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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
9-1-1911 Volume 29, Number 09 (September 1911) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 29, Number 09 (September 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/573
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. i THE ETUDE NEW STUDIES FOR INTERMEDIATE and New Publications ADVANCED PLAYERS STYLE AND TECHNIC ETUDE TRIAL SUBSCRIPTION^OFFER Preparatory School of Technic Imaginary Biographical Letters Life Stories of Great FOR THE PIANOFORTE from Great Masters of Music FOR THE PIANOFORTE Any three copies from By I. PHILIPP Composers GUSTAV LAZARUS l MONTHLY JOURNAL FOR THE MUSICIAN, THE Price, |1.00 to Young' People Price, ,1.50 Op. 129 Pries, SI.00 MUSIC STUDENT. AND ALL MUSIC LOVERS. ^ A aplcndld volume for ure In dall, prno By Alethea Crawford Cox and Alice Chapin A compralie.slTe^ and ^ntere.tinfr ^colleo These studies are particular! 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Thiimer has made his sejectic as the monumental proportions of his work, lift artist. Thiir es the indefinable reasoning power of a trained p: tion to Music •: With the autl lportant from mntary exercises of Bertini, Czerny and Gurlitt, hegreat etudes’^ Chopim'llenselt and Liszt. BOOK equally gener HARMONY TEXT BOOKS HARMONY BLANK BOOKS of the By Clarence G. Hamilton, A.M. Graded Piano Course A handbook of acoustics as relating to music irse In tile Oberlln Conservator By Thomas Tapper that has been brought in line with the latest NEW SIGHT READING EXERCISES FOR THE PIANOFORTE dtllou, Price'28c. A preliminary book for the young beginner, discoveries and theories. The author has pre¬ •iss, Port II. The second term_ . Harmony by tl : same author. Price 50c. adapted for the special use of children. This sented the essential facts together with many CHRISTIAN SCHAFER * each .75* .K Heacox ami F. J. •ehmann. Cloth, 81.25. is not, however, a kindergarten book. 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It forms an admirable basis on which to develop the p clear, concise but technical—covers a large range of exercises from lication, Postage Paid . . .65 show how systematically ra„ annm»h the more difficult studies of standard w pages. Cloth. Price, $1.50 net. ' other aid, to w Sight Reading Exe: For discounts to the trade and profession, address the publishers THREE NEW MUSIC STUDENTS h the five tinge A. Q. COMINGS & SON, Publishers and Music Dealers, OBERLIN, 0, LIBRARY VOLUME The Interpretation French Diction for Sing¬ of Piano Music NEW MELODIC STUDIES FOR THE PIANOFORTE ers and Speakers By Mary Venable By PAUL ZILCHER By William Harkness Arnold Studies in the notation of piano music, the GORDON’S GRADED PIANO COURSE Op. 38. Six melodic studies (Grade II) .75 Op. 70. Ten melodic octave studies (Grade III) The author has reduced the elements of meaning of the various signs on the printed 71. 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The Dersistent connection of the word “ Melodic ” with the titles of the new study works by Paul Zilcher is not only jusui.vu.uu, ,uu the importance which this point assumes in the training of the music student. As the different titles indicate clearly, special consideration has bi Melodic—Well Annotated. Fingering up to the highest Bound in Cloth . . $1.00 Bound in Cloth . $1.25 features of technical development. The other works are of a general nature and well adapted to furnish the pupil with grateful and helpful material. standard. Drudgery is minimized by use of Short I Introduction Price, until Pub¬ Introduction Price,until Pub¬ Daily and Technical Studies. Scales more complete ^ lication,uvaiavu, Postage ruBiBge Paid jraiu . . . . .50 lication, Postage- Paid . . .65 than other methods. Musical Terms newly and cor¬ 1 rectly defined. These new volumes are expected to be ready for the Fall teac <\> quoted for introduction are for cash with order. 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New and Standard Publications for Piano Study
MENTOR CROSSE ZIEGFELD PIANO TECHNICS WILSON G. SMITH’S Daily exercises for training the five fingers By Dr. F. Ziegfeld FAMOUS PIANO STUDIES of both hands. This system of technic is an original work in many Four Volumes. Each 60 cents Five Minute Studies. Op. 63 respects, being practically an exposition of the familiar While it may seemingly be impossible to offer much experiences of every day teaching in a successful school. Two books. Are designed for daily practice, with special reference to the development of the third, fourth original material in five-finger exercises, there are certain The book holds in compact form all that need be features in these four volumes by Mr. Crosse which are and fifth fingers. They are extremely interesting, many especially commendable when compared with other taught to insure that training of the hand essential to of the passages being modern in figuration and helpful works for similar purposes. In the present work no an early and easy virtuosity. The book provides for for bravura study. They involve a system of diatonic aim has been made to include a complete pianoforte the necessary fundamental work and embraces all that modulation built upon simple sequences. technic other than the absolute five-finger exercises is needed for the gymnastics of the fingers and essential Other successful studies by Mr. Smith are : which are acknowledged as necessary to a systematic to a thorough training and control of the hand. Bound Chromatic Studies, Op. 69, two books. development of the fingers. The entire work has been in flexible cloth. Transposition Studies, Op. 70. systematically arranged, methodically developed, and Thematic Octave Studies, Op. 68. cautiously treated. Price, $1.50 Each Book, $1.00 LEFT HAND ETUDES THE CHILD’S FIRST GRADE SUCCESSFUL BOOKS FOR FOR THE PIANO For the Child Beginning the Piano By Blanche Dingley-Mathews and CHILDREN By August W. Hoffmann W. S. B. Mathews By Jessie L. Gaynor These studies are heartily recommended as a thorough The authors have here prepared a primary book of and efficient agent on special training and develop¬ piano principles and practices which is intended to help ment of the muscles of the left hand by such eminent the busy teacher and aid the child. It has been pre¬ Min- redlS,‘UdleS’ • • Pr*ce, 50 cents J altireMeltitlies, . . Price, 60 cents teachers as William Mason, Dr. Otto Neitzel, Percy pared to meet the demand for modern matferial, suitable Meiody Pictures, . . . PrIce> 6Q cenfs Goetschiuss, Alexander Lambert, E. R. Kroeger, Wil¬ to modern methods by leading the child by the shortest son G. Smith, Chas. W. Landon and others. practicable road to keyboard fluency, musical feeling A cardinal feature of the “Hoffmann Left Hand and musical intelligence. The plan and the influence The author is noted for her rare teaching Studies ’ is that they are short. In a page one can per¬ of the book is that musical notation is the art of repre¬ fectly grasp the technical principles involved. The senting MUSIC, as reading MUSIC, as playing qualities, particularly with the young, and these long etude has gone out of fashion. Two books. MUSIC and not as reading NOTES and playing studies are exceptionally meritorious in their plan NOTES. 6 Price, each 75 cents Price, $1.00 of arrangement, clearness of demonstration and aptness of illustration.
send roR catalogs THE JOHN CHURCH COMPANY >*■----- CHICAGO Please mention THE ETUDE when artrtnvmimr _ _ Please mention THE ETUDE when addressing our advertisers. 583 the etude THE ETODE Theodore Presser Co. Musical Necessities ’W’OU will be interested PUBLISHED BY THE WILLIS MUSIC CD. 1 to know that we have PUBLICHTIONS JUST ISSUED Now, How is This? just published a new VALUABLE BOOKS FOR TEACHERS Peters’ Modern Pianoforte Method s SEPTEMBER, 1911 AT SPECIAL INTROPUcTOR -/ A practical, melodious and progressive in¬ set of Octave Studies by WE have spoken in these ads l Cluumflrlrl Zeisler, Arthur Foote, troduction to the art of piano playing. “.“sss'iw Both clefs are used at once; other studies this noted Pedagog. nrofessihnal discounts. of our graded music with THESE books have been endorsed by the following well-known authoriie^^^ Herman perlet, The Brothers Epstein Melodious L'se the number, not the title. In ordering. the earnestness of our 1 Gustav L. Becker (President of the New York State teachers A Kroeger, Frederick Brueschweileir, H:arvey being cited when more work is desired m the (Beethoven Conservatory of Music, St. Louis), Frederick S. Law, Er - L js Caruthers, Charles Denee (NewEng- treble clef. Accompanying the exercises PIANO SOLOS. convictions that there is noth¬ from the very first, are pieces, (solo or four- CJJ These studies are No Grade. Price. ing better. Worthington Loomis, Arthur Dunham, H. Engelmann Albert etc„ etc. land Conservatory of Music), Ernesto Consolo, E. M, Bowman, Arnold Volpe, eiu,--- hand) to be used exemplifying the practice 9003 Puss in the Corner, 8. Stein- ^ ^ In one ad, however, we mere¬ work. Octave absolutely new and 9004 Singing to Poliy, 8. Stein- ^ ly dropped an invitation to send GEO. L. SPAULDING’S Various Etudes and Selected Studies are referred to, complementing the method. original. 9037 Cupid’s Lullaby. F. E- I'ar~ 0 for our rag catalogue, and be¬ This Method is the most satisfying, either 25 hold we have received five ap¬ NOTE-SPELLER 9036 In Old Madrid. Bolen. F. E. Trade Mark Registered 1911 , . and with or without a teacher. plications for our rag list to one The numerous pieces contained in the book Studies SRdULDINC’S
By JAMES FRANCIS COOKE Price, $1.25
| A COMPLETE, CONCISE SERIES OF 40 STORY-LESSONS IN MUSIC-LORF |
OPENS A NEW FIELD FOR TEACHERS AND CLUBS The publication of this entertaining, self-pronouncing, 250 page illustrated m • i it possible for any teacher of music, although without previous experience in teaching Th ^-US1C haS made profitable class or club. Two chapters in the appendix of the bot^^ete h% X T 3 Hermann Hitter agement and Club Organization. (Every phase of the story of music down to present day pLnists viS'^ Ma"' is adequately treated. The book may be used for both adults and young folks). * P ’ violinists, etc., SOME REMARKABLE ENDORSEMENTS Send for our new History circular giving strong endorsements nf BlClUdfiglHP7°-'lHep'rna^ R‘tterr’ Ser'Tiany,S Greatest M^ical Historian, the LareWm^mVh'1'1 “ f??'* Bloomfield-Zetsler, Emil Sauer, L. C. Elson, H. T. Finck, E. M. Bowman, Maud tJ Philipp (as well as leading American and English newspapers). ’ 1 eressa Carreno, I. WE WILL HELP YOU IN SECURING A CLASS Send • .P?Sl."??1t!"°r,info"m*i0" “Special History Class Pla„" ,„d rer . . return the material vhich will enable you t< lake vr>„r nl.no k_ ’ . , 'cceive in introductory price l.’SiT* ““ “ — - P>*-Wc'ha™ ^ecSpSS I Fannie Bloomfield-Zeisler THEO. PRESSER CO., 1712 Chestnut Street, PHILADELPHIA. PA THE WILLIS MUSIC C0.S88KSK- HINDS, NOBLE & ELDREDGE &w 3foV!oty THE ETUDE
PIANOFORTE COLLECTIONS bohm, carl SCHYTTE, LUDVIG DENNEE, CHARLES Musical Echoes (tirades 1-2). 1(1 In¬ Instructive Recreations. 8 Selected Progressive Studies In Octave structive and Meludious CougiositioMs, $0,75 Compositions (Second Grade).$0.75 Playing. (With special preparatory ^ {Schmidt* Educational Series So. hi'.) THE ETVDEVm . XXIX. NO. 9 Sylphs and Nixies In the Ball Boom (,Schmidt's Educoiitfal Series No- S7,) Will o’ the Wisp Pavaue SEPTEMBER. 1911 With Croat Delight, From the Tirol Kggeling, Biehl, Foote,WOW** profit ? Are you helping to secure funds to organise a local con¬ lIuiith|iUScue ° UoM,n T''m' ',f SMITH. WARREN S. cert course? Are you giving talks upon music—talks that are so EAELEEN, CARL Ellorl and Pastime. 24 Melodious In the Shadows Instructive Pieces by G. F. Handel. pieces in all keys. (Grades 1-2). 2 books, maylath, h. interesting that your hearers will want to hear them all over again Op. 163. 25 Short, Melodious Stories Adapted and Edited hv Carl Faelten. after they are finished? Are you trying to increase the interest in (tirades 241) 2 Books, each . . ".(Educational Scries .Vo. 38 ad).) EGGELING. GEORG lor the application of various important Op. 170. Pleasure and Progress. principles of Technique. Adapted and Down past the old grist mill, where the creek bends in and Church music in your community ? Are you trying to improve the KAISER, ALFRED I Edited by Charles Dismkh. Arlequlnade. Suite 'mm Olden Times (18 Dewriptive Etudes for the First Grade, around to disappear beyond the high rocks plumed wit 1 grea r (Schmidt's Educational Series No. 66.) music in the Sunday-school? Are you saying a good word for all (Grades 2-3) . trees that mark the beginning of the mountainside forests, w ...... u-.e^« Educatin So. 67.) 75 | 'in Joydul Mood* The Gipsies of your musical friends and rivals? Are you giving your support came upon old Uncle Ezra. Uncle Ezra has moved from the old to the town band—the band that “gets on your nerves” and de¬ farm and has lived under the shadow of the mountain for_ some ffifcT 111-' lights hundreds who have not heard the Boston Symphony ? Are years. Uncle Ezra knows that he is living under a darker shadow you helping the musical club? Are you inducing the local editor than that ever cast by the mountains, but he doesn t let himse t think about it. Age is growing deeper and darker every hour. to give a little more attention to musical notes? Are you giving Resting time has come to Uncle Ezra, and as we came upon him the right support to the musical magazines that take the latest and in the sweet summer twilight sitting in his little front garden side best musical thought right into the heart of the homes that patronise by side with his wife, Uncle Ezra was playing affectionately upon them? Forget all about that “what is there in it for me?” spirit. his fiddle. Uncle Ezra never went to Leipsic and he has never Everything that you do for the cause of music and for your fellow- heard of Sevcik, or Sitt, or Auer, or the great teachers of yesterday musicians will come back to you a thousandfold. Start “boosting” or to-day, hut Uncle Ezra can play “Bonnie Sweet Bessie and to-day and keep it up regardless of criticism. “Boost, Boost, “My Old Kentucky Home” in a way that reaches right straight to Boost.” 4 SONATINAS FIRST YEAR MELODY WRITING the heart. We drove up to the door yard and spoke to the old man. He was delighted to have someone break the monotony of the day. Accomplishing the Impossible By THOMAS TAPPER We asked him whether he liked to play. Uncle Ezra straightened By CHARLES DENNEE himself up and said: “Like it? Wall, I reckon that if I didnt play when night was cornin’ on mother and me couldn t never stand The Castilian Hidalgos who watched Columbus walk through the loneliness of it all. You see, all the children are gone—some the little seaport Palos, and pointed their fingers to their foreheads to the city and some resting up on Watson’s Hill. Sometimes it to indicate in dumb-play their appreciation of the sanity of the seems like the only thing that hasn’t left me is mother and the old brave man who was about to sail away into the unknown, were not fjsaataiags^^ fiddle.” “Mother” wiped her old spectacles and went in the little so different from those scientists who less than ten years ago wrote house. Uncle Ezra looked off toward the purple mountains and elaborate theses showing how the navigation of the air by heavier SPECIAL OFFER: ffltf then turned with a smile. “Seems mighty good to find people who than air machines was actually prohibited by natural laws. After like music. Will ye have a drink of good well water, stranger?” the invention of the steam engine, an English scientist published a Uncle Ezra “treated” us and we drove on, resolved to tell the book which proved conclusively that it was impossible to cross the THE PUPILS* LIBBAPY readers of The Etude that we ha& discovered another mighty good Atlantic by steam power because “no ship could be built large THE PUPILS’ reason for studying music in our youth. When the shadows come, enough to carry sufficient coal.” What would this doubting scientist Fir(Bt 8er* progressive collection of pjanoforte pieces. as come they must, who knows what joy, what solace, what bless¬ say to the “Olympic” or the “Titanic?” ing, may come to us through the sublime art of music? Whenever any fearless innovator starts out to do something DUET ALBUM for the benefit of mankind there are usually armies of timid gen¬ “Boost Mus tlemen who are quite willing to show how impossible it is. Many a fine musical career has been spoiled in this way. No student is A traveler returning from the Far West tells of a visit to a able to estimate his own powers until he has worked and found out little town which boasted of four houses, a church, a store, a black¬ just what he can do. Paderewski, working for laughably small fees smith shop and a cemetery, which, for purposes of disguise, we in a small German conservatory, becomes the most successful shall now call “Blankville.” As the train drew into Blankville the pianist of his time. Caruso, bom among very humble surroundings, traveler saw a huge sign over the front of the station, “Boost becomes a world famous tenor. Beethoven, the son of a drunken Blankville.” Whether “Blankville” ever becomes a metropolis must musician and a cook, becomes one of the greatest masters. No one depend upon many conditions. But, if Blankville has the real knows where immortality lies. You, who are now holding this “Boost” spirit, it stands one thousand times the chance of becom¬ copy of The Etude, may have the spark which with the right ap¬ ing a successful community than if the man who painted the plication, energy and perseverance may be fanned into the flame of £S»-- “Boost” sign had never lived. Just now the whole country is fame. Above all things close your ears to those who tell you that charged with the “boost” spirit, the spirit that works to encourage, success is impossible. Jenny Lind in her youth “lost her voice.” to help, to build, and not to disparage, to slur, to destroy. News¬ Specialists told her it was useless to hope for success. Garcia told papers everywhere are adopting the “boost” slogan, and .the way Jenny Lind how to wait and how to work, and she became .the most of the calumniator is indeed hard. People are commencing to famous singer of her ceqtury. realise that the man who says unkind and unjust things behind With the opening of the fall season pupils need a new fund of people’s backs is either making himself an arena for dyspeptic courage, ambition, resolution and confidence. With this in mind battles between ptomaines and auto-toxins or is really an “out-and- we have prepared a “Self Help, Progress and Uplift” issue for out” had man. On the other hand, there is an opening everywhere October, which should be read earnestly and thoroughly by every for the man who “boosts.” music student starting .the new year’s work. It will proclaim the Nov. fussssn Why not “Boost Music?” Perhaps you will contend that you gospel of success in the highest sense of the word. It will teach have been doing nothing else all of your lifetime. Very well. Are you to seek to conquer the impossible. We have a heartfelt desire ■^LaEElttl5i=SSE( you conferring with the committeemen of your local library and to have this issue help as many as possible, and we want our good BOSTON inducing them to purchase certain necessary musical books that friends to spread the news far and wide. We learn to succeed by 120 Boylston St. ARTHUR P. SCHMIDT .the cultured musical people of your community may read with NEW YORK 11 West 36tTi St. 587 the etude 586 THE ETl) DE BRIGHT IDEAS IN A NUTSHELL. dramatists, Sophocta, Aasdiylas and Enripides, fotmdtd My studio was far too small for my needs. I had FRANZ LISZT DREAMING HIS RHAPSODIES no school to last through the centuries, and , the funds to hire one in a large office building literature declined after the Augustan age. Tm •>'»”1 mi8h< «b' Music is more intangible than other arts, and admits o Increase my receipts greatly if 1 could find a of more changes in style. The contrapuntal glory ot Mace where I could give pupils recitals frequently Bach, the dramatic power of Beethoven, and the har¬ a little expense. With the aid of a real estate agent monic richness of Wagner, all mark different schools. 1 found a loft over a stable. The stable was being But can the change in style go on forever ? In our own used as a storehouse and was dry and clean. The time we find novelty in the complexity of Strauss and loft was ceiled, and an investment of $18.75 enabled A recent issue of Kunslworl states that the idea of the delicate dissonances of Debussy. But granting that me to have it tastefully papered and “decorated” in regulating the music profession is spreading in Ger¬ these mark new schools, what will happen after their “Bohemian” style. I used cheap but pretty hang¬ many. Government restriction and examination should course is run? The changes cannot be rung continu¬ ings and took rugs from my home for the floor. . be the means adopted, according to general suggestion. ally, and the deliberate search for novelty may really be The room seated nearly two hundred, and as it was Becoming a music teacher is to be made as difficult as a tacit confession of decadence. Civilization does bring a loft located in a residence section, and as the entering the bar or getting a doctor’s degree. Even the decline, and even a Kipling's idealization of modern toil owner who lived next door, had refused to rent poor critic, it is proposed, should come in for his share does not replace the haunting melody and ripe scholar¬ it for k garage, I got it for a very trifling rent. My of trouble, and be forced to “make good’’ before the ship of a Tennyson. first pupils’ recital was a great success, and my proper authorities. business has prospered so that I have to have an No doubt there are certain evils, in the musical situa¬ OLD MANUSCRIPTS AND NEW MUSIC. tion, that would justify some sort of remedy. So far assistant F- L. T. ns' may be, everyone would be glad to see improvements The business of finding manuscripts goes on in flour¬ made in the standards of teaching and criticism. The ishing style. A gentleman named Richard Wagner once Some time ago I learned of a school teacher who matter could be easily taken up by musical congresses wrote a dedication-chorus at Dresden for August the hit upon the plan of keeping a Christmas box. She and other duly qualified assemblies. But in such a Second (the king, not the date). The voice parts were • commenced early in the fall and gradually purchased movement there is always danger of going too far, and revived and published recently by Kienzl, but now little Christmas gifts as her means permitted. These introducing a fresh crop of evils. Too much weight, for Wagner’s manuscript, with instrumental score as well, she kept in a big box. As her time permitted she instance, is placed on the examination idea. It often has been found among the papers of his friend Charles bound these gifts in pretty paper and Christmas happens that a poor student may know all the questions Meyner. England has an even more historic find, in ribbon. When the week before Christmas came she on a certain paper, while a good student may fail in that the shape of the full score of Purcell’s “Fairy Queen.” could sit back and laugh at the hustling crowds in individual case. The important quality in a teacher is The manuscript was discovered in the Royal Academy the shops. The Christmas gifts had been selected teaching ability—not the mere amassing of knowledge, of Music, and the opera given by the pupils of Morley with thought and were therefore appropriate and but the power of guiding and inspiring others. A judg¬ College. Its striking and original harmonic effects were acceptable. I tried this with my own Christmas ment bn the basis of work already done may also lead much appreciated. buying of musical presents last year, in September to errors; for good teachers often have poor pupils, But there are more recent operatic novelties. A list and October I commenced to fill my Christmas box. and vice versa. Then it would be manifestly difficult to for Berlin includes Wolf Ferrari’s “Schmuck der Ma¬ I have never had such a comfortable Christmas. apply any hard-and-fast rules to the many famous con¬ donna,” Blumer’s “Five O’Clock Tea,” and Franken¬ B. E. S. servatories now in full activity. Apart from these, there stein’s “Rahab.” The prospectus includes “Philemon would have to be many exceptions made in individual and Baucis” by a composer named Gounard, but some¬ By adding the date of the composer’s birth, the cases. These would be hard to decide upon, for even how this sounds a little familiar. Heinrich Zoellner is place of his birth and a postal picture of the com¬ great performers may be poor teachers, though they finishing a new opera on an Egyptian subject, while poser to the title sheet of the pieces by the masters inspire good pupils by their energy and their ex¬ Michele Eulambio, a Greek, is to have his “Ninion de played by my little pupils I have been able to secure The Centenary of Franz Liszt—Founder of Modern Pianism ample. On the whole, then, Kunstwart wisely advocates Lenclos” produced in Leipsic. twice the interest I was formerly able to secure. I that besides examinations there should be courses in In Paris, Ravel’s “Heure Espagnole” and Massenet’s also find that many of the pieces in The Etude have actual teaching, duly inspected, leading to government “Therese” made an effective double bill. The former all the technical advantages of good studies. My A Recent Analysis of the Technical and Artistic Traits of the Greatest of Piano Masters certificates for those who show themselves fit. is a comedy, while the latter is somewhat in the verismo pupils are convinced that because a piece appears The whole subject borders on the humorous, in away. style. Raoul Pugno, in connection with Mile. Nadia in The Etude it must be pretty, and. while they By RUDOLF M. BREITHAUPT We may soon expect the paragraphers to suggest exam¬ object to studies in instruction books, they will take ination questions such as "Why does Mary Garden,” or Boulanger, is setting D’Annunzio’s “Citta Morta” as a a great interest in pieces that appear in The Etude. (Especially Translated from the German for THE ETUDE by C. M. Hook) “Can Rhene-Baton conduct himself well?” Then there lyric drama. Massenet’s "Roma” will be heard at The fact that I have a fresh lot to choose from will be dissertations on the proper uses of press agents, Monte Carlo next February. The French season of every month is a wonderful advantage. and complete letter writers showing the neophyte how Russian opera included “The Roussalka,” “Le Demon,” to concoct a good testimonial for a poor make of piano, The Czar’s Betrothed,” and “Eugene Onegin,” while Katherine Van Nostrand. [Editor’s Note.