him. ’ ‘ taire (Et>) Duett, Schubert Midsummer Night’stream, £ ” ; be as easy as a. cat-o’-nine-tails.’ Like Wieck, Deppe begins his instruction at the very begin- ‘ ’ ‘ Last Hope, ’ Gottschalk “Le chant Smith-Mendelssohn ; ; ning, that is, lie first forms the hand by certain technical ex- ‘ ’ de la Fauvette’ ’ and * Le Gazoulliment des Oiseaux, ’ R. Music, that perfect model of elegance and pre-* ercises, the pupil how to place it the * ’ * showing upon keys and ‘ Bellema ‘ Overture from Zampa, ’ Herold Polonaise cisifrd, was not given to men by the immortal Gods ; raise the fingers and let them fall separately. I maintain ; Militaire (A) Chopin; “Songs Without Words,” Nos; 6, 7, with the sole view of delighting and pleasing the that person in a hundred can raise finger let not one the and 12 and Mendelssohn “Hunters, Horn,” Komatzki , 21, 30, ; it fall on key without stiffening the wrist, unless senses, but rather for' appeasing the troubles of a their atten- “Silver Spring,” Mason; “Gavotte (D Minor), Bach; tion is particularly called to it. I have never pupil had a “Musical Box, Piano Trio,” Liebich “Traumerei;” Schu- their souls and the sensations of discomfort which that did not have to limber out their wrist, and show' them ; I mann; “Storm,” Weber; Duo from “Magic Flute,” Mo- their imperfect bodies must necessarily undergo. they were unconsciously contracting the muscles and tighten- zart; “Am Spring Quell,” Hennes “Nearer My God to ing them. In fact, the only way I could detect it myself was ; What we learn with pleasure we never forget.— Thee (trams.) Ryder “Pearly Cascade,” Lichner. by holding one hand between the thumb and middle finger of ; Mercier. the other while practicing the exercises, when the contraction Vocal Selections Interspersed . Dr. Arnold, the model English schoolmaster, is at once felt. —_____ “ A Leaf from the Spray” (vocal waltz) Mey “ Master and ££ It is precisely the same difficulty that singers experience ; said, It is hard to begin anything in after-life, and Scholar,” Fioravunte “ Winterlied,” Mendelssohn; “The with the museles of the throat. Now, if a singing-master ; so comparatively easy to continue what has been Knight and the Wood nymph (duett), Watson; Serenade (Ah should say to his pupil, “ don’t contract the muscles of the - Twinkling Star), Kulling; “Harp of the Winds,” Abt; “Ah begun. throat when you sing, ’ ’ that is all very well as far as it goes, Restless Sea (trio;, White; “Gome where the .Lillies Bloom.” but if he can’t show him how to avoid it it not Emotion renders us ingenious, and the necessity would do (quartett), Thompson; “Ah How Fair” (from Martha), good. Probably very few teachers can this, feel much do and barytone solo. of expressing what we creates for us resources that is why so many fine voices are ruined. Yet it must be Competitive Scale Practice. —All Major, 4 octaves and re- which never occur to the mere mechanical player. a very simple thing if you know how as Deppe often used ; turn, rhythm two-fours, played in chromatic succession. —Thalberg. to say in teaching, “It is the egg of Columbus.” Best time, one minute forty seconds, - Deppe’s technical exercises are ten in number, and require Time (Tempo) should not be driven or checked twenty minutes to play through, ten minutes for each hand. A. A. Hadley Montpelier Vt- , , tyrannically like the strokes of a trip hammer/ btit Each one has a definite object, and I find I cannot omit one “ La Fanfare des Dragons,” Boscovitz : Sonatine, Op. 20, N o. should be to music as the pulse beat of the of them with my pupils without loss to them. They include human 3, Kuhlau Organ Solo, “Andante Grazioso,” Smart Mazurka ' ; ; heart. There is no slow tempo in which passages raising the fingers anv pressing them- down on the keys with- Elegante, .“Dripping Fountain,” Ryder; Transcription, out-stiffening the wrist, the trill in slow movement, in single “ do not occur that require a hastening movement Her bright Smile Haunts me Still,” Merz ; Female Trio, notes and then in double thirds, five notes of the scale, “Down in the Dewy Dell,” Smart; Grand Concert March, in order to relieve the feelings of the dragging which is the foundation of the whole scale. Then follows Wollenhaupt; La Tendresse, Cramer; Recitation, “Our motion. Likewise there is no Presto which on the the raising of the fore-arm and letting the fingers drop on Folks,” Ethel Lynn; Fantasia on “Masked Ball,” Ley bach; contrary does not call in many places for a peace- the Mack keys from above, sinking with the wrist but Organ Solo, “La Meditation,” Thayer; Chorus, “Oh, ltal?