—Rudolf M. Breithaupt, one of the most not as mere tone-play, but as a means of expression. From Liszt’s unsurpassable instinct for outline his the Chatelet witnessed a number of Russian ballets eminent pedagogues and literateurs of present-day Germany, magnificent octave and chord lines arose, always and so forth. has made a special study of the technical and personal Freed from Czerny’s rigid instrumental mechanism, Seriously, there are many difficulties in the way of Both groups would prove welcome novelties in several To add novelty to our June musicale we studied characteristics of Franz Liszt. Liszt was horn on October they possess outline, character, grandeur. They are presented on the grandest scale, luxuriant in form cities of our own country. 22d, 1811. At that time Beethoven was forty-one years no longer arabesqued) mere etudes, self-sufficient in and tone. In his octave technic Liszt incorporated government regulation of teaching. The creation of the operas in The Etude, and had the pupils render old, and his compositions had been before the public long the needed boards of inspection would entail some pub¬ Tn the instrumental field ,the new Strauss work is them in costume. Such interest as it aroused to be enough to make them the determining factors in moulding their technical usefulness. The pride and nobility all the wild, elemental force that was in him. It is lic expense. But the entire principle seems arbitrary. definitely announced as an Alpine Symphony. No the pianism of the day. With Paganini came a new form of a glowing, fiercely ideal spirit speaks from them. a technic which even to-day forms the highest and Rigoletto’s Daughter.” “Bohemian 'ini.” "Daugh¬ of virtuosity, and Franz Liszt, with his thorough pianistic Where study is compulsory, as in public schools, it is doubt there will be storms on the wind instruments ter of the Regiment.” playing selections from these training and his deep reverence for Beethoven and Bach, They are a medium of spiritual expression; they final criterion of virtuosity. It is said that after eminently proper to make the teachers earn certificates. and snow-slides will-be given on the slide trombone. In and eight more depicting the olden .lavs so vividly! founded a new school of pianoforte playing and pianoforte are a means for the intensification of power; they hearing Paganini (1831), Liszt turned again to his the intervals of this work the composer is tossing off composition which has been the greatest and most influential But musical education is always a matter of personal Everyone was interested, and the tedium of a plain factor in modern pianoforte technic.] serve to receive and clothe the passions and tensions instrument with indescribable enthusiasm. He im¬ choice, and the state should no more interfere in this a twenty-voiced a capella chorus. Mahler is now de¬ mersed himself in patient private study, and for a mult re leved’ Many PuP'ls were entered as a of the soul. A Liszt arpeggio is like the fall of the than it should in the selection of private tutors in any voted wholly to posthumous works, which are to in¬ Bold rhythmic outline, grand instrumental con¬ folds of a royal mantle. Where it takes the harp¬ lime entirely abandoned public concert playing. clude his ninth symphony, some orchestral songs and Oecilian. subject. The law of supply and demand will always in¬ structions, power of exhausting all the dynamic like form it is of inimitable grace and delicacy. All Only his mother was silent witness of his never- cycles, several early piano pieces, and a youthful sure a proper standard of excellence. possibilities of the instrument; marvelous imitation these arpeggio forms Liszt has frequently filled in resting work and inexhaustible endurance. Orig¬ oratorio, “Das Klagende Lied.” Baussnern’s third istan idea which 1 have found very helpful of organ, cymbal and trombone effects, plus that with thirds and sixths. Yet he does not weigh them inally influenced by Paganini, the Liszt of the violin, symphony entitled “Leben,” is to be given by Schil¬ IS THE ART SPIRIT DYING? acniiir/^SfLng y' together, use of Liszt’s five-finger work, to begin with, is not a their like, have in them something straggling, thin, inspiration lie had received to a scale of bold, colos¬ that art is gradually dying. He bewails the loss of the a£d..£*pre®s!°n- Baden novelties included Reifner’s matter of formal muscular exercise. It is a means detached. They are of a skeleton nature, repellent sal magnificence which takes away the breath even Fruhling, Baussnern’s “Champagner Overture,” and simplicity of life that fosters a naive earnestness of to the hand in proportion to their length and thin¬ LiadoVs Kikimora,” as well as Carl Bleyle’s new of expression—in cadence formations so brilliant to-day, in an age which is not susceptible to giddi¬ spirit and an admiring wonder at everything beautiful. choral work, “Mignons Beisezung.” Another choral instrumentally that it seems to radiate flashes of ness. Liszt added these supports, in the shape of ness. There is the wild rush of chromatic and dia¬ He speaks of the Rhine, formerly regarded as the home Slight” ByefiaI “ theTssol'may brinj work is Krauns setting of the 126th Psalm. light. It is like the passing of an instrumental thirds and sixths, to give the hand calm and cer¬ tonic scales, upwards and downwards in triad and of the Lorelei and the' water sprites,' as now changed smaller" forms,“Richar7wUrzlea ofR^ ** ** comet. Yet it is no empty bravura display. This tainty; to the skeleton passages he thus gave flesh tetrachord form, the zig-zag lightning movement into a drainage canal, emptying the waste products of some note: twby a-- concert- of L’his ownP worksP ,°f Reger> won brilliant cadence work is merely introductory, inter¬ and blood, a greater tonal fulness. The Liszt scales from one part of the instrument to another. Thun¬ Switzerland and Germany into the North Sea. Even mediate or terminative. It is but a setting for and passages seem, in their brilliancy, to have been rp™ C°mposers seem very active. Among their and consequently tries m ^ WeakneSS,eS’ dering figures alternate with passionate chromatic the enchantment of distance is lost, he claims, in an to have a credimwl u • overcomc them in order artistic or instrumental contrasts, usually appearing sketched in a single stroke. They are not angular, passages; grandiose bassi ostinati enter the incite: age of railroads and steamships. recent works are a symphony by Fritz Brun a violin concerto by Othmar Schoeck, an orchestral XzTby down each lesso^m th°7of TheSe marks are put as an introduction, after measured, tranquil, broad like narrow, many-cornered lanes, providing stum¬ glissando forms twine in and out. until the splendid August Spanuth, in the Signale, writes in* protest P^il is required to bring ' n0te-book whRh eadh passages, to the lightning cascades, the silver bell- bling-places at every point to ill-used hands and final waves of sound seem to herald in some sea- against this attitude. He wisely remarks that the “i °UVer;ure ,Rustique and Humoreske by onng. Lila Carss. work in the higher treble; or it is used in the execu¬ fingers, nor do they turn in endless circles round god’s resurrection. It is here that Liszt has dared springs of inspiration in man do not come from the Josef Lauber, and works for voice and orchestra hv Frank Martin. Alex. Denereaz, and Fritz Bach tion of themes and their variations, when they break themselves. The free path, the broad way of the his utmost, flinging onto the manuscript whole outside, but from within. Yet in spite of his earnest the leader is always Hans Huber. ' But tal nurse is^hat^Tk °f.the difficulties of the hospi- up into graceful, purling runs of- diminutions and modern spirit here make themselves manifest. The accompaniments in wildly-agitated octave passages arguments, there seems to be some truth in the position ornamentations; or again these wonderful cadences petty, fastidious passages, running back upon or taken by the book. The question is not new for London thinks the first movement of the new Elvar followed the nlan ®e,>'ng convalescents amused, I (as in his Oragc, Tolentans. Maseppa, Sixth Rhapsodic. form a chromatic connection between individual pas¬ breaking off within themselves are avoided. A Liszt Macaulay suggested that poetry declines as civilization symphony sufficiently energetic and well contrasted Pupils and held what wfSt||d ,by one of my litt,e sages, running like golden links or strings of pearls passage flows forward like a broad and noble river, advances. Art often shows cycles, apart from civiliza¬ It was simply an ordinar “ ed a ‘Magazine’ Recital, Edward Vn0TlSeemS "'T' 3 funeral march *£ by means of an nlri ^ recital, but admission was from one part of the work to another. In martellato LISZT’S FORTE. tion, such as the outbursts of Germanic poetry in the Edward VII. The succeeding rondo is somewhat sublimely conscious of its con grandezsa character. or non-legato movements they form a medium for sixth, twelfth, and eighteenth centuries. But history sual but the finale is called noble. Yet the work as a brought as many as TwffSomthe weight of a this touch, the fingers strike the keys with a vertical cramped hand and arm needlessly laid upon them. melody from the upper treble into the richer and in their magnificently colored instrumental garment, stroke—as in the stroke-legato—but the hand Is held a For contrary to the argument of most beginners, o ..____readers of the pupil and as an expert in the matter under consid¬ fuller tenor and upper bass registers; Liszt it was and other classic pieces uncountable. [Editor’s Note.—We hare already told trifle higher, the finger-tips do not remain so long on hand and arm strength, applied to rapid runs is a Mr. Bowman'-’,. citing “Letters from a Musician eration, to object to his being taught in a way that will, who first made use of disconnected arpeggios, and Wagner, writing to Liszt on having received from to His Nephtbw, how he has addressed these unique mes the keys, the up-motions of the fingers are quicker, if who expanded the technic of rapid skipping pas¬ the composer a copy of the B minor Sonata, said: hindrance rather than an aid. In heavy chord work ‘ sages ' imaginary boy (that boy being himself s~ in my judgment, seriously obstruct his progress. ’in his youth) with a view to saving the readers of possible, and the tones are played staccato. It is, how¬ sages. It was Liszt who first gave accurate direc¬ “You were with me as I listened to it. It is it is necessary to call upon the muscles of the whole the letters from falling into the most common musical ever, a mild form of staccato and the tones are not of tions as to time-measures; minute information as to beautiful beyond all comprehension; grand, benev¬ arm and shoulder. Yet, in a succession of single pitfalls which surround the musical student at the out- STROKE-TOUCH, LEGATO. notes, we rely not so much upon the force applied start. Tbe “boy,” of course, has a teacher (Miss Procter), as good quality as in the next form, to which latter Dr. dynamic values; and who introduced the interpreta¬ olent, of deep and noble conception—lofty as you, but the uncle is assisting this teacher with helpful letters. It is right that I should give you my reasons for ob¬ tive marking of the text. Liszt was, finally, the Liszt, yourself! It moved me more deeply than I as upon the quickness with which the finger falls TTr-fortunately only portions of this book are suitable for Mason gives the name. journalistic publication. Each letter contains the “essence jecting to the pressure-touch. I have given the question originator of the independent significance of the can. tell you. My heart is as full of what I am upon the key. of several lessons. The following is the first part of the prolonged and careful study, and have had special op¬ piano recital. And it Is this latter consideration which we must ELASTIC-STACCATO. saying to you as the heart of man can be. You eleventh letter. Other extracts have appeared monthly in portunity to observe both its good and bad results. You An analysis of Liszt’s technic shows rhythm to were with me as I listened to it, I repeat!” repeatedly call to the pupil’s mind. Not once, but The Etude since last March.] will recall that I have advised George to strike the keys This is played by extending the fingers nearly straight, be its most significant component. His free, viva¬ All in all, Liszt remains the founder of our modern lesson after lesson, and then still at other lessons, and then, by closing them one after the other, as if to cious treatment of rhythm corresponds to his wilful, we must apply “eternal vigilance." For it is only My Dear Nephew : with the utmost quickness in movement of the fingers, instrumentalism, of the pianism of to-day, and is at make a loose fist, wiping off the keys in rapid succession moody, fantastic nature. From a single plastic, the exceptional pupil who absorbs and assimilates I have been reading with great interest and attention maintaining, at the same time, perfect pliancy of wrist. the same time the greatest promoter of musical and extracting tones that are particularly short and rhythmical figure he can create entire images. It culture that we have had among us. He incor¬ the teacher’s suggestions at a single sitting. Many, what you said in your letter about the kind of touch From this quickness in finger-movement he will de¬ musical, and that may be made as bright and powerful is here that he shows his highest power of invention porates the most brilliant period in the history of many pupils have said to the writer, "My other Miss Proctor has been teaching you. You say that she velop speed in passage-playing, as well as power and as the fingers have muscular force with which to attack. and delineation. the piano, and must for all time be regarded as the teacher told me that.” And why was not the fault wishes you to keep your finger-tips close to the keys and quality in tone. This method is known as the stroke- The first exercises in these two forms of staccato— classic master of this instrument. It is true, as wise corrected? First, because most pupils have not the to press them, instead of poising the finger-tips a little touch. Rightly done, it is the lightest, quickest and knuckle and elastic—should be simply a five-key passage LISZT’S BOLD RHYTHMS. men have justly observed, that his omnipotent influ¬ “infinite capacity for taking pains" which would way above the keys and quickly striking them from that most economical. To secure a given volume of tone, the pressure-touch requires greater flexion of muscle, played forward, that is, from the fifth finger toward The mad alternation of rhythmical variations, the ence has done much harm as well as good. The carry them on to accomplish their greatest possibili¬ slightly elevated position. So you are being taught the as well as longer duration of flexion, than the stroke- the thumb: mania for displacements and changes of time, the emphasis he has laid upon the instrumental prin¬ ties; and second, because the teacher did not repeat pressure-touch! As a foundation-touch, too! My 1 touch. That is to say, in the pressure-touch the muscle bold freedom in his treatment of quantities and ciple is responsible for the execrable, one-sided the precept until the pupil was brought to realise O my! When will teachers abandon that unscientific flexes and relaxes more sluggishly than in the stroke- Ex. I. values—a freedom which is obvious even in manu¬ pianism which looks upon the means as the end, that its substance is a real necessity to the finished and hazardous practice ? ' Please say to Miss Proctor touch. You will see, therefore, that the whole tendency scripts from the terrifically complicated, unerringly and has even brought about, in some respects, a player. that your Uncle Edward very strongly advises against of the pressure-touch is toward sluggish action, rather certain methods of notation—all these characteris¬ degeneration in musical culture. It is my personal (he does not say “positively prohibits,’’ but that is than, as in the stroke-touch, toward quick action and tics are merely one and another phase of Liszt’s opinion (Breithaupt concludes) that the age would A PRACTICAL FINGER EXERCISE. about what he means), you using the pressure-touch un¬ benefit appreciably by a return to the old-time quick relaxation. passion, the passion of genius, for rubato. Accen¬ til the plain legato with finger-stroke and various forms methods and the Weimar spirit—that is to say, if So, if we hope to develop a proper use of the fin¬ One of the first laws of life is a properly balanced re¬ tuation is, with Liszt, sharply outlined, and serves of staccato-touch have been thoroughly mastered. If it musicians of the present day would make more gers in our pupils, we must keep the idea everlast¬ lation between labor and rest; between contraction and to provide his imperious, domineering will with the were thought best, you could get along without the Then the exercise should be expanded into a scale, most pregnant expression possible. Where declama¬ music and do less piano playing. Yet genius may ingly before them, not by ceaseless nagging, but by relaxation. One must offset the other in harmonious pressure-touch for some years. It is the last form of forward, each hand separately. Next should follow the tion rises to ecstasy and assumes the character of not be reproached that it brings in its train ex¬ presenting the matter from an almost endless num¬ or healthful balance. Neither factor in the proposition touch for you to learn. It is a valuable form of touch, same five-key passage and scale backward, namely, from dramatic recitative Liszt again employs accentua¬ crescences and sour fruit, for that truly is a matter ber of view-points, which the resourceful and enthu¬ can be safely overdone for a prolonged period. Too but it should not be taught until a very good command the thumb toward the fifth finger. tion to aid him in the expression of majestic gran¬ beyond its disposition.—(From Die Musik.) siastic teacher will be able to invent for the demands much work and too little rest will soon wear the worker of the occasion. of the nerves and muscles has been secured and the deur and stately dramatic incident. out. Too much rest and too little work will make him fingers have been brought under good control. Then it WRIST-STACCATO. Liszt’s melodies, originally inspired by the works Certainly the teacher with resourcefulness would weak and lazy. Too much flexion (contraction) and WHAT SCHUBERT WAS PAID FOR HIS may be studied without danger of upsetting the habits of of Beethoven’s last period and strongly influenced find a way to present this work to his pupils; yet the too little relaxation will cause the playing to lack in The next logical form of touch is the wrist-staccato. SONGS. the hand in other kinds of touch, which are more funda¬ by Schubert, show nobility combined with that ex¬ writer has found one exercise so valuable that he force and character. In the pressure-touch there is too In this the movement is from the wrist. Try a prelim¬ mental; touches that, in the early stages of piano- uberant warmth of feeling which is the prime foun¬ In his admirable life of Schubert, Edmundstoune ventures to give it here. much and too slow a flexion; too great a proportion of inary exercise with the index finger. Play the follow¬ study, are far more necessary than the pressure-touch. dation of Liszt’s innately enthusiastic nature. Liszt’s Duncan gives the following interesting account of Take the simplest finger exercise—C, D, E, F, G, F, time is given to flexion and too little to relaxation. ing with that finger. Hold the wrist-joint somewhat I think that I had better talk now to Miss Proctor in¬ melodies are fervent, ardent to a degree where the the dealings of Schubert with his publishers. When F’ B'ace tbe bar*d w*th the fingers curved Consequently, the performance of the pianist whose hab¬ higher than the first-joints—the principle being that the stead of you. There is a pretty theory about the theme is of lyric nature, swelling into a noble stream it is remembered that many of these songs are mas¬ over the keys. Gently press down the C. Now place itual (that is, predominant, customary, automatic) touch joint from which finger, hand or arm is to work should “musical quality” and all that, of the pressure-touch, of song where the heroic is to find heroic expres¬ terpieces which have passed forever into the world- the fingers of the other hand lightly under the wrist is the pressure-touch will laplc in lightness, speed, power, be held higher than the other joints. Curve the finger, literature of music, it is amazing that such condi¬ which she has gotten from one of her teachers, prob¬ sion. Much might be said concerning Liszt’s har¬ ot the hand which is to play, barely touching the brilliancy, and endurance. The pressure-touch is not a flex the muscle, so as to hold the finger firmly in this tions should have existed. It is no less amazing to ably, and which, all innocently, she lifts been trying on monics. Here again Schubert was probably his wrist, so that every muscle may have the utmost fluent form of touch. Rapid, delicate passage-work, curved position, and repeat the tones in the exercise by realize the enormous change which has come over you. She will have the common-sense, however, to teacher-in-chief—Schubert, with his sudden transi¬ freedom and yet so that the least down pressure of such as we meet so often in the works of Chopin, Men¬ a movement of the hand at the wrist-joint, only: tions and modulations on the upper third. To the musical publishing business in modern times understand my objection as soon as I explain it to her, the hand which is playing will be felt by the other. delssohn, Liszt, and every other standard composer, Liszt’s genius harmonics owe a rich and endless No composer of great merit need starve nowadays! I am quite sure. So, George, please give her the en¬ Keeping it in a curve, so that its tip points to the cannot be properly played with that touch. I am well Ex. 2. variety of new colors and new combinations, which as no doubt Richard Strauss could testify Lehar closed letter and oblige your uncle, key it. u to strike, lift the finger which is to fall on aware that some reputable instructors teach the pressure- exerted a powerful influence upon the musical de¬ has made a fortune out of his Merry Widow, and jg as.la posslb,e without cramping. Let the touch as an elementary touch, and some of- them have velopment of his day, and form the essential char¬ Mascagni has derived a satisfactory income for many str?nriv,r°P Wlth‘he utmost rapidity, using only such THE LETTER TO MISS PROCTOR. tried to persuade me to believe that they employ that acteristics of the later new German School. years from the proceeds of his one successful opera, C civaleria Rusticana. finSefs alo:neCan S6CUred from th* n>^les of the Dear Miss Proctor : touch in their own performances when playing rapid passages. I have observed, however, that whenever The rests show that the tones are to be detached. COMPARATIVELY FEW REAL MASTERPIECES. “Throughout the final periods of Schubert’s life A letter from our partnership-pupil about his lessons Next, play a five-key passage, up and down, using there is every indication that he was in constant need th™!lM0nT be a ,itt,e weak ^ first, but take no and practice during the summer leads me to the con¬ these pianists begin any kind of passage that requires The number of Liszt’s compositions for piano is rapid, clearly articulated playing, just that moment their inly the one finger: legion. Yet, strange though it may seem, only a of money. Most of the prices paid to him by the tZtLI - ‘a" Y,°11 are now working Anger' clusion that you have been teaching him the pressure- fingers abandon the pressure-touch and employ the fractional proportion of these is of genuine musical publishers were little short of ridiculous, and though trained i h " pendence- and as soon as you have touch. Let me say, first of all, Miss Proctor, that I stroke-touch. Fine-spun theories do not always work¬ Ex. 3. worth. Interesting from the instrumental point of many of their proposals were flattering enough on yoTwil finflTrV° dr°P With precision and agility deeply appreciate the honesty of your desire and the out satisfactorily in practice. view they are without exception. Inspection of the paper, their practical issue was trifling. ‘Be good For the l le !°ne wdl become quite satisfying, consecration of spirit that you have manifested in your rare old first editions of Liszt’s works brings to enough to Ax your own terms,’ wrote Schott & Son the oEvslJT °f t0ne depends 50 much upon efforts to advance my nephew in his piano-study. I VALUE OF THE PRESSURE-TOUCH. light an unexampled collection of the most extrava¬ °" Fj^' „9, ?828' But by October 30 they object to instantaneous ^ 3S UP°" T have no doubt at all as to the sincerity of your inten¬ gant difficulties, of technical curiosities and peculiar¬ pay 60 florins as a 'too extravagant price’ for the string. Proceed £ Hi, f 16 hammer aSalnst the tions. I am compelled, however, by reason of my long “Well,” you say, “of what value is the pressure- ities innumerable. Many of these works are the Quintet (Op. 114), and they offer and enclose only Be ce . ke manncr wlth each finger, and special experience with the evils of the pressure- touch?” It is excellent for melody-playing and for Each tone is one-quarter of a pulse long; each rest is outcome of bold improvisation, adapted to the in¬ half the sum asked—namely $6.00. We have already four slowlv the eXercise very slowly. Count touch, considered as a foundation-touch, to ask you re¬ phrases demanding a full, rich tone without percussion. three-quarters -of a pulse long. ferior taste of the day and unmistakably adorned seen that Probst bought the splendid trio in E flat you have^quite ”°te P'ayed until certain that vise this part of your method of instruction, and I have, Finger-pressure or wrist-pressure or arm-pressure, or Now, play it with the same wrist action, but use all with showy virtuoso effects in an effort to pander (Op. 100). for 17s. 6d. (about $4 00), and in this same Then quicken th Pr°perAUSe of ‘b* finger muscles, therefore, asked George to convey to you my wish that all combined, according to the volume of tone desired, is the fingers as marked. Observe the rests: to the masses. Many of these works are frankly year, Franz Lachner-at Schubert’s requ-est-took hastened be carefuW^'t As Speed is gradual,y you postpone having him use that touch until he is thor¬ just the right touch, each in its proper place. My point little more than “pot-boilers,” written in times of half a dozen of the Winterreise songs to Haslinger from wrist and arm f keep the fi"ger muscles free oughly grounded in finger-stroke movements. is that the pressure-touch—like the various forms of distress under absolute compulsion, usually for the Ex. 4. the publisher, who purchased them at one gulden you wm L surprEed°raCt%hIfV* d°ne carefll,,y’ I regret being obliged to interfere between a teacher staccato—is a special form of touch, to be used for a maintenance of the innumerable friends and satel¬ apiece—that is, twenty cents each. How could the tained in your execution t?® v®,oc'ty you bave at' and her pupil, for I recognize the confidential relations special purpose; that it is a difficult touch to teach; lites who used to put Liszt’s generous, self-sacrific¬ most prolific writer exist on such sums?” were plavins- th !°n’ For a tbe while that you which should exist between them, and which doubtless that, because of its unequal counterpoise as to flexion ing temperament sternly to the test. In all of them developtt itmnn°. e8 slowly >eally you were does exist between yourself and George. Were it not and relaxation, it is hazardous to teach it prior to the there is much valueless, windy nonsense; much that fingers. If your • } aglllty ln the muscles of your for the great importance which I attach to the question thorough establishment of other touches which are sci¬ is raw and unfinished; much rhetorical pathos; much The virginal used by Queen Elizabeth is still in work, the lorn, hnt^ WaS ,pr°Perly centered on your before, us, I would hesitate long before saying anything entifically simpler and therefore more elementary. soniferous phrasing, and finally, much that deserves existence, and is owned by a private family in Ene- Notice now, that while the principal movement is and. It bears the Royal coat of arms, and is of opponuffityT have XI ^ t0ne W&S °n,y a" that would, in any way, tend to disturb the implicit con¬ Teach the simplest thing first; then that which is next from the wrist, there is also a slight motion at the the cynical censure of the wit who shocked a lady Italian make. 6 ot readiness so that it be used ,,ext in fidence that a pupil should have in his teacher. In this simplest, and so on. by logical progression, to the com¬ knuckle-joints which becomes necessary when the fin¬ sible degree of freedom. d W'th the greatest poS' case, however, I feel it my duty, as a near relative to plex. In the stroke-touch it will be found much easier gers are changed at each new key. Each new finger 591 THE ETUDE THE ETUDE put their thoughts down upon paper they ,eft a 59J i mind is filled with these con- record in ink and paper which must be born ag-i ^ When lhe Uhls the piece flows on, aided by the every time it is brought to the minds of men. V* HOW THINKING AHEAD HELPS MEMORIS must, by a slight knuckle-action, be thrust out a little trolling thoug . descrjbed. As the piece un¬ rebirth is the very essence of all that is best n beyond the tips of the adjoining fingers so as to avoid mental Proces t chord by chord, the player is interpretative skill. New life goes into the compos their striking adjoining keys. Here, then, are two move¬ rolls n°te Ks control over it; he does not need tion at the very moment it passes through the W ments : a principal one at the wrist, and a secondary conscious o d tQ th£ keyboard; he can safely REVEALING THE COMPOSER’S of the master performer. It is here that he shouiu one at the knuckle. to sit with eye Si space, or where he will, realise the great truth that in music, more than in The mental process involved in playing a piece At the very beginning of his work at the keyboard, lift them and look on ^ just the same; he is HIDDEN MEANING any other art, “the letter kills and the spirit vivifies. George was taught the simple arm-movement from the correctly and with composure, for the teacher o The ®enta. ?r°nd;vided attention; he is alert as to The interpreter must master the “letter” and see elbow and so much of the shoulder action as might be others, is usually a problem to pupils, and it listening with nd__he does not fear failure, to give “rebirth” to the spirit. If he can do this what is coming next, anu An Interview with the Distinguished Polish Composer, Pianjst and Teacher, involved in placing the hand on the keyboard and in problem that the. pupil should be shown ■ hoy he will attain the greatest in interpretative ability- carrying the same along the keys. solve. If the piece is being played with respectable THINKING AHEAD IN SIGHT SINGING. From the literal or objective standpoint, then, an (This Letter will be continued in the October Etude.) correctness and smoothness in the lesson, and tne S1GISMUND STOJOWSK! insight is gained into the nature of the composers t Atncr at sight there is more opportunity for teacher is feeling some satisfaction as a reward tor Secured Expressly for “The Etude masterpiece—by close and careful study of the wor her labors, her optimism may receive a rude s , ^/ ffd tffinS ahead than in memory playing, itself, by gaining a knowledge of the musical laws USELESS REPETITIONS. 0°/tb!s ability ca/be cultivated from small begin- should a visitor chance to enter the studio unexpec and this y d jn musjc study. The underlying the structure and composition of a " or DY CHARLES E. WATT. edly. Then the most unlooked for mistakes are of its kind as well as the necessary keyboard technic heard from the little player. This is not a rare to give expression to the work—but the veil is torn fl readv sight reader. Single long notes give occurrence, either, but one which may happen to a from the composer’s hidden meaning, only becom¬ A teacher has been known to ask his pupils to the Sought a chance to leap ahead and be prepared generally careful and industrious student. Indeqfh ing intimate with his creative personality as a practice each phrase of the pieces selected with each for the next situation. After a little we not only rBioGRAPHiCAL Note.—Sigismund Btojowski was l ideal, if the performer’s understanding and execu¬ band alone, fifty times a day, for a week at a stretch. those who try to play frequently for others will tell Strelcc, Poland, May 2d, 1870. He studied piano > i h. tion of the composition is not based upon long and master, by studying his life environments, by in¬ hink a note or a measure ahead, but whole phrases s Conser- Some pupils, more conscientious than talented, have you that each piece in their repertoire is covered ZelensU at Cracow and with Dinner a vestigating the historical background of the period SSeed tb.?e i. no « to the distance though, _ w om.-oeT institution he studied composition careful investigation of all the fundamental laws and persistently applied this method of work to what¬ with imaginary blots and blotches, where, on differ¬ in which he worked, by learning of his joys and his may travel when one has become a rapid sight with "Delibes. His talent both as a composer and as a associated branches of musical study, which are de¬ ever composition they have attempted to master. pianist were considered extraordinary at that time, and he sufferings, by cultivating a deep and heartfelt sym¬ ent occasions, they have made little or big mistakes. e for piano- signed to give him a basis for forming his own This principle is a wrong one. Endless repetition of was successful in carrying off pathy for his ideals and by the scrupulous and con¬ Errors are sometimes seen in the work of the great¬ of the first reading lessons begin with single playing and„ ...6" other ■for* composition (1879). opinions upon the best method of interpreting the any musical phrase is certain to rob the interpreta¬ est artists, also, but they have the great art of hiding ’Stojowski’si great fellow-countryman, Paderewski,Pat assumed composition. Inadequate training in this respect is stant revision of one’s own ideals and conceptions tion of it of thought and make the performance abso¬ the educational care of his career and became his teacher them, recovering themselves and going on as if noth¬ in person. His orchestral compositions attracted of the standards by which his masterpieces lutely mechanical. ing had happened. The inexperienced player lacks wide attention in Paris, and he met with pro¬ should be judged. “But,” says a young student, "didn’t some one Ex. I. nounced success as a virtuoso. With the opening this art. He finds, too, that when one error is cor¬ of the new Institute of Musical Art under the write to the newspaper that he once had a hotel direction of Dr. Frank Damrosch, Mr. Stolowski STUDYING THE HISTORICAL BACK- room next to that occupied by Paderewski, and that rected, another one breaks out in another part of the assumed the direction of the pianoforte department and under his care, this department grew in a most « GROUND. he heard the great pianist play one particular pas¬ composition. flattering manner. Mr. Stolowski, aside from his To exemplify what I mean, I could, for in¬ sage hundreds of times by actual, count in one after- musical talent, is a remarkable linguist and speaks English with a fluency rarely associated with those stance, refer to Paderewski's interpretations HOW TO AVOID MISTAKES. With only one note in the measure, there is plenty of foreign birth. As he remarked to the inter¬ of Liszt. During the time I was associated The story is not a probable one; but it is entirely When mistakes suddenly appear, like thunderbolts of time to look ahead and see what note the next viewer, “Wc Poles are given the credit of being natural linguists because wc take the trouble to with the master pianist as a pupil I had abun¬ possible. If it be true that the great pianist played out of a clear sky, and in places where all has measure contains. The time is being counted aloud learn languages thoroughly in our youth.’') dant opportunities to make notes upon the any passage a great many times in succession, it is seemed serene and sure before, we know that, the by the player, who is at the same instant gaining the THE COMPOSER'S LIMITATIONS IN HIS very individual, as well as the extremely equally certain that he did this merely for the pur¬ errors are due to lack of concentration; there was a first concept of how to think ahead. MEANS OF EXPRESSION. artistic expressions of his matured judgment pose of reducing a technical difficulty. He would lapse somewhere in the thought process, something When some facility has been acquired in looking certainly consider such endless repetition as music¬ It is difficult for some people who are not as a pianist. It was interesting to observe came between which interrupted straight thinking, forward one measure, thought can learn to look killing were it to be applied to all parts of any given versed in the intricate mysteries of the art of that he played the Rhapsodies with various and disaster followed in its wake. Now, if we could ahead two measures, or even double that space. piece of music. music to realise how limited are the means additions, extensions and modifications, the This is quite simple when it is discovered that there The mistaken idea grew in the first. place, perhaps, prevent this in ourselves and in our pupils, what a afforded the composer for communicating to result of which is the glorification of Liszt’s are several measures which are alike: from the fact that the Schmitt Five Finger Exercises blessed boon it would be for all concerned. the interpreter some slight indication of the own spirit. This was in no sense the result and little technical figures of like import have been How shall we best acquire ourselves, and impress ideal he had in mind when writing the com¬ of the whims of an erratic genius, as some taught by the great masters always just in that way, on pupils, the concept of concentration necessary for Ex. 2. position. It may he said that while every convention-bound American critics unjustly piece playing? The piece may have been memorised i. e., the pupil has been told to play each exercise y | -1— great composer feels almost God-like at the stated, but merely the outcome of years of many times before proceeding to the next. But these according to the most approved methods of mental moment of creation, the merest fraction of patient investigation, observation and study of control, and yet, when the moment for demonstra¬ KV-4-^— 1—1 studies are frankly and wholly for the purpose of i V the myriad beauties he has in mind ever reach the works of Liszt, the life of Liszt and the tion comes, and the piece has to be listened to by -Wt r muscle-building, and as such they must be played H human ears. The very signs with which the period in which the compositions were com¬ over and over again in order to accomplish their other ears, the player seems distracted by the very composer is provided to help him put his posed. purpose; any other practice of them is futile. idea. —1— thoughts down on paper are in themselves The study of musical history reveals many This does not prove at all, however, that the same It is here that the principle of thinking ahead is inadequate to serve as a means of recording procedure should take place when the study of mu¬ of the greatest value in steadying thought, and keep¬ very significant things which have a direct more than a shadow of his masterpiece as it bearing not only upon the interpretation of sical composition is in progress. On the contrary, ing it fixed on the work in hand. If we can impart, Here thought takes in the first measure, notes that was originally conceived. Of course, we are these very devices were invented solely to the end in a practical manner, the way this is done, it will the two following are the same, and 1< ups ahead to the performer, but upon the degree of appre speaking now in a large sense—we are im¬ ciation with which the listener is able to that by making technic swiftly and directly they be of the highest benefit to the pupil. If we are able the fourth measure, which is slightly different. The agining that the composer is a Beethoven would do away with the necessity for such absorbing enjoy a musical work. It was for this reason to anticipate what is coming, we shall be ready for player is then ready for the fourth measure when with an immortal message to convey to pos¬ thought along that line when real pieces were that I prefaced the first two recitals of my it, and we shall not be surprised by it. We must it arrives. terity. Of all composers. Beethoven was taken up. learn to think ahead of where we are playing; the course of historical recitals given at Mendels¬ Many cadenzas, scale and arpeggio figures are doubtless the one to employ the most per¬ The nroper way to study a piece, therefore, is: (1) question is, how far is it safe to do this? One noted sohn Hall, New York, during the past season, made up of repetitions of various patterns. Figures fect means of expression. His works repre¬ To analyse it, taking small sections at a time; (2) to musical educator advises' thinking ahead at least with a lecture upon the historical conditions like the following can be taken in at a glance, and sent a completeness, a poise and a masterly practice these sections very slowly and with one three beats from where the hands are playing. In which surrounded the masters at the time the thought is ready for the coming measure. I finish which will serve as a model for all time hand alotie until the details of rhythm, reading, my experience with pieces played from memory, I compositions were composed. to come. It must aso be noted that few com¬ technic, fingering, touch, etc., are mastered. After have found this rule a little too difficult—though, of Ex. 3. posers have employed more marks of expres¬ this tone quality must be considered, movement de¬ course, all depends on the mentality of the pupil THE INADEQUACY OF MUSICAL SIGNS. sion—such as time marks, dynamic marks, etc. cided upon, shading commenced and such items of and the work in hand. One beat may be as far I have already referred to the inadequacy finish as pedaling and phrasing be determined. In In all these things Beethoven was obliged ahead as thought can safely go, when playing from of musical signs. Even the mechanical guide, this suggestion lies the proper explanation of the memory. to adhere to the conventions adopted, by others for this purpose of attempting to make the the metronome is not always to be de¬ statement that hundreds of repetitions of each phrase The effort to play “by heart” before an audience composer’s meaning clearer to other minds. pended upon to give the exact tempo the are necessary. As a matter of fact, just as many rep¬ involves a complex process of quick thinking. While These conventions, like all conventions, are composer had in mind. Let me cite a little etitions are necessary as will be required to master in playing we seem to listen to and think of each partly insufficient to convey the full idea of instance from the biography of Ries. the the essential details of the passage. When this is note and chord as it is played, thought is ever alert done the next passage should be taken up. ' the composer, and partly arbitrary, in that Sigismund Stojowski. friend of Beethoven. Ries was preparing to for what is to follow. It leaps ahead like a flash Mozart.—Fourth Sonata in 0. conduct a performance of the Beetjjoven Ninth Of course, when a great technical difficulty is en¬ to grasp the next beat, the next phrase—only to they do not give the interpreter adequate lati¬ tude to introduce his own ideas in expression. The the Chinese Wall which surrounds the composer’s Symphony. He requested Beethoven to make notes countered, such, for instance, as an involved cadenza return, with equal rapidity, to direct the work of student should seek to break the veil of conventions hidden meaning. This wall must be torn down, upon paper regarding the metronomic marks of in a Liszt transcription, then many hundreds of repe¬ the present instant—so that the mind and fingers figures that have first been printed in full constan brick by brick, stone by stone, in the manner which speed at which the composition should be played titions become necessary, for no piece should even constantly seem to work in unison. provided by notation and seek a clearer insight into be considered properly read until all such passages occurs in piano ensemble music. This pract the composer’s individuality as expressed in his com¬ we call “practice.” It is the only way in which the The metronome at that time was a comparatively can be played with certainty of rhythm and absolute orces thought ahead to the next measure, or f student may gain entrance to the sacred city of the new instrument. Maelzel, its inventor (or, rather, GAIN THE RIGHT MENTAL CONTROL. positions. From this point of view the so-called equality of tone from beginning to end. By these tfier on, as the case may be. We virtually apply t subjective interpretation seems the only legitimate elect, to whom the ideal of the composer has been its improver, since the principle of the metronome means alone may the foundation for future brilliance The mental concept of melody and harmony, as it notes tb0'0 reau'ng When tllc mind grasps the figu one. In fact, the ones who pretend to be objective revealed. was of Dutch origin), was a friend of Beethoven. in the interpretation be laid. . flows on in thought, may be likened to a face bend¬ in the :ense of being literal and playing strictly At times they were on the best of terms, and at seet ^Jh,e-nUmber °f rePet't>ons and hastens on THE INTERPRETER MUST COOPERATE WITH THE There is a vast difference in the ability to memorise ing over a clear and placid lake; every feature, every see what is new Beethoven’s little Sonata, Op. according to the marks of expression and admitting other times they were literally “at swords’ points.” manifested by different people. Hence, when the line of the face is mirrored in the limpid water be¬ COMPOSER. phrased this? examPles, which might be pa little elasticity in the interpretation of these are Nevertheless, Maelzel, who had a strong personality, memorising begins, it often becomes absolutely nec¬ low. As our ear listens to the music our thought also, as Rubinstein pointed out, subjective at heart. In a certain sense the interpreter is a cooperator succeeded in inducing Beethoven to put metronomic essary for some pupils to play each passage hundreds evolves, the fingers respond. In this state of mind This may be more concisely expressed thus: Since with the composer, or, more definitely expressed, markings upon several of his compositions. Natu¬ of times. Ex. 4. we can think the notes, the tune, the harmony all things of permanent value in music have pro¬ he is the “continuer” along the line of the musical rally, the metronome was immediately accorded an In short, all practice should be governed bv brain, calmly, uninterruptedly—and the fingers as calmly ceeded from a fervid artistic imagination, they thought and its adequate expression. Music, of all important place in the musical world even at that and if the method is good, if the technical training obey the mind. With this conscious effort the mind should be interpreted with the continual employ¬ arts, is the unfinished art. When a great painting is day. Ries was consequently very anxious to give has progressed to the level of the piece being studied, is—or should be—too occupied with the matter in i/i -—in ment of the performer’s imagination. completed, time, and time only, will make the the Choral Symphony according to Beethoven’s own and, above all, if concentration be strictly main¬ hand to think of fear or disaster. There is no time changes in its surface. When the great masterpieces ideas. Beethoven complied with liis desire and sent tained, the actual progress will be much in advance nor space left for such thoughts, and if they begin Scale. On the other hand, the subjective method, right left the brushes of Raphael, Rubens, Holbein, Cor¬ him a slip of paper with the tempi marked inetro- of that where the brain is not used to its fullest ca¬ to show themselves they must be banished as out¬ dfcnr;- _ rff .f- as it is in principle, can become, of course, accord¬ pacity and mere finger training is too slavishly depended ing to the Italian saying, “Tradulorre, traditorre”— reggio or Van Dyck they were finished works of nomically. This slip of paper was lost. Ries wrote laws, for they cannot come into our paradise of £fellf upon. Ejpg that is, an absolute treachery to the composer’s art. When Bach, Beethoven, Chopin and Brahms to Beethoven for a duplicate. Beethoven sent an Beethoven. Op, 49, No. 2. l8t Movement 593 THE ETUDE