° holding the first joint of the finger very firm. This is “ ful style of performance in order not to be deprived a Beloved,” Donizetti ; Piano Duett, La Midget,” Russell. most important exercise, and is the foundation of chord of the means of giving it the proper expression. playing, which is done the J. A. Butterfield Norwich, Conn. on same principle. We all re- , Besides this, S*. Jpoth the hastening and the - hold- member the pictures in the instruction-books where the Ladies’ Chorus, “ Charity,” Rossini Violin ; and Piano ing back npust never be racking, jarring, or over- hand is represented thrown back at right angles from the Duett, Dancla “The Grand Old Ocean,” Millard; ; “The the feeling, wrist in striking chords and octaves. This would Parted,” powerin^to but always occur by .periods he dia- Day on which we Campana ; Scene from “Der metrically opposite to Deppe’s system, which would be to Freischutz,” Von Weber; “ Ave Maria,” Marchetti “ and phrases.—0. M. von Weber. ; Wait- ^ let the weight of the fore-arm rest upon the key, and to take ing,” Millard; “On, Gallant Company,” Becker; Scene artist is the chord the arm, the “ “ The practical enabled to judge of the up from hand hanging loosely from from Ruth, the Gleaner,” Butterfield ; Danse ftustique,” the wrist. Mason; “Salve Maria,” Mercadante; “Guarda Bianca signification of a work of art in a higher degree

By following the instruction-book method the fingers are Luna,” Campana ; Waltz Song, L’Atditi; “La Cascade,” than any other man, because he penetrates more thrown suddenly back from the keys, and the arm is rigid. Pauer; Trio, Music Lesson from “La Fille du Regiment,” deeply into its erection and proportion, and can This produces the effect of shutting Donizetti; Full Chorus, (a) “Traumerie,” the mouth instantly at arranged from account to himself for the relation between cause the conclusion of a phrase in singing. The sound is cut oft Schumann; (6) Boarders’ Chorus, from “A Race for a and effect. He can do this, provided his practical and instead of dying away. By adopting Deppe’s method the Wife,” Butterfield. oetical judgment keep equal step together after arm and wrist rise from the keys before the fingers leave ; Lucy Cobb Institute, Athena Ga. Miss Emma , L. them, and this momentary clinging of the fingers to the — James Eim there is no living soul so capable of enjoyinl- keys prolongs the tone, and makes it aesthetically beautiful. Overture, “Midsummer Nights’ Dream,” Mendelssohn; and correctly judging of a work of art as a finely The movement is also graceful to look at, and the is “ Maltha,” S. Smith; “Le Printemps,” Carreno; “For arm cultivated woman, for her inner life is in itself a free. is Millard “Martha Fantasie,” Flotow supple and It the same in practicing octaves, and You,” ; ; “Le Chant du sort of work of art. Even the highest, kindest of even in the staccato. The hand is never thrown back, but Bivouac,” Ketterer; Valse. Op. 69, Chopin; “In Autumn,” is lifted the “ Tears,” Johnson “ The Dove,” Arditi men have something formless and unfinished always by arm. s Heller; ; ; “Return About* Moelling Polka Noble, Joseffy; Deppe’s ideas in regard to the scale are also very impor- of Spring,” ; “Bubbling their natures. In the hasty demands of life they King Serenala, tant. teaches the pupil not to tuck Spring,” Rive ; Op. 65, Moszkowski “ He the thumb under, ; Ave do not stop to inquire whether it be Sabbath or but to prepare for the thumb by turning little Maria,” Schubert; “In the Language of Love,” Faust, a on each not; they surprise man amid the worship,. and finger, turning the wrist outward, and making Gounod; “ Titania,” Wely; “Petite Tarentelle,” Heller; the thumb a • ... . . l 11 . Tlti!.. UT-D- I - #. r. ' scarcely give time to refrain from profanation it of support on which to lift the band over the next o; in feet, stretching from the thumb. Contracting the the altar. But the life of women, how calm/ as S, — thumb is one of the stumbling-blocks in technique. It is a a festival bell, how full of harmony may it not, to in every habit t have break pupil. The thumb must be should it not, be? when the storm bells of passion* curved and free from the hand in order to work properly. have rung out, then pure ether remains behind. The advantage of this is clearly seen by looking at the hand from the inside with the fingers curved. Pinch the thumb I have known women who refreshed, me like the in or let the hand fell over it and motion is at once impeded! Bbignoli Dead.—Singor Pasqualino Brignoli died at Cool rose-lit evening air when my own soul was Everett House, New York, on Thursday last, in the 61st the covered with _ dust and filled with noise. In such. ) ? of his age, having been bora in Naples in January, year minds the impression made by a work bfytrt is singer was i Originally destined be acquired. by experience 1824. The deceased for the ; correct and immediate, for they are prepared to teaching. legal profession, but forsook the favor of mtude, had eventu- ally made bis Mmt as an opera vocalist in Paris, with a receive it themselves serene and pure as bridal (To be continued.) moderate-success. devotion.— hlerT; A Aw :

IEj T! IT X3 BIOGRAPHICAL SKETCH OF W. H. SHERWOO'

HLLIAM H. SHERWOOD, the eminent America® pianist, was bom at Lyons, N. on January The Royal Prussian Anzeiger.—(Translation.) 31, 1854. At an extremely early age he disclosed a phenomenal musical faculty, which was ob- IT “ His technique is excellent and symmetrically served-anil afterwards carefully developed by his father, the Rev. L. H. Sherwood, A.M., developed his conception full bf artistic intelli- (founder and principal of the Lyons Musical Academy, at present one of the oldest and most useful, music | schools in the country)—himself a musician of rare originality and ability, and among the very first in gence Ms delivery cultured. He can stand side ; America to teach music broadly as a science instead «of the art of playing upon a special instrument. by side with the best living pianists. ’ ’ Sherwood was also instructed in mathematics and the classics, and in the former was regarded as espe- cially apt. Instead, of entering college, having decided to follow music as a profession, he devoted him- self entirely to its study. Upon this thorough teaching so early in life unquestionably rests the founda- New York Evening Post. tion of the wonderful powers of William H. Sherwood as a musician and master. * 1 Mr, Sherwood ranks very high indeed, At the early age of eleven years he achieved a pronounced success in public by his performance of clearness of his work, his crisp runs, smooth phras- several difficult compositions, and a frequent appearance in concerts following, he was everywhere re- ceived. with enthusiasm as a prodigy. Continuing his studies, especially in musical theory and church- ing, and lightness of touch, stamping him at once organ playing, he succeeded so well as to occupy the position of organist at St. Paul’s Church in Syra- as above the ordinary run of pianists. cuse, N. Y., at the time of Ms departure for Europe, whither he went at the suggestion of Dr. William MtfSon, of New York, with whom lie had been studying for a short time, and who advised that he should be placed under the instruction of Th. Kullak, of Berlin. His father accompanied him abroad and re- New York Tribune. mained with him for some time. From the very beginning Kullak manifested the warmest interest in “His work bears evidence of intelligence, good Sherwood, and was so pleased with his compositions that he secured the publication of some of them by taste, feeling, and careful study, and brings to it one of the leading publishing houses of- Berlin, and also introduced them to the highest classes of his delicious touch, a. very strong technique and un- conservatory. Here, also, Sherwood further prosecuted his studies of theory, etc., under Dr. -WeitzmaU, a

and subsequently under R. Wuerst. His progress in piano-playing proved so great that, although not usual clearness in his playing. . . . He impressed yet eighteen years of age, he was selected after only six months’ stay to play at the Royal Sing-Akapemie , one by his absolute command of the key-hoard and which he did amid remarkable enthusiasm, receiving unsolicited favorable notices from the leading the perfect ease with which he conquered hard pas- journals, the tenor of which may be judged from the following from the Spemrsche Zeitung “'The greatest interest of all was awakened by a young man named Sherwood, who played Chopin’s F sages. There seemed to be no difference at all for Minor Fantasia with such fine feeling, both in touch and conception, that even in one satiated with him’. The most trying passages were done without music as ourselves, it produced the deepest emotions. ’ .’ apparent effort his playing was crisp and his ; The compliment of this appearance at so early an age may be better appreciated when it is stated ” touch delightfully delicate. that among those who also appeared were Scharwenka, Moszkowski, Martha Remmert, and Nicodb, all of whom have since achieved eminence in their profession, and were at this time pupils of long standing.