592 THE ETUDE MUSIC TEACHEKS roBHANO-PLAVEK any one of these roads will result in endless exas; other slip. Later the lost slip was found, and, upon comparing it with the second slip, it was found that peration. Find your guide, press on wi f n(j ing of failure, and the way to success may be found Beethoven had made an entirely different estimate of the tempi at which he desired the Symphony to before you know it. si, 7teacher. As the :"lovee b fforne music” is dc- be played. A PRIME MINISTER’S TRIBUTE TO MUSIC °f the m . gj t0 know more of the structure Even with the most elaborate and complete marks Mr. Arthur J. Balfour, formerly Prime Minister o of music becomes exceedingly acute. The owner of of expression, such as those, for instance, employed Great Britain, a well-known English music-lover a > . • no nlaver is not content to sit pumping away by Beethoven and by Wagner, the composer is con¬ accomplished amateur, was chosen to greet the dele¬ ‘t^machine without wanting to know a little more' fronted with his great poverty of resources to pre¬ gates to the International Congress of Musicians at sent his views to the mind of the interpreter. Ex¬ about the mysteries of the art than the tones and the opening meeting, held at the University of London. the flying perforations bring to him. First he reads tensive as some of the modern dictionaries of This great statesman has always managed to secure musical books and becomes acquainted with the musical terminology seem to be, they are wholly sufficient time from his arduous duties to indulge h.s history of the art and the biographies of the com- inadequate from the standpoint of a complete vocab¬ favorite avocation—music. It is said that when e ulary to give full expression to the artist’s imagina¬ burden of state matters was heaviest Balfour, upon nosers but eventually he will want to know some tion. It also gives full scope to the admission of returning home, would steal a little t.me for his music, things’ that he cannot very well learn without em¬ an infinite variety of error in the matter of the and thus rest his mind from the great strain which it ploying a teacher. This has been the history of shades or degrees of dynamic force at which the had been bearing. His appreciation of music which hundreds of cases. The piano-play.ng machine composition may be played. follows is one of the most forceful we have ever read: which at first was an amusement becomes an ex¬ One might venture to remark that composers are “Turning our gaze to what is, after all, the object asperation and an aggravation. the most keen, most conscious judges of their own of all art, the joy of human beings, surely we stand MISTAKEN ADVERTISING. works, or, rather, of the garments which fit them in these modern times at the head of all the other best. There is in all composition a divine part and arts, and have advantages to which none of them can After all, there is no way to get down to the real also a conscious part. The divine part is the in¬ pretend. basis of musical understanding that can avoid the spiration. The conscious part has to do with dress¬ “The painter of pictures, endow him with what genius same paths which we who have acquired this under¬ ing the inspiration in its most appropriate harmonic, you like, after all embodies his ideas upon a piece of standing were obliged to travel. There is no short polyphonic and rhythmic garments. These gar¬ canvas which, from the very nature of the case, can road no cuts, only the same wonderful and beau¬ ments are the raiment in which the inspiration will only be in one place at one time; which can at one tiful’ avenue of work, which is perhaps the most be viewed by future generations. It is often by moment only give pleasure to a very limited number fascinating road in the world for right-minded these garments &at they will be judged. If the of human beings; which cannot be moved without people. A world without happy work would be a garments are awkward, inappropriate and ill-fitting, difficulty and without' risk. Music is independent of magnification of Hades. It is here that the piano- a beautiful interpretation of the composer’s ideal space. You can have a symphony of Beethoven played player manufacturers make their mistake. They will be impossible. Nevertheless, it is the per¬ in every musical centre of the world at the same time, advertise, sometimes with a blatancy worthy of a former’s duty in each case to try to see through if you like, had you a sufficiency of musicians capable circus, that the piano-playing machine takes the these unbecoming garments and divine the com¬ of rendering it. Time does not touch it. Neither does place of a musical education—a barefaced lie. which poser’s thought, according to the interpreter’s best that other great barrier to the common artistic enjoy¬ the owners of piano-players will all readily con¬ understanding. ment of civilised nations, the difference of; language, demn. The piano-player no more makes its owner affect it. The translator of a masterpiece is not merely a musician than the wheezy hand-organ makes the LEARNING THE MUSICAL LANGUAGE. a copyist; his personality is not merely interposed, like , . _ _c ...... a,.- Where interpretation is concerned, one is too often the personality of all copyists, between the spectator inclined to forget that while there is a higher part, and the original producer. He is a copyist in a differ¬ the secrets of which are accessible only to the elect, ent medium from that in which the original was pro¬ THE TEACHER'S OPPORTUNITY. there is also an elementary part which involves the duced. He is, to compare painting with language, There is, however, an opportunity for music knowledge of musical grammar, and beyond that compelled to copy in tempera what was painted in oils; teachers right now if they take advantage of it. the correct feeling of musical declamation—since or to render as a drawing what was originally a colored Why not form classes of piano-player owners and music, after all, is a language which is at all times picture. No progress can make it possible for a mas¬ instruct them in those elements of music which will perfectly teachable, and which should be most care¬ terpiece of one language to become in the same full assist them in understanding the music they hear? sense a masterpiece in another. It must always be fully and systematically taught. I consider the book Mr. George M. Burdue, who is connected with a confined to the country of its birth, and in the main of Mathis Lussy, Musical Expression, a work of great large firm manufacturing piano-players expresses it to those who have learned from infancy the language value to the student who is in search of truths per¬ thus; in which it is rendered. No such limitations attach to taining to intelligent interpretation. Lussy was a “With the player-piano it is a most excellent plan our art. All can understand it, whatever be their Swiss who was born in the early part of the last to have the privilege of study under a good teacher. mother tongue. And now that the thoughts of so many century. He went to Paris to study medicine, but, As yet this branch of teaching is in its infancy, but of us are occupied in extending widely among the having had a musical training in the country of his a few wideawake and competent teachers of music whole community the highest and the greatest and the birth, he became a good pianoforte teacher and an have realized its possibilities and do teach its use, best of pleasures, I am perfectly certain that of all the excellent writer upon musical subjects. While and the results of their teaching have in every teaching in a young ladies’ school, he was confronted ar.ts and of all the finer forms of imagination, that which chooses music as its means of expression is the respect fulfilled their expectations, and not one with the great paucity of real knowledge of the teacher who has undertaken this new held of labor rudiments of expression, and he accordingly pre¬ one which has the greatest future among the masses of all nations.” has any but the most enthusiastic reports to make. pared a book upon the subject which has since been Pupils who started their study with no idea of doing translated into several languages. This book is most anything but working their feet and bringing out helpful, and I advocate its use frequently. It should NOTES FOR NOTE LOVERS. the purely mechanical side have learned to under¬ be in the hands of every conscientious piano student. Every fact is the child of thought. stand there is vastly more in it than that. and. Whoever has a good temper will be sure to have guided each lesson, have learned to use the mind, MISTAKES PECULIAR TO THE PIANOFORTE many other good things. manifested in the delicate manipulation of the hands PLAYER. Time is wasted in trying to make a trotter out and the feet in the ‘shading’ of pedal work, until of a horse with a broken leg. The nature of the keyboard of the piano, and the even they have grown enthusiastic over this ‘means When a wise man and a fool are thrown together, ease with which certain things are accomplished, to an end,’ and try to find time for practice so as the fool does all the talking. makes it possible for the performer to make certain to attain a more delicate degree of interpretation of If we see nothing good in others, they will not errors which the construction of other instruments the masters. be likely to see good in us. would prevent. The pianist is, for instance, entirely Many people want to remove mountains simply unlike the .violinist, who has to locate his keyboard to attract attention to themselves. every time he takes up his instrument, and, more¬ The man who loafs when he should work will be Not only in solo work of a high order is t over, locate it by a highly trained sense of position. at work when he should rest. ?x?yer,iP!ano use^u'’ but in accompaniment woi In a certain way I sometimes feel somewhat Every man should remember that other people e all know what it means to hear an accompa ashamed for the pianistic profession when I hear are setting their watches by his clock. ment played so that the soloist seems to be at od players, even those with manifest technical pro¬ The man. who always does his best will find a with the piano and the nerves of the auditors on ficiency, commit flagrant mistakes against elemen¬ steady demand for all the things he can do. constant tension. With the player-piano the acco tary rules of accentuation and phrasing, such as, for The artist gets a glimpse of heaven in the meadow pamment becomes a choice jewel set into a desi instance, an average violinist acquainted with good where the farmer sees only so much hay. of surpassmg beauty. Properly played with a solo bowing is accordingly prevented from making upon sensitive to the accompaniment, it is as perfect his instrument. For some people music is a kind of emotional the sound of a rippling brook and the song of The means of discovering the composer’s hidden bath. They feel it just as they feel a cold plunge bird among the silences of the dim-lit forest. meaning are. in fact, so numerous that the con¬ in summer time, or a well-heated room in winter— io make this result possible it requires stui scientious interpreter must keep upon continuous but that is all. Their thoughts wander, and the voyages of exploration. There are many easily dawT; appr.ec,m[on as of one. of Corot’s pictures music has no real meaning for them. Yet all music inTin thl , thv ?ymphs' halld in hand, are dai recognisable paths leading to the promised land- is built on an architectural plan, and if you would one is the path of harmony, without an understand- hued rnr, •ear^, hght of a dew-sprinkled and ro: enjoy it to the full, you must know the plan of it, ing of which the would-be performer can never r hUl in which closer observation v and the history of it, just as you would of an ancient reach his goal; another is musical history; others tt th,e dew’ the the mists. 1 cathedral. “Be not careless in deeds, nor confused ■ISff \ Alness, are the studies of phrasing, rhythm, accentuation, the rnlliW an!j?scape are every time subservient in words, nor rambling in thought,” says Marcus pedaling, etc., etc., ad infinitum. To fail to traverse ground th^f gUres‘ Without the wonderful bat fngless gMeS W°uld be bo,d- unpoetical, me; 595 the etude the etude 594 In what octave does this c come? , In this manner the notes of the staff are to be e
THE STORY OF THE GALLERY ^d.ateandenomousappreciation LEGATO EXERCISE I. In February, 1909, THE ETUDE commenced the first of this series of portrait-bi^raph'es. Thyd^a.QW ^ biographies have b^e“ ^Q^^un^ed^aid (Three fingers held, two playing.) was an original project created in THE ETUDE offices and is entirely unlike any previous )°u™a , i 0f delighted students and eac ' l, :necj |n even so Garbett, and the plan of cutting out the pictu.es and mounting them in boob has been followed by 1 . h jn(ormation which cannot b D,act;ca| eighty-six portrait-biographies have now beenpublished. In several cases these have.providedreaders ^ be continued as long as practical. voluminous a work as the Grove Dictionary. 1 he first series of seventy-two are obtainable in book to . — THE VERY FIRST LESSONS AT THE PIANO Sustain Play the quarter notes. franTvaTdeTstucken. The Third Lesson , r QTTTrKEN was born at Ereder- HANS GUIDO VON BULOW. LEOPOLD GODOWSKY. (Bee'-loh.) (Go-dof’-ske.) icksburg, Gillespie County, Texas, Octo¬ Von Bulow was bom January 8, 1830. Godowsky was born at Wilna, Russian ber 15, 858. His father was a Belgian By RUDOLF PALME at Dresden, and died at Cairo, Egypt, Poland, February 13, 1870. He early ; h c mother a German. After the (Translated by F. S. Law.) This example shows only the position when the first February 12, 1894. He studied first under showed great aptitude for music and first Civil War the family returned to Europe and second fingers are playing. When other fingers Friedrich Wieck, Hesse, Hauptmann and appeared in public as a pianist in Wilna during his eighth year. Van der Stucken EXERCISE FOR TOUCH II. in 1879. He then toured Poland and Ger¬ became a pupil of Benoit at Antwerp, but [One ot the most encouraging signs of the times, music¬ are used the chord to be sustained changes accordingly. . Plaidy. He commenced h’s career as a ally speaking, is the fact that people are beginning to Two fingers together—each hand separately. many. with great success. Through the later went to Leipsic, where he became The following shows the notes sustained when the left writer on politics, but soon was attracted realise more and more that it ts of the utmost importance The following model is for the teacher’s assistance. to the following of Liszt and Wagner. generosity of a Konigsberg banker he a pupil of Reinecke, Grieg and Langer. that a child should he taught in a correct style from the hand is used: very start.- The old idea that “anything would do” for a It indicates in notation how the Exercise for Touch After studying with Liszt at Weimar in was enabled to go to the Berlin Hoch- He had already produced various com¬ beginner has probably done more harm than anything else. schule, where lie was a pupil of Bargiel There is probably no competent teacher living who has not II should be played: 1851 he went on tour (1853), and quickly positions which had been favorably re¬ Sustain Play the quarter notes and Rudorff. He made his first Ameri¬ ceived, and in 1882 he became director of had pupils come to him who have spent years of their lives came to the front. During his long in almost useless study of the piano owing the fact*"'■* that Sustain Play the quarter notes. the career he held several important posts as can tour in 1884, in company with Ovide music at Breslau City Theatre. they never had a solid foundation **the■- 'start. It is pre- 3 Chord a l j 1 Musin. Two years later he became a eisely to meet modern requirement .... » right beginning-r-x a professor of the piano, and was di¬ 1883 he spent a short per od m Rudol- that we are presenting to our readers portions of Rudolt rector of the Munich Royal Conservatory pupil of Saint-Saens in Paris. He then stadt with Grieg and at Weimar with Palme’s work, Der Klavlenmtcricht im Ersten Monat (The from 1867 to 1869. He was also asso¬ toured France and England, with great Liszt, who befriended him at this time. First Lessons in Pianoforte Playing). It presents in a com¬ plete form the methods adopted at many of the leading ciated at different periods with Raff at success. Godowsky returned to America The year following he was appointed con¬ German music schools. In making the translation, hoi Frankfort, Klindworth at Berlin, etc. in 1890. He lived successively at New ductor of the Mannergesangverein Anon it was found that the work as it stood v— S "intirely This example shows the position when only the This exercise is to be played with each hand sepa¬ suited to American conditions. Accordingly...... rately. Each pair of fingers is to repeat the exercise Before directing the Munich conserva¬ York, Philadelphia and Chicago (where of New York. In 1895 Van der Stucken been revised and enlarged by American educational experts second and first fingers are playing. When other play¬ tory he was principal conductor at the he was leading teacher in a conserva¬ was appointed director of Cincinnati so as to make it available for the needs of this country. ing fingers are used the chord to be sustained changes three or four times, one after the other, forward and Munich opera, and inaugurated some tory), and also toured the United States Not all of the work is available for Journalistic purposes, Conservatory, and also became the first hut enough can be presented in The Etude to enable our accordingly. The following shows the notes sustained back. model productions of Wagner’s Tristan and Canada. The year 1900 was perhaps conductor of the Cincinnati Orchestra. readers to realise the value of the work in its complete when the left hand is used : Count aloud, sharp and short, “One, two, three, and Die Meistersinger. In 1880 he was the turning point in his career, for it form, and to assist those who are starting out on their He succeeded Theodore Thomas as di¬ careers as music teachers. In the German original the four.” Practice slowly. appointed capellmeister to the Duke of was then that his playing created a sen¬ rector of the Cincinnati May Musical lessons given are longer than ts suitable for American chil¬ Sustain Play the quarter notes. (0) 2 3, 3 4, 4 5, 1 2. Meiningen, and for the next five years sation in Berlin and secured him a place Festivals in 1906, but in 1908 retired and dren. They are therefore divided into two parts, so that the 1111 (6) 1 3, 2 4, 3 5. brought the orchestra of the court up to in the foremost rank of living pianists. teachers need not give too much at one time.—Editor's returned to Europe. As a composer he Note.1 5 iCharrt 33 23 2 3 Z3 (r) 1 4, 2 5. a magnificent pitch of perfection. He At present he lives in Vienna, where he has not written a great deal, but what (d) 1 5. visited America in 1875-6 and gave 139 is head of the piano department of the LEGATO AND STACCATO PLAYING. he has done has been well done. He has Let the five fingers press down the five keys no.se- coneerts. Dannreuther said of him that Imperial Academy. As a pianist he pos¬ written music to Shakespeare’s Tempest, The style of playing in which one tone is sustained lessly as before; then raise the second and third fingers he played and conducted "with passionate sesses an all-comprehensive touch and and the orchestral pieces: Idylle, Pax until the next one begins is known as the legato, or Strike each pair of fingers twelve times while holding quietly without changing their curved shape. As the intellectuality.” His powers of memory unusual command over the gradations of Triumphans, William Rntcliffe, etc. His the “bound” style. All music not marked by the stac¬ down the other three; count aloud, sharp and short. teacher says “one” the pupil’s second finger strikes the were phenomenal, and he had great ana¬ tone. He is also able to manipulate many other works include male voice choruses, cato signs explained hereafter is to be played legato. key and holds it until he says “two;” at the precise lytical gifts. These gifts are well illus¬ themes simultaneously. He has written Practice slowly. such as the Bundes Hymne, and songs moment the pupil hears the word “two” the third finger trated in his careful editing of the music a number of works for the piano, the Legato is sometimes indicated by a curved line over («) 1 2, 2 3. 3 4. 4 5. strikes its key and the second finger rises quickly to of Beethoven, Bach. Handel, Scarlatti, most remarkable being his arrangements such as The Sweetest Flower that Blows, the notes, called a slur. But the slur is not used in (6) 1 3, 2 4, 3 5. its normal position. This transfer must take place etc., as well as in his piano arrangements of the Chopin etudes. In these he ex¬ Fallih Falloh and Come with Me in the connection with all legato passages in all editions. (r) 1 4, 2 5. almost instantaneously, but it must not be accompanied of Wagner’s Tristan und Isolde, the hibits the greatest freedom in counter¬ Summer Night. Van der Stucken has (d) 1 5. Meistersinger overture, etc. He endured point, of which he is a consummate the gift of melody, and is also a complete In these exercises particular attention must be given by any jar. much ill health, and was feared for his master of the resources of modern com¬ to the simultaneous and quick rising of both fingers, Every finger must remain perfectly quiet both before mordant wit.