‘ The following season Sherwood played the ‘ Emperor’ ’ Concerto, by Beethoven, which was given with New York Herald. full orchestra under the direction of the Royal Kapellmeister, Wuerst, and the enthusiasm of the immense . . . From the beginning to the end of the mati- audience of 3000 to 4000 people became so great that the applause continued until Sherwood was compelled for the eighth successive time to bow his acknowledgements. So great was the impression made on this nee, however—and he played entirely from mem- occasion that the performance of this concerto by Sherwood was demanded and given five different times ory—he showed himself to be an artist full of poetic in Berlin under several conductors, never failing to call forth tremendous manifestations of approval. sensibility, fluent, expressive, and precise. His While at Berlin Sherwood also studied for a season with Deppe, obtaining from him valuable instruction. touch represents the fullest range in the shading of As a matter of pleasure and incidental study, Sherwood devoted a considerable time to travel,

. . intrepretation, mingled when he visited Muskau, (the summer home of Dr. Abbott), Pynnont, Hamburg, Stuttgart (where he his themes. . Delicacy of remained over six months), and many of the interesting localities of Germany, among which were the with a proper fervor when required, stamp Mm at Hartz mountains, the Tlmringian forests, Switzerland, the mountains, &c., having also Saxon Giant once as one of the best artists we have had on the crossed over twice to England. At Hamburg, Dresden and Stuttgart, Sherwood embraced the opportu- metropolitan platform for many years. nity of comparing the systems of various teachers, and possessed himself of the friendship of the pupils of different masters whose characteristics he was especially desirous of remarking. From Hamburg Sher- wood went to Leipsic, and there studied counterpoint and composition under Richter, and won the Boston Transcript. friendship and good opinion of such musicians as Reinecke, Grieg and others. Indeed, later on the ‘ 1 Mr. Sherwood took the concerto in his most former extended to Mm an invitation to play at the celebrated Gewandhaus Concerts, which, much to his regret, he was obliged to decline on account of other engagements incidental to Ms return to America. poetic manner, and Mr. Thomas followed Mm in From Leipsic Sherwood went to Weimar, the home of the great maestro, Liszt, who, returning in every delicate light and fleeting shading of his person his call, invited him to come regularly to his house, an opportunity which was embraced to the mood. When two such musicians, each strong utmost by Mm. At Weimar Sherwood made his home with Toepfer, a warm friend of the great pianist, willed and independent, and respecting indepen- Henselt, and where he enjoyed the intimate society and friendship of many eminent musicians and others. Sherwood had previously married Miss Mary Fay, of Boston, a pianiste of rare ability, who had been dence in the other, and each able to carry out the sharing his studies under Kullak, Deppe, and Liszt. expression of his ideas to the uttermost, re-unite born at as god-father, also his friend- To his oldest daughter, Weimar, Liszt stood and exhibited for the interpretation, of the subjective music of liest regard by extending to Sherwood many privileges of advancing in his chosen profession. Before Schumann, the finest results are possible.” leaving Weimar Sherwood played at Liszt’s matinde in the presence of a very distinguished audience, both as to musicians and also