600 THE ETUDE
CUPID’S LULLABY-F. E. FARRAR. THE HAY RIDE This is a very neat study in style and expression MARIE CROSBY Educational Notes on Etude for a good second-grade pupil. It has much ™al interest for so easy a piece. A good rectal number. Music HAY RIDE—MARIE CROSBY. By P. w. OREM This American woman composer has the ^”aC, of writing interesting easy teaching pieces, of her numbers have proven very successful, ner SLUMBER SONG-L. SCHYTTE. is another that should prove equally attractive. While it has the waltz rhythm, it should not This has become one of the standard “slumber played in the dancing manner, but more bris y. songs” for the pianoforte. It is one of the best of the many pieces of this type. It is to be played in cnorl niorp fnr a quiet, soothing style, carefully carrying out all the composer’s markings. DAUGHTERS OF SPAIN (FOUR HANDS)- F. P. ATHERTON. DANCE OF THE IMPS—K. W. REDDI XGTOX. This is an original four-hand piece of much merit. This is a characteristic piece, graceful but full of Good waltz numbers for four bands, other than vim, by a talented woman composer. Three women arrangements, are scarce. Here is one of the Span¬ composers are represented in our music pages this ish style, highlv characteristic and full of variety. month, all Americans and all doing creditable work. Although the piece is not at all difficult, there is “Dance of the Imps” should be played in a capricious plenty of work for both players, the Secondo part manner, with contrasting touches and dynamic being nearly as melodious as the Primo. Play this effects. This will make a tine third-grade recital piece in brilliant style and with firm accentuation.
THE VIOLIN NUMBERS. SHEPHERD'S LULLABY—M. HENRY. Two violin pieces appear this month; both are Marcella Henry is another woman composer, new new and original works by contemporary writers. to our readers, whose work shows promise. Good Geza Horvath’s “Siesta” is a tuneful and expres¬ pieces for the left hand alone, especially those of sive “slumber song.” This type of piece is a favorite easier grade, are scarce and in demand. To play with violinists and violin composers: it is so admir¬ with the left hand alone and endeavor to gain satis¬ ably adapted to certain qualities of the instrument. factory efforts is splendid practice. “Shepherd’s Mr. Horvath’s example will not suffer by comparison Richard Ferber was bom at Danzig, Germany, in Lullaby” is an excellent specimen of this style of with other representatives of this class. It is very 1848. He was exceptionally successful in securing writing. The melodies are attractive and the har¬ pretty. An element of novelty is added by the adop¬ Louis Kohler as his teacher. Kohler was unques¬ monies are cleverly managed. To attain the best tion of the title “Siesta” instead of the conventional tionably one of the greatest pedagogical geniuses of results in this piece use the pedal carefully, as “Berceuse” or “Lullaby.” The word siesta, by the all time. He seemed to be able to impart to his indicated. way, is both Italian and Spanish, meaning “an after¬ pupils who composed the faculty of writing teaching 5 TWILIGHT STRAINS—H. ENGELMANN. noon nap.” pieces that were practical—that is. pieces with a -- _-— a 4^^ u m - a .. 4 Mr. Frederick Hahn is a successful American real tune and real musical worth, but at the same 2,-— This is a high-class drawing-room piece by a - 3 violinist and teacher. His “Menuet” is a very clever time compositions that “lay under the fingers” of Q ^-4 favorite composer. Mr. Engelmann’s inventive bit of writing in the old-fashioned style, very effec¬ the young pianist. Later he studied the organ with talent shows no diminution as time passes, and the tive for the solo instrument. This will make a fine circle of his admirers seems constantly increasing. Markull. Later he studied harmony at Stuttgart and recital or study piece. Fine This piece presents no difficulties either of execu¬ Geneva with Charles Lysberg, who was a pupil of tion or interpretation, but it will require a graceful, Chopin and who was a writer of graceful and pop¬ finished manner of delivery. BERCEUSE No. 2 (PIPE ORGAN)—R. KINDER. ular piano music. Mr. Ferber came to this country This is one of the most recent compositions of a in 1885 and became organist at St. Patrick’s Cathe¬ f j ^ p p— A SWISS SONG-G. EGGELING. well-known American organist and composer, Mr. dral in Eau Claire, Wisconsin. Later he moved to This is a particularly good specimen of the type, Ralph Kinder. In addition to being represented in San Francisco, where he became a successful teacher of instrumental composition which imitates or em¬ our musical pages, Mr. Kinder also conducts the of piano and harmony. He has written many suc¬ ploys the characteristic “yodel” of the Swiss or Organ Department in this issue of The Etude. His cessful works for piano, voice and the Church. His Tyrolean herdsmen. The peculiar method of sing¬ “Berceuse No. 2,” in addition to its melodic charm best-known work is doubtless “New Songs Without ing to which the term “yodel” is applied consists and original harmonic scheme, will afford oppor¬ Words.” In this issue we have a delightful song of frequent alternations of the natural and falsetto tunity for effective registration and display of the by this writer, entitled “If Love Lies Dead.” voice. The Tyrolean style has long been popular softer solo stops. This piece should prove a great in piano music. success at recitals, or as a voluntary.
SHADES OF AUTUMN—A. E. WARREN. Do you not know that a great number of Schubert’s This is a drawing-room waltz, an idealized type, Three very interesting songs of contrasting type: compositions are posthumous? He never lived to set not intended for dancing. Waltzes of this type are are offered in this issue. their publication and died believing them failures. usually taken at a more rapid pace. This will make Mr. Tod B. Galloway’s “My Brown Rose” is ; Do you know that the Chinese official collection oi a very showy number for an intermediate grade decided novelty which should make a great hit ai player if played clearly and neatly with a brisk finger an encore song. The bright and characteristii “Lu'lu?”3WS 'S kn0W" by/ the P‘ctures(lue name ol action. The composer is a contemporary American melody which serves both as a prelude and as ai Do you know that fifteen letters of the alphabet teacher and player. interlude is intended to be whistled or hummed were used at first to designate sound? The sever preferably the former; but, if desired, it may b< BIT OF NONSENSE-R. M. STULTS. taken by the piano alone. Mr. Galloway needs n< laterrdateW WCre n0t emPlo-ved until a mud This is a rollicking piece of intermediate grade introduction to our readers. He is one of the realh Do you know that after Handel became blind h< which should prove popular either for recreation or popular American song writers. always wept while conducting the aria "Total Eclipse’ study. The left-hand melody of the E flat section Mr. Richard Ferber’s portrait, with a brief sketcl in his oratorio “Samson?” reminds one pleasantly of Schumann’s “Happy of his career, will be found in another column Farmer.” This piece will afford good finger prac¬ Hitherto Mr. Ferber has been represented in oui TheatrYn ku°W tbat SipP' a violinist in the Leipzig tice. music pages by instrumental numbers, but he is alst one of JC e.stra’ declared that Richard Wagner wjs accomplished as a song writer. “If Love Lie; reports hA e3St promising Pupils? According t( THINKING OF HOME—C. W. KERN. Dead” is a tender and sympathetic setting of • ahilitv ’ a e?ame disgusted with the youth’s lack oi This is a melodious drawing-room piece by a pop¬ touching and beautiful text, a happy union of” word” Dn vo u y gaVe him a lessons, ular writer. Although an excellent example of fits and music. This song has also been arranged ven male Ar kn°W that Farinelli (1705-1782'). the famous class, it does not call for extended comment. Pieces effectively for quartet of men's voices. J of his me,"0’ AS Said t0 ,lave cured King Philip \ of this style should always be played in finished G. Goublier’s fine and impressive semi-sacret friend and aY- ° Y a,,d was thenceforth retained as manner, gracefully and with repose. They always song has been arranged very cleverly in duet forir afford good opportunity for the cultivation of the by the well-known song writer, Mr. Fr'ank H 2S Sftirgrateful “Ch at a yearl3 singing tone. Brackett. It may also be sung as a solo from thi< same copy by following the printed directions. ' extremely complex^ ^ A* invo,vinS the fuSl,e T much classification A ThcSe resulted " ROMANY MARCH—C. A. HERMANN. be a score on F a,' .str,ctlv speaking, there nia; This is a characteristic march, very bright and A dwarf sees farther than the giant when he h each one of whielTA ??erent forms of the fu£ue pretty, in the Hungarian gipsy style. It should be the giant s shoulders to mount on,” said Coleridg or Italian name r 'S 3^ed with an imposing Latu played in a jaunty manner, strongly accented, more Get on the shoulders of Bach, Beethoven, Liszt , to indulging in AuST of.oIden da-vs were s've! like a dance than a march. Wagner. 1 dl great delight to them, °f niUS,cal jurisprudence, wit! Copyright 1911 bv Theo.Presser Co. British Copyright secured to their aud ences mS VW a"d pOSsibl-v much miser-' THE ETUDE 603 602 THE ETUDE
THINKING OF HOME REVERIE CARL WILHELM KERN,Op.239 Andante m m.J = 7: very broad ^
Copyright 1911 by Theo. Presser Co.
British Copyright secured 605 THE ETUDE THE ETUDE 604 DAUGHTERS OF SPAIN CHARACTERISTIC DANCE
Copyright f911 by Theo. Presser Co. British Copyright secured THE ETUDE 607 THE ETUDE 609 THE ETUDE 608 SWISS SONG
ROMANY MARCH
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Copyright 1911 by Theo.Presser Co. International Copyright secured
m THE ETUDE 611 610 THE ETUDE SHADES OF AUTUMN
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3^ \ 5^— 3 1 ,2 3 1 V 1 2 , 3 u ^ ^ ■ British Copyright Secured 613 THE ETUDE THE ETUDE 612 BIT OF NONSENSE Revised Edition DANCE OFvi THEi ^ — IMPS.- KATHERINE WELLS REDDINGTON DANSE GROTESQUE R.M. STULTS Allegretto brillante M. n. J = 108 CAPRICE If 2 A 1 A A A A 111 ■#• N. 5 A ]pp brillar^te A \ IS^A ^ | L- j 4 4 3 ' ^ CJ ^ c-* ?is t'Sj,»..-i1' * ^ , ' / } ,J 'Peggie™ i 0 2 :» £ S-! -1 - » r'TT-^F=ir=— • r : VHc±zfajl—j ue^ A .A A <¥r. j -- /) . A A A A A | A ^t| 5—5 ] \ _ , ^ j , | *■ £ wk /TV < ^ -3- -3- -3- Jt i * IJ-* * £ 1 f-t 1 ! JP| -I-. 1 -#■ j \rs ^ ^ Jlj. -ihj. • #«r .._V 1y V 9- §353 ^ Copyright 1890 by John F. Ellis & Co. v 5 iil.3 .Vi> ^^^£!».ttrTRe; ^PreSser Co. 814 THE ETUDE 617 THE ETUDE 616 SHEPHERD’S LULLABY for Left Hand Alone Andantino M. M. J =-69 MARCELLA HENIL* 1' 1-—1 -- — ;i 4 a _ ir^a i 5 !^3 ? ml0 ; 2i 4U- ■3* •*. j. J2j * »rpg 1 mV a- : h r) ■— ^ 1_1 ; 5 ^ 1 4 5 4 2 1 i—i 41 K*l S3 a temp&p * " pp ^ pin lento ^-^ —liiil ^rfp M LU *“■vrA ' 0s i' d n £ 2 Sf- 8 ^3 s-.q^-- T Kf r * pr~ ---—-ft dim. -i pr-p r~**n cresc. «»< mm jggfLm i i m ■ Copyright 1895 by Theo. Presser Co. Copyright 19 11 by Theo. Presser Co. British Copyright Secured L THE ETUDE 618 MENUET In the Old Style FREDERICK HAHN Op.7 Andante con moto m.m. J = 2 r * * 1 ■ ' r SIESTA GEZA HORVATH, Op.l26,No.3 Andantinopiu lento m.m.J = ■G ?- 6 p- -5 ■ 2- TRIO accel. Z rit. ■* * P pin mosso P* ¥ J J wit International Copyright secured Copyright 1911 by Theo.Presser Co . Copyright 1911 by Theo.Presser Co . British Copyright secured the etude 631 THE ETUDE 620 To fflise Fitch Hinman To Miss Marion G.Walker,Norristown,Pa. MY BROWN ROSE Copyright 1911 by Theo. Presser Co . British Copyright secured THE ETUDE 623 the etude 622 a SONG OF PRAISE G. GOUBLIER *Solo for Medium Voice or Duet Arr.by F. H. Brackett for Soprano and Baritone SOPRANO /TV Andante night,. land the soft flow-ing foun - tains- Show forth Thy glo ry, Thou Lord God of _ with the Au-tumn red glow - ing,- Are they not gifts _ rom Thee, boun - ti -ful Siiow forth Thy glo - ry, Thou Lord God of The bud-ding trees. Are they not gifts from Thee, boun - ti - ful And the ripe fruits & If used as a Solo sing the Soprano part throughout, including the passage in small notes Copyright 1906 by Theo. Dresser THE ETUDE 625 624 THE ETUDE The same is permissible in a child whose sense of IF LOVE LIES DEAD! measure and time groupings is lame. The cane or RICHARD FERBER crutch, which in, this case will simply be the word “and” or any verbal combination, should be discon¬ tinued as soon as the given passage is learned, and the same counted in correct manner. Another crutch is to count twice the indicated number in a measure. For example, count two-four time as four- eight, three-four as six-eight, and four-four as eight- MENTAL INVERSION. done it must be intelligently directed by the brain : eight. Small children do better to count the latter ' In the June number of the Round Table I an¬ of both teacher and pupil, the one actively directing, as four twice in a measure. swered a letter in regard to pupils who reversed the other actively responding. The interpretative 4. The examples given may be first learned by the treble and bass staves, playing the former with side of the resulting sounds belongs to the brain, doubling the number of counts in a measure. The the left and the latter with the right. As I had find will depend upon how the intelligence directs third count of the first should first be treated in the never encountered this fault but once, and that over the trained mechanism, otherwise called the arm. manner suggested in answer to second question. twenty years ago, and had never heard of any other hand and fingers, upon the keys. Especial attention should be given to the misplaced teacher with a similar experience, I assumed that Hence, in a general way, the development of the accents in the syncopation. After it is learned much the trouble was so rare as to be practically unknown. fingers must be the same, whether for organ or time may have to be spent in learning to count it as I have received a letter, however, from Sister M. piano. The fact of the slight action of the organ indicated. Raphael, of the Sisters of St. Joseph in Pittsburg, keys does not interfere with finger motions that LOOKING AT KEYBOARD. Whose experience is quite different. It may be that conduce to their development. The high stroke for “I seem to have a great deal of trouble In strik¬ many others have had the same experience as Sister finger strengthening purposes may be practiced, the ing the correct notes in exercises or pieces without M. Raphael. If so, they will be more than glad to keys answering simply as a means of locating them looking at the keyboard. Having studied for two years it seems as if I ought to be able to play with¬ read her letter and her manner of treating the diffi¬ in proper manner. For this it is not even necessary out looking at the keys. After learning a piece I that .the bellows be filled with wind. Sound is no can play it nicely, but when my eyes are away culty- It ‘s herewith printed with pleasure: from the keys the jnistakes begin.”—J. F. N. “May I take the liberty to answer the question more necessary than on a practice clavier. headed" 'Mental Inversion?’ You say you had the There are many exercises that are applied to the 1. In your slow practice of etudes and pieces, same experience with a young woman of eighteen. piano that c-nnot be well used on the organ. You make every endeavor to keep your eyes on the notes. Did you meet this only once? I have been teaching can use your judgment in omitting these. As com¬ As you increase the speed you may need to watch music for twenty-five years, and have met this trying plete a training as possible is advisable, however, the keys a- little. Never practice exercises from ordeal with pupils of every age at the beginning of as there is no knowing how soon your organ pupd notes. They should be committed to memory, for their work When it occurs the first time I know may come in possession of a piano. I know of which a glance will suffice with many of them, and it will continue, so I devised the following plan: certain rural communities where twenty years ago with the eyes closely watching the fingers to see “I say. ‘See here, my little lady,’ or ‘little man’— reed organs were bought exclusively. But in many that every movement is correctly made. no matter how big they may be, for I know they communities the trade in reed organs has ceased 2. Set aside a few moments every day for sight are very sensitive and mean to do right—‘are your absolutely, and only pianos are sold, the latter hav¬ reading. For this procure some of the albums ad¬ eyes crossed; let me see? Oh, no, they are all right. ing also displaced the organs in the houses where vertised in The Etude, or others as you may find Then there is something wrong in your brain. If I they were formerly in use. Although pressure them, selecting those that are at least a grade could look into your head I would see that the lobes action of the fingers may predominate when playing simpler than you are in the habit of playing in your of your brain are not working together. Now, if the reed organ, yet this can be made much more regular work. In reading, try and maintain a steady you cannot read these notes correctly, I’ll have to supple and active if the fingers are thoroughly but moderate tempo, and whatever errors you may take you to the hospital and ask one of th'e surgeons trained. make, do not pause to correct them, nor permit to trephine your skull and let us look in and see Organs vary much as to quality in stops. You yourself to look at the fingers when mistakes are should teach pupils to note the stops that speak an what is wrong.’ made. Do not allow yourself to practice in this octave higher than their respective keys, and the “Now I explain the word trephine and illustrate manner in your regular work. You will find thus sub bass, which speaks an octave lower. The vari¬ the operation. By this time the pupil is ready to that your ability to play without looking will gradu¬ ous sets of reeds are placed in boxes which open undertake any process of study and careful sight ally increase. No one, however, ever acquires the reading. ‘Now I’ll show you how to read. Always with a lid or shutter.. A stop opens the lid slightly, making the tone a little louder, and still another ability to avoid looking when encountering great read the upper staff, or right-hand note first, then gives a further increase. Often stops of various difficulties. the left-hand note. Place both fingers over their names do nothing more than this. The quality is 3. In playing from memory you should always corresponding keys and make one strike correctly, the same, only a little louder. In other cases, how¬ keep your eyes on your hands and keyboard. Noth¬ afterwards the other, no two striking together yet. ever, there is a difference in quality. ing appears more absurd than a person playing and Now remember, and go on, little girl’ (or boy). at the same time mooning about the room. If you “Establish firmly in the mind that right hand is COUNTING. have ever watched the great virtuoso pianists before read first, or left, if you prefer. Whichever you should young pupils ’ their audiences you will have observed that they begin with, stick to it. Then she will proceed in always “get right down to business” and give their this way, reading aloud, and striking each note as time'value ol attention exclusively to their work, which is on the it is read—E, right, C, left; G, right, E, left; and so sixteenth ? keyboard.' You should, however, acquire the habit on until the entire page is gone through with with¬ “3. .Should they use the word ‘and’ to express a half countt, or anything to express a quarter of reading music of moderate difficulty without out a wrong key being struck. The child’s face will looking at the keys, or you will make a poor attempt beam with satisfaction at the result. I do not think “4. How would you teach a child to count the following?”—E. M. B. at accompanying a simple song or playing a hymn it is a physical defect, but more psychological, and tune in church. want of careful fundamental teaching. I hope you may find space to publish this. If ‘M. W.,’ who asks UP-ARM TOUCH. for a remedy, will try it, I’m sure she will marvel 11|j .r j'rjj'Ji¬ “I do not know how to apply the up-arm touch In at her success. If not, she may say as I do, when the Mason ‘Touch and Technic.’ Will you kindly name some studies in the first and second books the lesson is over, ‘If, when you come to me for of Mathews' Graded Course in which this up-arm your next, you strike opposite keys you will go to ll / j- / / j ; || touch may be used?”—J. D. the operating table as sure as anything.’ ‘I’ll train my brain,’ she replies. I have read the Round 1. A knowledge of counting conceptions should I would not recommend that you use the up-arm Table with much profit for many years, and wish it lead on step by step from the beginning. So long touch very much in the first book of the Graded continued success in its magnificent work.” as the beats are not subdivided there is little trouble, Course. The up-arm movement may be taught except in the case of those who have no innate gradually for the release of phrases, especially at REED ORGANS. sense of measure. With small children who are too rests. In the second book the up-arm touch pro¬ ducing a tone may be attempted. In number 7, the “What kind of exercises can I teach reed organ young to study arithmetic it is often a puzzle to pupils for development of hand and fingers? I make them understand subdivisions. final notes in measures 8 and 24 may be thus treated. have advised practising on a table. I have read In number 10 the staccato notes at the end of the in The Etude that one should teach In same man¬ 2. Take a word of four syllables in which the ner as the piano in the beginning, but high finger accent is on the first, dromedary, for example. With groups may be thus played, but not those in the stroke exercises when practiced in a way to third measure. The final notes of the arpeggios in strengthen the fingers seem to me impracticable very small children it may not be possible to make on the organ since the keys require almost nothing them understand the relation of a group of four number 12 in same manner. These may serve as more than a slight pressure. examples. The up-arm touch is very effective in ' What should be taught pupils about the stops ! sixteenth notes to a group in which the second and Is there really much difference between them? I third are omitted, or a dotted eighth and sixteenth. brilliant chord work, but, of course, the pupil is not cannot discern it.”—H. K. They can understand that they may repeat the word yet sufficiently advanced for this. Exercises for the development of hand and fingers dromedary and place the notes on the first and last *ust perforce be of the same nature under all con¬ syllables. Give them five-finger exercises to practice ditions. Learning to play is in one sense of the in this manner until they feel the rhythmical forma¬ Probably more failures are due in music to efforts word little more than a hand gymnasium. The hand tion, and then let them practice the same with to get results too quickly than to any other cause. must be developed in every possible manner by words of two syllables, like humpty. You can easily Both teachers and students who are anxious for Means of exercises. Playing upon any keyboard is find words to express the various time groupings. rapid success would do well to realise the full mean¬ then but an application of acquired control and per- 3. If a man becomes lame, by accident or other¬ ing of Wordsworth’s lines: British Copyright Secured wise, it is taken for granted that he must use a fected mechanism to a sound producing instrument, But who would force the soul tilts with n straw whatever its nature. Of course, if it is intelligently crutch or cane until he regains the use of his limbs. Against a champion cased in adamant. 627 THEE TUDE the etude “cantankerous” people an opportum y A Good History. The Standard His¬ Brahm’s Life and Works. J. L. Erb. GROUP IX. BOOKS WHICH SHOULD BE 626 throw sand in the dub machinery. tory: A First History for Students at IN THE LIBRARY OF EVERY Bach’s Life and Works. C. F. A. Parliamentary regulations are mercy All Ages, or Baltzell’s History (for ad¬ W illiams. ORGANIST. the machinery installed to assist in vanced students). Beethoven’s Life and Works. Schin¬ Story of the Organ. Williams. smooth progress of the club work, A Good Harmony. Clarke’s Harmony. dler. Organ Construction. Hinton. more complicated the machinery the more GETTING READY FOR THE MlBICJLOlg> SEASON Beethoven and His Nine Sympho¬ Handbook of the Organ. Mathews. A Good Book on Musical Forms, liable are the amateur parliamentarians Pauer’s Forms. nies. Grove. Organs and Tuning. Elliston. FIRST STEPS IN STARTING A MUSICAL CLUB Berlioz’ Autobiography. Explanation of Organ Stops. Lacher. to get into trouble. The advice of the writer is to give as little time as possible By ALLAN J. EASTMAN___ GROUP II- books on music culture Debussy. Liebich. Organ and Its Masters. Lahee. for the music lover. Chopin, the Man and His Music. Modern Organ Accompaniment. Rich¬ to parliamentary work. The business the club as a whole can be much more much “Please furnish me with the names of Music and Musicians. Lavignac. Huneker. ardson. meetings or bi-weekly meetings^ successfully conducted by a “ways an cne meeting a month to practice and the the most prominent female composers of How to Understand Music (1st Vol¬ Elgar. Buckley. Hints on Organ Accompaniment. SECURING THE MEMBERS. more'fikely to be successful in the end. means” committee than by giving valu¬ Turkey, and send me the music of their ume). Mathews. Gounod’s Autobiography. Demarest, Probably no club is easier to organise others to study. Meet^place and time of meetings de¬ able time at the meetings to “proceed¬ (c) Charity.—Tjhere are dozens of mu¬ operas.” (Turkey has yet to produce a The Beautiful in Music. Hanst’ck. Grieg. H. T. Finck. Organ and Its Position in Musical than a musical club, and yet there is no cided upon, the next tips which the world-renowned composer of either sex.) ings.” The writer has attended many sical clubs in America founded for the First Studies in Musical Biography Handel’s Life and Works. C. F. A. Art. Statham. club which demands more diplomacy upon members will want to fix is the name o “Please send me the best easy songs from musical club meetings in the past, only magnificent purpose of charity—not char¬ the club. It is rarely wise to give a fina (Adapted for Young Students). Tapper. Williams. the part of the organiser than the musical the Nibelungen-lied for my Walkiire re- ; to wonder how under the sun the inter¬ ity which makes beggars of people, but How to Listen to Music. Krehbiel, Joachim. Maitland. GROUP X. BOOKS WHICH SHOULD BE association. The mistake most frequently name to the club at the first meeting. It cital.” “Please send me the Liszt Rhap¬ est of the members could be maintained real charity, the kind that helps others is far better to call the club “the musical- Success in Music. Finck. Haydn’s Life and Works. Townsend. IN THE LIBRARY OF EVERY made in starting a musical club is a lack sodies arranged for the autoharp.” The when fully one-half of the time was of discrimination in securing members. to help themselves. Some of these clubs, club” until the second meeting In tne The Standard Operas. Upton. Liszt’s Life and Works. Huneker. VIOLINIST. composed of well-to-do ladies, have as¬ questions are by no means extraordinary. spent in discussing trivial or inane by¬ A club, properly speaking, is an associa¬ meantime the members have had an op¬ The Opera. Streatfield. (Or The (This companion volume to Huneker’s Famous Violinists of To-day and sisted in the education of young and Something of the kind continually crops laws,” “amendments,” etc. The charter tion of congenial people who meet for the portunity to think of some good names Opera Past and Present, by W. F. Ap- Chopin will be publ'shed this fall.) Yesterday. H. C. Lahee. deserving students; others have helped up in the daily mail of large publishing Leschetizky. Hullah. of the largest club organisation in the purpose of advanc'ng some common ob¬ These should be presented at the next thorpe; The Standard Opera Glass, by Violin Making as It Was and Is. E. aged musicians in distress, and others houses. They indicate more imagination country takes but seven pages. The by¬ ject for the advantage of the community meeting in such a way that the names of C. Annesley, or Stars of the Opera, by Mendelssohn’s Life and Works. have provided free concerts for working and ambition than common sense. Heron Allen. in which they live, and incidentally for those who have suggested the names may Rockstro. laws make a provision for the following people at nominal rates of admission. In making up a program, remember Mabel Wagnalls.) Chats to Violin Students, or How T9 their own more or less selfish interests. be concealed. Then the members may Macdowell. Gilman. matters. Each is set forth so simply that Some clubs have committees of members that it is human to want to be enter¬ The Standard Oratorios. Upton. Study the Violin. J. T. Carrodus. This proposition may be analysed in such take a vote upon them at the meeting. Mozart’s Life and Works. Nohl, there can be no mistake: Article I, Offi¬ who visit orphan asylums, homes for the tained. Unless you have a club of mu¬ European Musical Reminiscences. The Violin and How to Master It. a manner that the club organiser can The club names may be divided into Paderewski. Baughan. cers and Boards (committee). Article aged, hospitals, etc., to carry the beautiful sical zealots, remember that a few lighter Elson. By a Professional Plpyer. form a course of procedure which will Puccini. Dry. II, Conditions of Membership. Article cheer of music to the afflicted. classes: , . , numbers on your program will be just Technics of Violin Playing. K. save many serious controversies and pos¬ (а) Clubs named after classical mas¬ GROUP HI. books on the piano Schubert’s Life and Works. H. F. III, Meetings and Dues. Article IV. sibly heartaches. Tt indicates the class of MEETINGS. the reward that the less serious-minded Courvoisier. ters (Bach, etc.). members of your club will seek. The AND ON PIANO STUDY. Frost. Duties of Officers. Article V, Amend¬ members which the organiser should The writer has given primary attention (б) Clubs named after instruments programs arranged by Mr. Arthur Elson Celebrated Pianists of the Past and Schumann’s Life and Works. Fuller- MUSICAL EVENTS. ments. avoid: to the matter of purpose because he (Piano, Lyre, etc.). in the book called Music Club Pro¬ Present. Erlich. Maitland. It is a good plan to have some simpl ■ (а) Avoid securing members who have knows from experience that there can be One Western club of musical girls at¬ (c) Clubs named after musical terms Descriptive Analyses ok Piano;-ortf. R. Strauss. Kalish. constitution and set of by-laws, but the failed to win the confidence of their own no more leaky craft than a purposeless grams are excellent, and the programs tempted to give a concert in a town in (Allegro, etc.). . , provided by the chairman of the Plan of Works. E. B. Perry. Scngs and Song Writf.rs. H. T. sooner the club members realise that associates. This includes gossips, mal¬ club. The purpose must be made so dis¬ (d) Clubs named after mythological which the only amusements which had Study Committee of the National Fed¬ Stories of Standard Teaching Pieces. Finck. their ma n object is to widen their mu¬ contents and those too much given to tinct that every member will thrill with characters (Apollo, Orpheus, etc.). brought big box office receipts in the eration of Musical Clubs (Mrs. F. S. E. B. Perry. Tschaikowsky. Evans. sical experience and not to conduct imi¬ argument. > enthusiasm for this purpose. There must (a) Clubs named after localities past had been the circus, the minstrels Wardwell, Highland Terrace, Stamford, Thf. Pedals of the Pianoforte. Wagner’s Life and Works. H. T. tations of congressional sessions, the (б) Avoid securing members whose be no “luke-warmness,” and the wise (Washington Heights Club, etc.). and vaudeville. They canvassed the field Conn.) also are well adapted for the use Schmitt; Finck. sooner will the club be placed upon a musical attainments entitle them to “look organiser will make the purpose very (/) Clubs named after American mu¬ and then engaged two eminent artists. of many clubs. Club programs and club Principles of Expression in Piano¬ Little Journeys to the Homes of firm foundation. down upon” or “patronize” the less for¬ plain in the invitation to the first' meet¬ sicians (MacDowell, etc.). The prices they agreed to pay made their suggestions pertaining to the organisation forte Playing. Christiani. Great Musicians. Hubbard. tunate members of the club. This in¬ ing. After deciding upon persons who (g) Clubs named after women mu¬ elders gasp. Failure, disastrous failure, and management of a musical club dur¬ History of Pianoforte Music. J. C. Biographies of Modem Writers and STUDY FEATURES. cludes “high-brows” and musical snobs. might make desirable members for the sicians (Chaminade, etc.). was promised; but these young ladies (c) Avoid securing members whose proposed club, invitations like the follow¬ ing the first two seasons are to be found Fillmore. Virtuosos are obtainable in moderate Unless some orderly plan .is followed were not of the failure kind. They had social standing is such that they cannot ing might be sent out: CLUB FEES. in the appendix of The Standard History Great Piano Virtuosos of Our Time. pr'ced editions. the study work of the club as a club may watched the methods employed by their afford to mix with the common horde. This is a matter which may best be of Music, A History for Students at All W. von Lenz. ’ * become worthless. In clubs of young This includes “prigs” and “cads.” described as “ticklish.” After the possi¬ Ages. This later work was written espe¬ Letters from a Musician to His GROUP VI. BOOKS WHICH SHOULD BE hustling fathers, and they applied them members the teacher may conduct this The organiser’s ablest efforts may be You are cordially invited to ble expenses of the club have been added cially to provide material for private mu¬ Nephew. E. M. Bowman. IN THE LIBRARY OF EVERY at once to the object of selling 1,500 to her own satisfaction. With older completely thwarted by just one repre¬ be present at a meeting of up, it is safe to add a dollar or so to sical clubs and classes. Music Study in Germany. Amy Fay. VOCALIST. tickets at $1 and $1.50 apiece. Twelve members this is more difficult. Some of sentative of the trouble makers mentioned some musical friends to be hundred dollars in the “house” would the more independent musicians of a this amount so that there may be no de¬ THE CLUB LIBRARY. History of Pianoforte and Piano¬ Thf. Philosophy of Singing. Rogers. above. If you contemplate starting a held on the evening of Sept. ficiencies to make up. Divide the total forte Players. Bie. Thf. Art of Breathing. Kofler. pay all expenses. Liberal advertising community resent the idea of having children’s musical club it is well to re¬ 15th, at the studio of Mr. by the number of members of the club, It frequently happens that a musical The Art of the Singer. Flenderson. was done, and the score of young ladies some one from their own neighborhood member that prototypes of all of the Walter Kennelly, 178 Ma¬ and in this way a monthly fee may be de¬ club accumulates a surplus in the treas¬ GROUP IV. BOOKS FOR TEACHERS. Famous Singers. Lahee. each wrote thirty or forty personal let¬ assume leadership and “dictate” to them. above will be found in children. Often genta Boulevarde, for the ury. There can be no better manner of termined upon. If the fee is so high Business Manual for Musicians. Choir and Chorus Conducting. ters to the most intelligent people in This may be obviated by having a regular these vices are magnified in inverse ratio purpose of forming a mu¬ spending this surplus than devoting it to that it will fall heavily upon the pocket- Bender. Wodell. town—we will not say cultured, for most plan and then having this plan carried to their size. sical club. the purchase of musical books wherewith out by nominating special leaders for dif¬ books of the members the club will Mistakes and Disputed Points in Voice, Song and Speech. Brown and of the citizens had just reached the stage THE CLUB PURPOSE. The purpose of this club to found a musical library. The follow¬ surely fail to thrive. The collection of Music. • Elson. Behnke. where they felt that they might take time ferent meetings. These leaders may be shall be to study the lives a monthly fee is much easier than col¬ ing list has been selected by experts for nominated by a study committee. This Many clubs fail because they have no Thf. First Months in Piano Study. to draw a breath in the scramble for the and works of the masters, lecting the entire amount for one year. the purposes indicated. Some are ex¬ GROUP VII. MUSICAL FICTION AND will give each member of the club an real purpose, no plan to follow. A mu¬ Palme. almighty dollar. The new Methodist sical club may be a club with many pur¬ with a view to gaining that The yearly method of collection has the pensive, others are low in price, but any MUSICAL ESSAYS WHICH HAVE MET opportunity to take an active part. All Theory of Interpretation. Goodrich. Church was packed on the night of the poses, but the most successful clubs are closer insight ivhicli only advantage of insuring a sufficient amount book in the list contains within its covers WITH WIDE POPULAR FAVOR. concert, and the club awoke next morn¬ the club leader will have to do will be ■ comes by learning the views a value which is far greater that its cost. Psychology for Music Teachers. H. those in which one purpose is determined' of money in advance and enabling the Alcestis. ing surprised to find that it had money- to see that the club program is carried of many congenial people The club library is one of the most valu¬ Fischer. upon and followed steadfastly during the club officers to spend accordingly. How¬ American Girl in Munich. Daniels. enough to send a talented but poor mem¬ out. Of course, the program must be working for the same pur¬ able institutions of the club. In fact, Games and Puzzles for the Musical. first years of the club’s life. Among the ever, twenty-five cents a month is not Charles Auchester. Bergot. ber to Chicago to continue her mus:cal arranged to suit the need of the par¬ many excellent purposes to which the pose. Your hearty coopera¬ many clubs are held together by the fact Bloomfield. felt, whereas a demand for four dollars Consuelo. Sand. education. What this club did other ticular club. The following program, tion is earnestly solicited. that the library affords the members a Ear Training. A. E. Heacox. musical club may be devoted are: in a lump would make some people CountF.ss of Rudolstadt. Sand. clubs can do. Perhaps they may not however, is one which club members may (o) Study.—Every club is, in a sense, Kindly be present at 8.00 means of investigating new works which Embellishments of Music. L. A. hesitate. Doreen (Story of a Singer). Lyall. have the courage or the field to warrant employ with profit in many cases: a study club. There is nothing like a P. M. promptly. The writer knows of a club composed many of the club members desire to pro¬ Russell. Fifth String. Sousa. the engagement of very expensive artists, 1. Opening of the Meeting and Necessary common study to give unity to the club s cure, yet cannot afford to possess. To Bound Volumes of The Etude. of twenty ladies who in less than three First Violin. Fothergill. but they can at least conduct some con¬ Business (Five Minutes). efforts. In most all cases the study se¬ years secured a most excellent knowledge the list given -below might be added the Piano Teaching. ' C. L. Hamilton. certs designed to raise the musical taste 2. Discussion of the Topic Being Studied This invitation defines the purpose of Miserere. Daniels. lected must be intelligently adapted to of musical history by following a pro¬ scores of the operas old and new. The of the community in which the club ex¬ (а) Short Essay (Ter. Minutes). the club and also imparts that cordial and GROUP V. BIOGRAPHIES AND HIS¬ Miss Traumf.rei. Bagley. the needs of the club. Most of the dis¬ gram similar to the above. In fact, these club may be miles away from a big city, ists. The musical managers are always (б) Educational Questions and An¬ sincere kind of a welcome which excites TORIES (NOT ALREADY MENTIONED). Only a Fiddler. Anderson. sensions in clubs, most of the heated ladies knew more about this subject than but several members may want to keep glad to cooperate with committees con¬ swers (Ten Minutes). an interest. The Soprano. Kingsford. arguments—as “dignified squabbles” are most conservatory graduates, for they in touch with the music they hear about. Life Stories of the Great Masters. 3. Program of Compositions Pertaining At the first meeting the organiser Zal. Hughes. templating the establishment of a concert termed—are due to the fact that the mem¬ were not only familiar with the lives of In fact, this may become the means of Streatfield. to the Meeting (Twenty Minutes). should make a short address in which European Reminiscences. Elson. course. The main thing to remember is bers have no common basis of knowledge. the great composers and the great events placing much valuable music at the dis¬ The Evolution of the Art of Music. 4. Preparation of Study Material for the purpose of the club is reiterated, and Prima Donna. Crawford. that such a course should he an enter¬ Squabbles are simply misunderstandings. in musical history, but they had also posal of those who would otherwise be Parry. Next Meeting (Fifteen Minutes). in which the multifold advantages of the Jf.an Christophe. Rolland. tainment course as well as an educational When people understand each other they heard the compositions of most of the compelled to make unwarranted sacri¬ Important Events in Musical His¬ 5. Club Informal, Social (Thirty Min¬ ciub are outlined. He should explain course. Do not fall into the great mis¬ cannot disagree upon any point. For composers effectively produced. The first fices to obtain it. As the club advances tory (Chronology). Bloomfield. take of giving banal entertainments with-' utes). this reason the club members should how a club may become a force in a GROUP VIII. BOOKS WHICH SHOULD year a more or less elementary musical in age the musical library should increase Musical Celebrities. Garbett. out the educational features. Some clubs strive to take up some branch of musical community, how healthful association of BE IN THE POSSESSION OF ALL history was employed. The second year at the rate of several volumes a year. Masters and Their Music. Mathews. have let their concerts degenerate into study in which there is a necessity for musical people may result in common MUSICAL CHILDREN. a more advanced book was used, and the It often happens that' when some philan¬ First Studies in Musical Biography. carnivals of vaudeville, and then have uniformity of information. Musical his¬ self-development, how the musical bene¬ One of the most interesting musical epi¬ third year was given over to. the special thropic person sees the industry of a Tapper. (An extremely successful book Music Talks with Children. Tapper. wondered why they have not succeeded. tory, harmony, acoustics, etc., may be fits are really only a part of those wh:ch sodes in the history of the church was the discussion of national music. struggling club in its efforts to secure a for children.) Imaginary Biographical Letters from A splendid addition to the club concert studied in clubs under the guidance of an may be reaped from an organisation of attempt to establish a perpetual chanting library the purse strings are loosened and Woman’s Work in Music. E. Elson. Great Masters. Cox and Chapin. is the club chorus. The Woman's C'ub intelligent leader. this kind. After the announcement of MUSICAL PROGRAMS. of the psalms. This took place in the a worthy contribution to the good work Studies in Modern Music. Hadow. First Studies in Music Biography. Collection offers the material in the way (b) Practice.