persons of high rank, and produced a profound impression as to his future Cooriefe brilliant career. His qualifications as a composer were noticed so that Liszt, Anton Rubinstein. Taubert, Buffalo Reinecke and other great musicians warmly advised Ms devoting Ms energies to this work. Sherwood, “Mr. Sherwood is undoubtedly the best Ameri- living however, felt compelled to relinquish this plan, for at least. having a to make, the time can pianist yet heard. His technique is absolutely However, having received an invitation to play at the concerts of the Philharmonic Society of immense, his memory marvellous, and his musical Hamburg, he accepted the same, and upon Ms appearance won such a success that he received the honor of salute orchestra (one seldom conferred) and was also voluntarily presented by the society intelligence commensurate with both.” a from the , with an increase of one-third of the promised fee. This was followed by his own concert at the Berlin Sing-Akademie in which Ms wife assisted, of which the Berlin critics were unanimous in speaking , Cincinnati Commercial. enthusiastically, as one of the good concerts of the season in their great musical centre. At this time he ‘ recei ved propositions to appear in many of the great cities of Europe, including opportunities to play in ‘ Mr. Sherwood has no superior in America, and the court concerts at Weimar, Gassel, and Berlin, but with a few exceptions they were declined, as he had very few who can challenge comparison with Mm. determined to end his five years’ stay abroad and return to his home, America. This he did in 1876 making . . . Mr. Sherwood belongs to the small class of his appearance with full orchestra, under Theo. Thomas, at the Centennial Exhibition at Philadelphia, piano virtuosi who have the art and genius to make where, at one concert, he played before an audience of 8,000 people and won an enthusiastic double recall. ~ Since then he has devoted himself largely to teaching, but has also each season appeared in the a mere recital with no accessories an entertainment large cities at some of the principal concerts and his own recitals. The plan of devoting an entire evening which entertains.” to piano music is a favorite one with Sherwood, and he has awakened a great interest in these concerts wherever he has appeared. He introduces frequently a lecture upon the thought, poetiy and sentiment found, in the musical works of the world’s greatest masters. Shakespeare, to the unlettered, may often Chicago Herald. prove difficult of comprehension and enjoyment, but when interpreted by a Booth, a Forrest, or a Cushman, Mr, William H. Sherwood played last Thursday becomes poetic Haydn, Mozart, Beethoven, and grand. So with the great musicians, Bach, Handel, evening a recital which deserves a place among the Schumann, Schubert, 'Mendelssohn, Chopin, Liszt, Rubinstein, Raff, Grieg, Moszkowski, and others, historic musical events of this city. . . . The truly when interpreted by Sherwood become realities, and listeners are thrilled with delight as they feel the powers of the tone-coloring, the romance and wealth of sentiment presented. Such recitals have been extraordinary qualities of his playing grow upon given in Boston, New York, Cleveland, Chicago, Cincinnati, St. Louis, Philadelphia, and other cities, one by repeated hearing, especially if considerable latter nearly a hundred pieces, and at the city in 1882 he gave a series of live, covering a repertoire of time has elapsed, and one has heard many other - played entirely from me:. • I addition to this he has