—A practice club is usu¬ the purpose the organiser should invite In the preparation of musical programs fourteenth century, on what was called may be secured. Music in America. Ritter. Tapper. of part songs at a very reasonable price. ally a successful club for the same reason expressions of opinions from the pros¬ the club director should seek above all “Psalmody Island,” a little island in the Music Club Programs. A. Elson. Musical Games and Puzzles. Bloom¬ that a study club thrives. The members pective members regarding the desira¬ things to be practical. Large publishing GROUP I. BOOKS EVERY MUSICIAN ancient diocese of Nismes. The monas¬ Memories of a Musical Life. Dr. field. PARLIAMENTARY INCUMBRANCES. have something to work for. They meet, bility of a club. Next should come the houses are continually pestered with the SHOULD HAVE IN HIS LIBRARY. tery here was founded by a Syrian monk Wm. Mason. The Child’s Music World. Tapper. One of the greatest fallacies made by let us say. once or twice a month to ex¬ determination of the meeting place and applications for music and material who conceived the idea of having the A Good Dictionary of Music and Suggestions for the Musical Youth. hibit the results of their practice. The the frequency with which the meetings Contemporary American Composers. club conductors is that of encouraging psalms sung night and day, year in, year which could not exist from the very Musicians. Riemann’s or Dunstan’s (if rivalry this engenders is remarkable. should be held. Meetings held but once R- Hughes. Reinecke. parliamentary squabbles. One might out. without intermission.’ History does nature of things. Here are some of the not1 the big five-volume Grove). The practice club may easily be com¬ a month are hardly sufficient to keep up Modern Composers of Europe. A. Musical Anecdotes. Gates. think that the reason for the existence of not tell us exactly how long this remark¬ request's given to me by the head of the A Good Pronouncing Dictionary °f bined with the study club by devoting the right amount of enthusiasm. Weekly Elson. Standard History of Music. Cooke. many clubs was merely to afford some able “Laus perennis” really continued. order department of a large firm • Musical Terms. Clarke or Redman. 629 THE ETUDE the etude 628 UNCONSCIOUS ACTION OF THE ANATOMICAL STUDY NOT NEEDED BY Her scientific attainments CHORDS. THE SINGER. search forlor pnnctpie,princes country. letters she brought from such herself 1 harmony Nature has wisely provided that the This may seem like pretty close A TONIC to remedy . as jjelmholtz, du Bois Reymond normal action of the vocal chords figuring, but it is scientifically unassail¬ unfortunate conditions, m oraer ^ others won her the distinction of should be instinctive and all but uncon¬ able. To be sure it has no direct bear¬ Horsiord’s Acid Phosphate avoid injuring the voices ot afl elect;0n to the American Philosoph- TEXT BOOKS scious to the speaker or the singer. ing upon learning to sing any more undcr her care. found ical Society. Though several women than a knowledge of action of the Half a teaspoon in half a glass of These, she believed, were to De i have gince becotne members of this theory explained to piano Their office is to initiate the tone, and by continuous vibration to define the bones, muscles and sinews of the leg ■water, refreshes and invigorates the in the laws of acoustics and in an a sodety> she was the first to receive the STUDENTS assists in learning to dance; the learned entire system. A wholesome tonic. knowledge of vocal physio gy honor. Her sphere was rather that of pitch, but we have no direct control over their functions. Therefore the anatomist has no advantage over his She lived in Heidelberg nearly a the scientist than of the teacher. Her practical lessons in harmony direction sometimes given to students ignorant companions in the practice of years, at a time, too, when it• w sg_ anaiytical habit of thought, which had By HUGH A. CLARKE, Mus. Doc. either—indeed, his knowledge is more center of great scientific lntere , becoine intensified through years of of singing to throw their vocal chords Price, 50 cents, Postpaid likely to increase his awkwardness. and became acquainted win * studv and application to research in an The work is intended as an aid to into full vibration, to tighten their VOCAL INSTRUCTION the teacher ir edges, is worse than useless; it is posi¬ All teachers know that watching the IN PARIS of the savants and learned “fversity obscure field, was distinctly unfavor- vocal mechanism closely and attempt¬ tively injurious in endeavoring to ac¬ GEORGE E. SHEA (Georges Ctiais) were professors at the unlvHeln^ ab]e to the task of producing results ing to control the voice by attention Among them was Professor from those wbo were not on ber own complish by the will which should be 5, rue Gounod are __in interesting piece- a purely involuntary process. Their to the bodily and muscular agencies • Month Thf. Etude Will Present an Excellent Interview with M. holtz, then engaged in prepa 8 bjgb plane of attainment; hence she be played on the keyboard, and in a One of the first American men to sing in Opera in France lyzing music. automatic government by the brain is concerned form the principal obstacles res Who Rose from the Position of a Horn Player in a Provincial great work on the sensations 0 m0re successfui ;n the training of one of the mysteries of existence. We to the progress of most of their pupils. ;tra to Become the Leadinc, French Operatic Tenor of Our Day. as a basis for the theory « teachers than in bringing out those A SYSTEM OF TEACHING The teacher is better prepared for his which still remains the 1®a.d wbo could illustrate her principles will a tone of a certain pitch and the obedient tissues at once throw them¬ task by a clear understanding of these Prospective Students of Piano or Vocal Art reakness of voice from of its class. She assisted him by test^ and artistically. Pure sci- HARMONY STUDYING THE ACTION OF THE wardnes the standard text-book of selves into the vibrations which produce instrumentalities no doubt, but the stu¬ desiring information about important questions, .. hich the voice suffers in the produc- ing th characteristics of ence makes a better servant than as “How to choose a teacher,” “How a voice is VOCAL CHORDS OF THE MUSICAL THEORY that pitch, and none other; we sing a dent is generally more confused than placed,” “Benefit of Piano study,” write for tion of tone are not due to lack of sounds, task for which he ^ master in the teaching of an art. She SINGER. By HUGH A. CLARKE, Mus. Doc. given melody, and in following its out¬ helped by considering them. free booklet “Methods and Facts. Address strength in the vocal chords, but to ingly delicate ear fitted hier feit this herself, and more than once HANS B1EDERMANN The plan of Clarke’s Harmony dif¬ line they become the focal point of a More important than a knowledge of ?4 Auditorium Bid*-, Chlcofifo, HI. want of coordination andana govern- philosopher lmse * d usician. said to me that the very minuteness fers from all other works on harmony vocal physiology to the singing teacher in several important particulars. series of movements so bewildering in t of the many factors, mental and *L* laryng0scope where and accuracy demanded by her im The most important step is the dis¬ rapidity and complexity that their are the three essentials to which “Papa” p„ysic,„. which « n,c«,.cy .« ,nu- ^c“td"?,id i. do,T no? did she « *. disadvantaged.sadva„,a6 in carding of figured bass, in place of Wieck draws attention in his book, communicating the results to others, which the pupil from the beginning analysis defies the most lively imagina¬ tic singing. .rpst until sbe bad made clear the phe- works from the melody—the natural tion. Take, for instance, the scientific “Piano and Song.” He says, semi- e authorities v humorously: ROWLEY BARITONE j teach with the simplicity necessary WiThe various subjects are so arranged theory of an accurate attack, which is profess to speak on this subject with cbords and demonstrated them tbat one thing at a time is learned, the head and front of a correct method Three trifles are necessary for a good piano AND TEACHER OF SINGING i dealing with the novice. or singing teacher— ...... • the authority that rests on personal Qwn tbrgat and in the throats of others. and each step follows logically the one of singing. It depends on allowing the The finest taste. Pupil of SBRIGLIA, Part. preceding^ flrg(: tjme tlle gubject 0f first single vibration of the air set in The deepest feeling. j4 on ™ VOCAL OhOAKS. modulation is treated in a clear, easily The most delicate ear. comprehensible way. motion by the vocal chords to enter One can hardly better this counsel. from a paper lead before a gat g information gained from one who had muscles and cartilages, their actions In regard to the point I have taken For Class or Self-Instruction, Price, $1.25 the sound chamber—that is, the mouth; °feaCh"®inHcoresents what exhausted all such means of investiga- and general functions, and put the pp for consideration, Madame Seiler Key to Harmony—Price, SO cents and to be reflected from the hard palate LET SINGERS LOOK TO IT. A Large Number of Teachers are Using State asso • Pous concep- lion. This was the late Madame much-vexed question of registers on a deciaredtheimpressionthatthesuperi- directly back of the upper front teeth If the singers of to-day do not as a tionM the process of vocal training, Emma Seiler, with whom I was closely logical and readily comprehensible ority of the trained singer over the be- STUDENTS’ HARMONY before the succeeding reflections fol¬ rule reach the same perfection that so Systematic Voice Training namely: that the development and associated for a number of years both basis. ginner was due to a physiological By ORLANDO A. MANSFIELD, Mus. Doc. low, this reflection taking place in ac¬ many singers of the past achieved, it is By D. A. CLIPP1NGER growth Of the voice for the purposes as pupil and assistant. In her two strengthening and development of the Bound In Cloth, Price S1.25 cordance with the well-known law of largely because they do not work for it The Price is One Dollar Key to Students’ Ha rmony—Price, 75 cents of artistic song is due to a similar books, “The Voice in Singing” and WOMAN'S FREEDOM IN AMERIC . intrinsic vocal organs to be an error, physics that the angle of incidence Address: 410 KIMBALL HALL, Chicago. Ills. A book which measurably contradicts as they did in those days. At the physical development and growth in “The Voice in Speaking,” the first of All this was at the cost of no small The action of the vocal chords she the assertion that harmony cannot be equals the angle of reflection. To put present time singers, are perhaps more the muscles immediately concerned in which was written more than forty iabor an(i self-sacrifice. Even now pronounced the same in both cases; learned without a master. Bach chord is explained and illustrated by simple it differently and more clearly: the intelligent in grasping theories of tone tone production. Judging from the years ago, she unfolded a complete public opinion in Germany is by no the difference in effect she ascribed to four-part examples, followed by illustra¬ breath must be kept back long enough production and there are more theories piercing cries of the new-born infant, and logical theory of tone formation, means favorable to the study of medi- various important secondary factors, tions from standard works. Then the use of the chord in harmonizing melo¬ to permit this rebound in order to to grasp, but they only dally with these one would say that the vocal chords based on the laws of acoustics and on c;ne by women, and fifty years ago it such as the projection and form of the dies is clearly shown. establish the proper form of the sound for a while, and long before they have GEO. W. MUNRO are the stoutest part of the yet im- a practical knowledge of the anatomy was so hostile that she felt obliged to tonal vibrations, the instinctive utiliza- wave which results in a firm, pure tone. given them a fair chance to become mature being. No one who has heard and physiology of the organs con- conduct her investigations in secret, tion of the mouth and upper throat, of HARMONY AND COMPOSITION Thus, say that the tone called for is working factors in establishing a good Voice Building children of tender years at their play cerned. This theory I believe correct; She secured instruction from a medical the hollow spaces and cavities of the By W. T. CIFFE the A above middle C, which at the automatic vocal action they are off on a a specialty shout and sing at pitches often cover- ;t bas withstood every test I have student more liberal in his views than head as resonators according to the SIMPLE, ORIGINAL, COMPREHENSIVE French pitch requires 435 vibrations new tack—experimenting with some¬ ing a range of nearly or quite two g;ven it during an experience of many most of his colleagues, and it was not laws of acoustics, etc., much as the LOST VOICES RESTORED Price, SI.00 in a second, the breath must be held thing else. The restlessness of the age, octaves, and keep it up, too, for hours years But tbis experience has also until late at night that they were free mechanism of the piano remains the COME to CHICAGO to studu A late text-book by an American for back the one four-hundred and thirty- the desire for fruition without labor, Music—where you have the oppor¬ at a time without appreciable effort, sbown me that ;t js of doubtful value to dissect without danger of detection, same whether it is set into movement American students. A delight for the the belief that the goal can be reached tunity to hear Grand Opera, Orches¬ amateur harmonist and composer. Every fifth part of a second before the air is can fail to realize the intrinsic strength when applied literally in teaching the so that more than once the dawn sur- by the practised hand of a master or step plain and sure. The illustrations by a short cut, is the bane of our art tra Concerts, and the great visiting are simple and concise. permitted to leave the lungs. With artists. and toughness of these small and ap- average pupil; it is useful to the P^ed them at their work. She came by the weak, unsteady fingers of a Both the syllable and letter construc¬ students to-day.—Clara Kathleen Rogers. parently insignificant membranes which teacb“ but empirical methods are honestly by her interest m such studies, child The great discrepancy between tion of chords are taught. The chord each higher tone, of course, this frac¬ 516 Kimball Hall examples are set in phrases, showing tional part of the second grows the writer just quoted considers so generally better for the student than Her brotherf « WPU fat.he.r he efforts of the beginner and master ?roper approach and progression, thus Severe bronchial and laryngeal colds i r * * . . < .« were eminent physicians, but they had ful ease of the artist lies in knowing ormlng good s andJ habit in *theh“ smaller. Naturally such an atom of often have a permanent effect upon the ' • j f ijfe tbat ttlose tia. re.J uP0Ii e c P no sympathy with their sister’s enthusi- how to make a proper attack, in being learner. time is utterly inappreciable to the There is just one period of life, that slon of scientific truths. Since in what ™ * wh;ch belonged able to repress extrinsic and harmful voice. The singer should take great care human faculties—yet it is breath con¬ o adolescence, when physiological j have t0 say on the point in question exclusively to man. After she had exertion, which throws the vocal ap- to avoid any strain during the tenancy of THE FIRST YEAR IN THEORY trol scientifically defined. In practice the cold. One of the famous Italian sing¬ A. K. LOWRY changes bring about a condition of j merely vo.ee her views, a brief ac- published anonymousiy her first book, paratus out of balance and renders its By O. R. SKINNER there is no perceptible pause; its effect ers, Benedetta Pisaroni, made her debut as temporary weakness and congestion in count of the career of this remarkable AUu md Ngues iiber die Gesangskunst normal operation impossible, Price, 75 cents is to give a slight shock against the the vocal organs, when care must be wotnan cannot fail in giving authority (01d and New on the Art of Song), The membranes which form the One of the best text-hooks for the a soprano (1811). Later she suffered Voice Culture beginner in theoretical study. teeth, which to the singer is the most from a severe cold, and became a con¬ taken not to overwork them, an in to her opinion and in being interesting afterward incorporated in “The Voice vocal chords are but sparingly supplied By means of writing and ear-train e of boys, singing is best abandoned ing exercises the student is taught to rdiable sensation of a perfect attack. tralto. TONE AND ENGLISH ENUNCIATION to the reader. . in Singing,” one of them spoke to his with nerves of sensation; like the hair, know the intervals, scales, key relations for a time. This is to allow nature an „ ___ mother in high praise of the work and the teeth and nails, they can be pinched staff notation, all common chords and A SPECIALTY undisturbed opportunity of giving the MADAME SEILER’S INVESTIGATIONS. wondered wbo tbe author could be. without causing pain. This is a great the dominant seventh chord; also the various cadences. SCHOOLS AND TEACHERS surrounding muscles and cartilages She was born in 1821 in Wurzburg, .She was in the secret, and, though aid in securing the freedom of move- A student mastering this work needs Advertise Your Fall Sessions in THE EXUDE Pupils well equipped, guar¬ greater size and firmness of t no book on ear training, since by this SEND FOR SPECIAL RATES the daughter of Dr. Carl Diruf, court vowed to silence by her daughter, could ment and the unconscious adjustment method he learns to know the chords anteed engagements order to produce the fuller, deeper pbys;c;an m the Crown Prince, after- not refrain from telling him, where- of the larynx, which is so essential to and progressions by sound as well £ tones of the adult. These changes ward K;ng Lou;s 0f Bavaria, who upon his admiration suddenly vanished, the singer or speaker. It has, however, sight. occur in the feminineno larynx,lo-.mAT but held his court at Wurzburg while his He threw the book into a corner and the disadvantage of allowing an unsus- HERBERT WILBER GREENE 411 Kimball Hall, Chicago PRACTICAL HARMONY ON A much less marked than with the mascu¬ father, Maximilian I, reigned at Munich. r,eclared that his sister would better pected inflammation to exist in the TEACHER OF SINGING line sex; hence girls retain the child’s The prince esteemed her father highly confine herself to housekeeping and vocal bands themselves, since warning FRENCH BASIS to Philadelphia September 15th = pitch of voice while their brothers’ id she was brought up in close asso- ^.me of her children--vide Emperor of such a condition through nature’s By HOMER NORRIS A« before, Kw be THURSDAYS, FRIDAYS and SATURDAYS voices drop an octave. •ciation with theme ruyairoyal laiuuj,family, theme William’s, recent advice a J® the duties signal of pain is not given until the In the French system all dissonant harmonies are reducible to simple 6—1 Philadelphia Address: 202 Presser Bldg. New York Address: 701 Carnegie H • young princes and princesses being the rnTMj6 K l ^der^Kirche, trouble becomes serious and invades nant harmony. A glance at the companions of her early years. She f™rch’ kl^he"); Tbls dle. surrounding parts. It is less in- minous excerpts which Mr. Norris introduced from many sources to i married it the Ttre of twentv and re- i but a * , year? after Mendelssohn jurious to sine when the throat Is sore his statements seems absolutely VOCAL STUDIO, 1S2 TEMPLE STREET However, in child and adult alike, “ved wUh\„ h'„b.„4 . physic!.,, •“’’“S” “d “»«■.“>•>! discomfort than .. vincing. Even the “Altered Che are treated rationally as simple c affiSfeoT4 ’ ’ NEW HAVEN, CONN. hardly any other organ of the body to Switzerland. A few years later, left >r„Zrf a ' "? ** ,™'“ ”i,h ““ nant seventh chords. George Chadwick Stock .. Studio devoted exclusively to the training of Voices for Singing. Eminently successful in in executing its legitimate functions with two yo„»B children .