sized several normal institutes, where players meantime. Whoever one has heard, to hear dm Mg the summer season teacher.a and pupils from . arts of the country have the opportunity to come under his instruction. In the affairs of the National Music Teachers’ Associa- Sherwood is to receive again a new impression of friendship tion Sherwood’s influence has always been recognized, and he has won the esteem and of the the greatness and enjoyability of his art. . . . Mr. ighout con Havi ; taken up ice in Bos' Sherwood exhibited a union of enormous technical largely with the progressive element, and was one of the prime movers in the organization of the Phil- facility, extremely varied and expressive touch, harmonic Orcht . tral Society. He is universally regarded as a leader in many of the movements which have given such a new impetus to musical matters in that section. At the close of the last season he was genuine and deep musical feeing, as well as artistic tendered a testimonial in the form of a concert, the callers of which numbered some of the most influen- intelligence, combined with a masterly repose, tial of Boston’s citizens, including distinguished musicians. It must be remembered that Mr. Sherwood which are without equal among the pianists of the is still young, and yet a great student and thinker in music, and notwithstanding their present greatness, country, and which entitle him to rank high among - none will be venturesome enough 'to my that the limit m Ms powers bus lst»» readied, although Ms leading position. is conceded by &e m4 erittes throughout the eow&iry. the greatest pianists bf our time. — E , '

WILLIAM H. SHERWOOD

‘ ‘ Concerto, Op. Minor (for piano and or- J. S. Bach, Preludes and Fugues from Well-Tem- 16, A chestra). pered Clavichord,” Book J., Nos. 1, 2, 3, 5, 10, L Sonata, Op. 8 (violin and piano-forte): 21, 22 Book II., Nos. 2, 12, 15. . ; “ Gavottes, in G Minor. Ludwig' Norman, Tillegnan.” Bourrees, in Minor. Kjerulf, “Vuggevise.” A _ - Loure, Gigne. Saint-Saens, “Dervish Chorus” (from Beetho- ' Fantasie in C, “ Echo.” ven’s ‘ Ruins of Athens”). Two Fugues in C Major. Mazourka, No. 2, G Minor. Prelude and Fugue in A Minor. “Dans Macabre” "(two pianos). “ G Minor Fantasie and Fugue (arr’d by Liszt). Le Rouet d’Omphale (two pianos). Chromatic Fantasie and Fugue (arr’d by von Dupont, “Toccata de Concert,” Op. 36. ‘ ’ ’ Biilow). Leschtizky, ‘ Les Deux Alouettes. ‘ ‘ ’ Concerto, C Minor (for two pianos and string Tschaikowsky, Chant Sans Paroles. orchestra). Nocturne in F. G. F. Haendkl, Fire-Fugue, E Minor. Dohler, Tarantelle in Octaves. Fantasie in C. Brahms, “Perpetual Motion” (arranged an left- Concertos (arranged for two pianos). hand study from C. M. von Weber). Joseph Haydn, Fantasie and Van, F Minor. s r Hungarian Dances (four hands). ’ (symphonic poems for two ( < ir I Domenico Scarlatti, Sonata. F Minor (arranged , , Hans von Bulow, Waltz in B flat, Op. 21. pianoa) - 3. by Tausig). J Weitzmann, Waltz Noble, No. Tarantelle, C Minor. Ruefer, Scherzo in B Minor. W# A. Mozart, Gigue, G Major. I S. Thalbe.bg, Sonata in A Minor. “Moses in Egypt” (fantasie). Silas, Gigue in E Minor. (“Tannhaiiser”), arranged by Heller, Taran telle, A flat. Fantasie and Sonata, C Minor: i R. Wagner, March Otto Floersheim, “ Trois Romanzen. (The same, with second piano part added by ! Liszt. “ Grieg.) “ Spinnerlied” (“Flying Dutchmann”), ar- Novellette” in A Minor. Sonata, D Major (for two pianos). ranged by Liszt. Alexis Holla ender, Variations in E flat (two Concerto, (for two pianos and orchestra). “Lohengrin’s Verweis” (“Lohengrin,”) ar- pianos). v. Beethoven, Sonatas, Op. No. On. ranged by Liszt. L. 2, 3 ; 7 ; 26,' “ Isolden’s Liebes-Tod” (“Tristan”), arranged American Composers. Op. 10, No. 3 ; Op. 14, No. 2 ; Op. 13, 27, No. 2 Op. 31, Nos. 2, 3 Op. 53, 57, 90, by Liszt. ; ; Dr. William Mason, Scherzo.* “ 110 111 . Feuer-Zauber” (“Nibelungen”), arranged by , Berceuse. Sonatas (for piano-forte and violin), E flat, Brassin. Silver Spring. C Minor, A Major (Kreutzer). “ Faust Overture” (from orchestra), arranged by S. B. Mills, Etude. Op. 15, No. 2A Rondo, B fiat (for piano and orchestra). von Biilow. Tarantelle, A flat. 4 (for piano orches- “ Walkyren-Rvtt” (Nibelungen), two pianos, Concertos, Nos. and 5 and Julia Rive-King, Prelude and Fugue* (arranged tra). arranged by Ehrlich. from Haberbier-Guilmant by J. R. K. Felix Mendelssohn Bartholdy, “Songs With- Rubinstein, Fourth Barcarolle, in G. Dr. Louis Mass, Op. 13, Auf Bandak’s See, No. 4.* in Minor, Op. 93. out Words,” Nos. 1, 2, 3, 6, 8, 10, 12, 14, 16, Serenade D Volks-Tanz, No. 6.* 34. in C Major, Op. 22. 20, 22, 23, 25, 27, Etude Four piano duetts. Prelude and Fugue, E Minor. Valse Caprice in E flat. Frederick G. Gleason, Trio* (for piano, violin, Rondo Capriccioso in F, Minor. Melodie in F. and v’cello). Presto Scherzando, F sharp Minor. Romance E flat. John Orth, Cradle Song. Concerto (for piano-forte and orchestra) Minor. Fifth Concerto, (for piano and orchestra), in E G Chevaliere Antoine de Kontski, Scherzo F Franz Schubert, Fantasie, Op. 15 in C, “Wan- flat. Minor.* derer,” (for two piano-fortes, or for piano-forte 1 Henselt, “If I were a Bird.” Emil Liebling, “ Gavotte Moderne,” Op. 11. and orchestra, by Liszt). Etude, A Major, Op. No. 9. 5, Album- Blaiit, Op. 18. Impromptus, G sharp Minor, A flat Major, B “ Entschwun denes Gliick,” Op. 5, No. 10. S. G. Pratt, Melody in E flat. flat Major. Theodore Kullak, Barcarolle, Op. 123. J. K. Paine, Sonata (for violin and piano), B Minor, Musicaux, sharp Minor, Minor. Nocturne, B Major. Momens C F Op. 24. C. M. von Weber, Sonata, Op. 39, A flat. Octave Etudes, Book II., Nos. 1, 2, 3, 4, 5, and “ C. L. Capen, Gavotte in F Minor. Grand Duo Concertant, Op. 48 (for two pianos, Grand Octave Study,” No. 7. Edgar. H. Sherwood, “ L’Henreux Retbnr”* by Henselt). Scherzo, Op. 125. (four hands). * ’ ‘ Invitation to Dance. ’ Joachim Raff, “La Fileuse.” “ Mennett,” A flat.* Momenta Capriccioso. Gavotte in C Major. Feed. Dewey, “Vagabond Dance.”* Minor, 72. Polacca in E. Suite in E Op. “ In the Twilight.” Robert Schumann, Novelleten in F and E. Waltz in B flat. ‘ ” Edmund Neufkrt, ‘ Spring’s Approach * Op. 57. “ Faschingschwank,” Op. 26. Etnde, Major, Op. 130. , A Arthur Foote, Gavotte. Fantasie, Op. 17. Rheinberger, Op. No. The Chase. 5, 1, Robert Goldbeck, “La Melodie D’ Amour.”* “Etudes Symphoniques,” Op. 13. No. 3, Fugue in G. Minor. Feed. Brandeis, “Stray Leaves,”* Op. .69. Nocturne, in F. Sonata, E flat, Op. 77 (piano- forte and violin). Constantin Sternberg, Gavott in C. 1 2. Suite, 31. Romances, Op. 28, Nos. and : Bargiel, Op.

! in from same. Scherzo G, Published Compositions of Wm, H. Sherwood. Carl Tausig,' tnde, Op. No. A flat. 1, 2, Op. Waltz, E Minor. Etnde, “Allegro Feroce,” 105. 1, ! Moschei.es, Op. Op. 2, Impromptu. Berlin, M. Bahn, 1872. ! Scharwenka, Minuetto, Op. 18. Op. 3, Three Scherzos. Polish Dance, Op. 3, No. 1. Op. 4, Capriccio (Leipsic, Breifckopf & Haertel, (for pianos). Three “ Moments Musicaux,” 7. two | Moszkowski, Op. 1875). >r (for piano and orchestra) Mazourka in G-. |

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