« .upper,. ZSS.TZS JS Practical Harmony is published in has more resisting power, and none two parts. Part I deals only with con¬ the results obtained. Established, 1893. The fullest possible information accorded prospective she went to Dresden and took up the appearing before the miblie a . ~ , , 8 sonance—triad-harmony. Students of Song. Correspondence invited. acts with more instinctive and involun¬ Part II deals with dissonance, begin¬ Studio re-opens September lltb for Season 1911-12. •tody of singing with the dc.ign of p„«r ,h„ he brought on, , uumbei Wdfv' taS5eS>Sw.”T ning with diatonic seventh chords, and tary freedom when left to purely nat¬ leading systematically along an ever ural impulses. It can readily be seen widening path which brings the student ffiss s. i^“i"ii“ it Li pSepirzdtt s r r-tn ,*• to the most pronounced chromatic ut¬ that this is a wise provision of nature proper instruction. In the endeavor to monly attributed to him. that C{« .formatl°” ° "° fhe terance of our time. - HERMAN DEVRIES- by which the new-born child can make recover her vocal powers she was Madame Seiler came to this country edges Af ”VnUte 'ireg,uIarltles Late of the Metropolitan Opera House, New York; Covent Garden, London; its wants known and secure protection struck bybv the lack of positive knowl- in 1866 and settled in Ph addph[a vfnt tb ^ J lor Grand Opera and Opera Comique, Paris; while in an otherwise completely help- edge the part of the teachers and where she died in December 1886 6 appr0XimatlOnJ announces the opening of his studios for Voice Culture and Opera School less condition. With the singer the singers to whom she applied for in- Here she received r --- a firm,rm’ pure t____tone’ and which_ tin j FINE ARTS BUILDING, CHICAGO, ILL. case is entirely different. The awk- struction, and determined to devote which her sex deprived hcr°b^r<^' ^ Produce their partial or c?mp'e.^e Theodore Presser Co., Recitals for pupils in Music Hall; Opera Performances, Illinois Theatre. r own paralysis by reason of continued strain. ,n THE ETUDE when addressing our advertisers. 631 THE ETUDE THE ETUDE 630 fifteenth and sixteenth centuries. The making organ recitals Lastly, an endeavor in the interpre¬ The- Mendelssohn during the v'sit first re¬ POPULAR. tation of each .of the various numbers organ of England was also in high re¬ Church Organs of a program to express a tone picture pute, but the Puritanism of the civil ferred to, with the result that the com Organ Recitals! What a familiar BUILT BY Wirsching Organ poser quitted England with a C0^®1S‘ is worthy of no little attention. A war doomed most of them to destruc¬ sight these two words have become to THE PIPE ORGAN OF P -- Three Organ Voluntaries. HUTCHINGS ORGAN CO. composition is what a performer makes tion ; and when they had to be re tW • hi* Tofidav^aVsodenT'near the reader of the musical journal and boston, mass. placed after the Restoration, it wa it. A Meditation, for example, should INDIVIDUALITY and EXCELLENCE Frankfort in the latter part of July and the daily paper! And it is no wonder suggest the atmosphere of a church; found that there was no longer a suffi the beSnning of August, 1844, the exe- that so many recitals are played when a Scherzo the dainty, cheerful playful¬ ciency of builders in the country. For¬ Merits and invites investigation. cution^of this English commission was we have such a fine array of organ ness suggested by the title; a Festival eign organ builders were, therefore, Literature, Specifications and commenced; and in a letter dated buiiders continually installing their H. HALL & COMPANY invited to settle in England, the most March the joyous instinct of some ma¬ Estimates sent oh request. . . • August 29 1844, Mendelssohn wrote magnifiCent instruments in nearly every New Haven, Conn. jestic occasion; a Berceuse the leisurely remarkable of whom were Bernard . t ■ “T‘I have been MAKERS OP MODERN thus from - Frankfort; jity and town of the land; and since, swing of the cradle—none are alike; Schmidt (generally called Father The Wirsching Organ Co. very busy about the. organ pieces wwhich too, there never was a time when Smith) and his nephews, and Renatus. PIPE ORGANS yet it is a common occurrence to hear SALEM, OHIO you' wanted me to write for you, and people so craved for good organ music, an organist go through a program with Harris. Christopher Schreider, Snetz- they a nearly finished. I should like result the organist everywhere ingnlfled and Olmrchly. practically the same interpretation for ler and Byfield succeeded them, and, you all. Care is taken to play C because at a later period, Green and Avery, the Organ’ instead of Voluntaries. Tell n satisfy the demand. perchance it happens not to be D flat, §ome of whose organs have never been HELPFUL SUGGESTIONS IN necessary to have another . . £, ..~-=- ... .LI , „ i t /> n11 • if r,ntflflt. T deavoring t SERVICE PLAYING. pages, no longer will opopportunities for ;f yOU like this title as well; it not, i Nqw as this demand is not always but what C represents as a part of the surpassed in tone. registration think the name of Voluntaries wilLsuit shown,’ unfortunately, by the number KIMBALL PIPE ORGANS The Musical Leader Among the thousands of young or- securing some fine effect WON HIGHEST AWARD phrase, of the movement or composi¬ ...r PUBLISHED WEEKLY ganists in our churches at the present be lost through not possessing the pieces also, th* “ore “j8® » that attend the average recital, it might tion, is often of apparently little inter¬ NEW ORGAN BOOKS. $2.50 a Year est to some recitalists. time it might be interesting to know other hand” with which to get the de- not know what >t means rLied not be amiss to consider for a while Alaska-Yukon-Pacific Exposition, Seattle, 1909 Modern Organ Building. Being a Ten weeks’ trial subscription, fifty cents The many opportunities for the how many there are who give sufficient sired stop, while the assurance and onTONovembe“eri9 i844: “I like the what might be attempted on the part Special mention was made of the Tubular Practical Explanation and Description of The Recognized Authority on all Musical Pneumatic System (U. S. Patent) used in young organist in recital work to-day thought and study to the playing of freedom acquired will amply repay him term Sonata just as well as Voluntary.’' of the organist to encourage a larger the Whole Art of Organ Construction, Matters for the Central and Western States. Kimball PipeOrgans, stating ’‘It has solved are brighter and more wonderful than their respective church services. Of for the time spent in their accomplish- A. further letter from Mendelssohn to attendance. Do we not at once have a great problem that has vexed organ ex¬ with Especial Regard to Pneumatic perts for years." ever before, and if audiences and con¬ course, they study and practise dili- ment. Mr Coventry, dated May 1, 1845, stated to admit that often the average organ- Action. Including Chapters on Tuning. w. w. KIMBALL COMPANY gregations are fewer in number can we gently their Bach, Mendelssohn, Rhein- It is well, too, for the organistbefore that the composer had written “a kind ist attempts to interpret at his recital Voicing, etc. By Walter and Thomas Pipe Organ Builders CHICAGO not retrospect and asjc ourselves if our berger, Merkel, etc,, and it all is fine; feel that not every note he sees befi of Organ School in Six Sonatas for that a program much -beyond his power Lewis. Chas. Scribner’s Sons, American own carelessness and short-sightedness } fOR BO IN but ho'w much time is devoted to those him need be played. What a relief it instrument,” and asked the publisher cf execution? The familiar saying, “It publishers. things which their Sunday work makes ;s to a worshipper and a hearer to might not be responsible? — Ralp h The twentieth-century organ is a tre¬ Address THE MUSICAL LEADER whether ‘he would like to have the looks g0od on the program,” seems Kinder. McCormick Building. CHICAGO demands upon:' Probably- - _ - one of the observe--- -a change-=- in the interpretationr . whole wornwork or oniyonly nanhalf uiofjt." iJ It was tQ exc;te the performer to “going at mendously complex piece of mechanism, greatest weaknesses in a young organ- of the verses of a hymn and variety a„reed that the Six Sonatas the product of years of evolution ’and regardless of the unfortunate lis¬ ist is his manner of playing the hymns in the manner 0f playing the anthem! be published as one work, and it experiment, which will ever remain a tener’s time or feelings. How much Austin Organs THE GREAT ANTIQUITY OF THE and anthems. He evidently thinks this Let bjm give the pedals a chance to . . ., world bv an ad... mystery to the uninitiated. It is neces¬ ORGAN. a very insignificant part of his work, “recover Their wind” now and then, “fwhh ^he"title Mendelssohn’s better that the recitalist construct a FREDERICK MAXSON An historical account says that the sary for the present-day player or student whereas accompanying a choir or a The anthem may suggest that the pedal of Organ Playing but this was program of numbers, skillfully and of the instrument to gain as practical . organ is said to have been first intro¬ singer properly should be one of the be used continuously, but that does ^;thd[Jn bjf the composer before the logically arranged, of which regardless and comprehensive a knowledge of the CONCERT ORGANIST UR eminent, unchal¬ duced into church music by Pope Vi- highest ambitions in his musical life. not make it imperative. He should use bifcation pf the work, and the pres- of Iooks> lle.is master both f a.re“ O Inslruclion In Plano, Organ, Theory lenged position among talian I in 666. In 757 a great organ instrument as possible. A mere tech¬ One very great help toward this end judgment, and when a passage comes jV . « substituted Six Sonatas stilt of practice and comprehension, 1003 South 47th Street, Philadelphia, Pa. American organ builders is was sent as a present to Pepin by the By¬ nical mastery of its keyboards and me¬ lies in the art of transposition—a sub- wbere the pedals could well be dis- , . q Tbe work^as issued in People demand—and very rightly, too shown zantine emperor, Constantine Coprony- chanical accessories is insufficient. The ject that should be given serious atten- pensed with for a few moments let him U . ,04c b„ c1lb=criotion at one *-4o hear a selection, matter how Messrs. Lewis are themselves practical tion at the very start of organ playing. use tbe manuais alone. In an occa- . ’ ’vy First.—Because our fac¬ mus, and placed in the church of St. imple, interpreted and executed prop¬ tory is and has been organ builders, and they have made a Faust School of Tuning If it is not possible to be under the s;onai verse of the hymn he might free 8111 p __ erly. A philosopher says, “It is the Corneille at Compiegne. Soon after working overtime. Charlemagne’s time organs became readable and thoroughly intelligible vol- Cour.. InrliMtO" Tun!.., liii-.lrtn,. Ilrgulstlng, loir- guidance of a capable teacher, one^can the pedals. The idea can go further MUSIC ARTISTS AND TEACHERS Herbert ARAMENTI...BISBEE now makes ATLANTIC CITY BURROWES BPS records Beaumont;'""'r":,;,::: dunning .- only becker .. fletcher v ,, , for the BECKER -.SS: KERN''":""""...^ BOGERT. "KINDERGARTEN ' % ■' Victor BUVINGER . • _ ST0RER ■ ■ ■ ; COLLINS . INSTRUCTION BY MAIL bw* W kV' b‘ s“ DEN1S0Mr^nnol'.HARMONY "HVSSI5 ~ ..:.. mmsmm MORE PUPILS LARGER RETURNS THE BUSINESS MANUAL FOR MUSIC TEACHERS Price/3' - ' C- ti- VI- W $1.00 zt SBF S£E~ l4|s Plaasc mention THE ETUDE wh.n addressing our advertiser! ’ 641 THE E T UDE COMPOSERS WHO HAVE BEEN 640 THE ETUDE c THEIR own LIBRETTISTS. PUPILS’_RECITALS PIANO TUNING PAYS SOME TOURING EXPERIENCES The fact t'lat manY critics seem to have OF MARK HAMBOURG. / the libretto of Victor Herbert’s GIVEN BY SUCCESSFUL Mark Hambourg, the celebrated era Natoma, not quite all it might be TEACHERS Summer Pleasures REQUISITES FOR EASTERN SCHOOLS pianist, has related some curious expe¬ °*minds one that many composers of tyed by thousands of women^wh^ ^ onera have found it better to write their — THE riences. When playing in Los Angeles :rLABLACHEand arerecogniz^^^; the rain was so heavy that the city was *L librettos. The greatest of these is Pupils of Gertrude H. Murdouoh. °" Wnonpr The stuoendous Sonata (Presto), Haydn; Yalsette, Borow and askin always MUSIC TEACHER flooded. In spite of this, however, five f course Wagner. i ne stupendous skl; Krithlinpra Nncht, Sctnimann-Llskt; Nov mount of work he put into his music elette, MacDowell; Song Without Words smooth andvelvety. It is cooling^ ardent admirers got to the concert flail refreshing, pure and harmless-^- amwas onlyI equaled i,byv the amount behe nutput gen>Mendelssohn;„ Grleg: WeddingNoctur^ DaygcMtt at . “TroldhanAtlequin and persuaded him to play. The story R_efu.se sabstitat Utica, N. Y., Conservatory of Music ■ntn the words. I he librettos Of 1 lie Chaminade; Romance. Schumann; Buttf EDWARD B. FLECK, Director! got about and next night the hallos They may be dangerous.^ .. ... and best ideas upon the moat practical ROBERT J. HUGHES. A.M., Flesh, White, F' packed. Mr. Hambourg relates that tries. Ricnzi, The Flying Dutchman iM*1 °“e" methods of compelling your professional work with the largest facultv since its founding in 1889, offers an unexcelleddied oppopportunity Tannhauser, Lohengnn, Tristan md to yield you a larger income. Musicin ail Usbranches, Elocution, Physical Culture and Languages, et when playing in a small mining town in CLASS AND ACCOUNT BOOK. E. NT and Diplomas issued. Conditions upon entrance: Satisfaction guarante South Africa the concert was much Isolde, the Meistersinger the four operas VlHSlB; Valse Caprice, Sefton. SOo. Pocket slse, contains record of f the Ring cycle, and Parsifal, were all Mrs. A. K. Virgil'; II Trovatore, Verdi (tran- all business transacted by a musio teacher. FALL TERM OPENS SEPTEMBER 11th. disturbed by the sounds of a printing • - i VV-loner himself and some of scription) ; Rustic Festival, Krogman : Little PUPIL’S LESSON BOOK. PrloelOo each, written by Wagner mmseit, ana some oi Hjrmn_ H ’ DaySi Mrs_ A K Virgil; Em- $1.00 per dozen. Illustrated Catalogue. Addr, 1. ALFRED H. JAY, Secretary. press next door. Polite requests were them are regarded as dramatic master- peror's March, Op. 56 (4 hds.), Franz von sent that the noise should be stopped. THE STANDARD LESSON RECORD. (« pieces. quite„ apart„npr+ fromirom theirtneir musical sis-sig ondJ3'011: Mazurka> The Gnomes, Godard Mrs.. Va ise,A. K.Op. Virgil; 64, No. Sec- ’ mod records with stubs.) 26c. A prnctioal method As these were not complied with, the for the teacher to keep a complete record of 1911 Edition sent on approval to new subscribers nificance. Leoncavallo, the composer of Chopin; Murmuring Zephyrs, Jensen. pupils, studies and accounts. MISS EDITH E. TORREY audience, whfch consisted chiefly of / Pagliacci. like many other composers, B «er. PROFESSIONAL DIRECTORY ON PAGE 638 LESSON AND PRACTICE RECORD. THE MUSIC'TRADE MERCANm^AGENCY burly miners, left the hall and wrecked writetodayWrite tooay forlurrree free ,,,oD-...te . THE ETUDE when addressing our advertiser* 645 644 THE ETUDE THE ETUDE standard and modern Elements of Music What Others Say PENNSYLVANIA SCHOOLS instruction books NEW BOOKS A PRIMER OF FACTS ABOUT MUSIC for THE pianoforte OF INTEREST Questions and Answers on the Elements te Methods cheerfully sc of Music By M. Q. EVANS TO MUSICIANS This little work is more than a primer; FlRSTSTEPS in pianoforte It Is a compact little musical encyclopedia, the subject matter being presented not alpha¬ STUDY betically but progressively, beginning with PIANO the rudiments of music and ending with a The combi practjcaj jeachers of the young Antonio Stradivari, His Life and Work. tabulated summary of Musical History, each By W. H. Hill, Arthur F. Hill, F.S.A., subject being elucidated and explained Carefully Edited and Revised by THEO. PRESSER through the medium of a series of practical This book begins at the beginning and seras as a practical and Alfred E. Hill. Published by Mac¬ “Worth What You Pay For It” questions and answers covering the Elements and melodious introduction to the study of pianoforte playing. Millan & Co. Pages, 319. Price, $2.25. of Music, Notation. Time. Scales, Intervals, It is most^carefully^ade J *L ' Chords, etc.. Phrasing. Accent, Ornaments, Tbi, mostost excellent book willwill' bel wel- Form. Instruments. Voice, Orchestra, Foreign by all lovers of the violin. The Terms and Musical History, with a graded Before you pay more than you Stradivari was a very romantic Intended for th >ok made really can afford for a piano, and wndy Price, Si.oo too numerous efforts to ssecu certainly before you buy a cheap, nation at first hand rather than from :s of reference to be ensnared into unsatisfactory piano, you owe it to popular fallacy of giving too much yourself to investigate the Emerson. ""MS1 attention to biographical details. They have concerned themselves chiefly with The Emerson is the piano thousands are un¬ the methods of Stradivari and the means consciously looking for —the piano thousands employed to make his incomparable ifilte i ’iolas and ’cellos. Not the least more ought to have. It is a standard, high-grade isting section of the book are the piano sold at an honest price. This price is made paragraphs given to the countless counter¬ possible, not by niggardly economy — not by slight¬ feit labels which have been the source aggrr- of endless and wicked deceptions. People ing many of the unseen parts —but by making with little experience read the magic every dollar that goes into its construction yield name of Stradivari on the violin label one hundred cents’ worth of value, not to the and imagine that they have a priceless instrument. As a matter of fact the maker alone, but to the purchaser. Stradivari counterfeit labels have been In design, construction and finish — in tone, printed in sheets like postage stamps and touch and wearing qualities — the Emerson is inserted in cheap violins by the wholesale. The writer also reveals the interesting superior in every detail. Its staying-in-tune prop¬ information that the secret varnish of erties for example are remarkable. Stradivari is not a secret and that the recipe has been preserved. From this we “Only the best of everything is used in the Have You Chosen the Conservatory may assume that the excellence of the Emerson.” We repeat that it is a high-grade old Cremona violins was due to the art WHERE YOU WILL STUDY MUSIC THIS WIHTER? of the maker. The book is splendidly piano — made by only experienced men. The first printed and abundantly illustrated. Emerson was made in 1849 — over sixty years ago — and to date over 98,000 Emerson Pianos have Brahms. By J. A. Fuller-Maitland. won their way into American homes. Here is Published by John Lane. Pages. 263. Price, $2.50. positive evidence of its excellence — here is evi¬ The first thipg to admire in this com¬ dence that should satisfy any one as to its quality. mendable work is the excellent manner in which the author has planned the work out the in order that the reader may compre¬ alogue. hend the main facts and artistic phases of Brahms’ life;’ so that the impression as a whole will be definite. The biography with which the book commences is suf¬ EMERSON PIANO CO. ficient and not biased by the author’s en¬ 560 HARRISON AVE., BOSTON, MASS. thusiasm. Thereafter follow chapters on Brahms and his Contemporaries, Charac¬ teristics of the Art of Brahms, The LOUIS KOEHLER S PROCTICAL Pianoforte Works, Concerted Music, The METHOD FOR THE Orchestral Works, The Volkslied, Music !E EXCEPTIONAL FACILITIES. COMPLETE ORGANIZATION AND COMPREHENSIVE COURSES MA for Solo Voices in Combination, The .. MINNEAPOLIS SCHOOL OF MUSIC , PIANOFORTE Choral Works, List of Composition. This sf., s. ORATORY AND DRAMATIC ART is without doubt the most comprehensive TIDE RECOGNIZED LEADING INSTITUTION OF THE NORTHWEST work upon Brahms in English. The FALL TERM OPENS SEPTEMBER 4, 1011 in all branohes of Music, Oratory and Dramatic Art, from Elementarv to Post-Graduate, equal in stand writer evidently deplores the fact that — i_ t* first rank. Faculty of Forty-five.^ Each departmental “color is more thought of than anything tor Illustrated Catalog E.*** PP* else by amateur and professional critics » BROAD STREET CONSERVATORY OF MUSIC of the present day.” He also feels that Study in PORTLAND, OREGON “when the art of design regains its old 165% Fourth Street that the position of Brahms among the Northwest Normal School of Music and Art siagssssaas supreme masters of music will be even KEYBOARD CHART RHYME ROAD TO MUSIC LAND more widely acknowledged than it is at present by the world at large.” in°™ Master Musicians. A book for players, singers and listeners. By J. Cuthbert Parvin and Wheeler are Author, of a Gmt^enre Cmnee, “Piano and Hannon,." Send for .ample le^on. jptr I by A. g&s&srsm Hadden. Pages 254. . Published C. McClurg & Co. Price, $1.75. This collection of biographical com¬ mentaries upon the great musicians from MONEY IN MUSIC TEACHING idel to Brahms will be welcomed by HAPPY PUPILS, SATISFIED PARENTS, PROSPEROUS TEACHERS. ‘iJVSSSnsjSAsus those who have become acquainted i the pleasant and readable style of Classes are doubled through the use of English writer, Mr. J. Cuthbert Had- Send (or Book One of Rhyme Road Series, at before publication rntes 40c pos aid for th" da 1 THE BURROWES COURSE OF MUSIC STUDY Mr. Hadden has wisely avoided Sfce*aSBBSSr k Enthusiastic letters from teachers of the method, also descriptive literature lGambUH^r^ technicalities which appeal more ___;S TO THE PROFESSION sent on application to Katharine Burrowes, B 246 Highland Avenue, Highland Park, particularly to the taste of the profes¬ Published by THEO. PRESSER CO. sional musician, and thus his book has Detroit, Mich. been made thoroughly understandable. Please mention THE ETUDE when addressing our advertisers. THE ETUDE 647 646 THE ETUDE r ALL SORTS FROM EVERY¬ WHERE CHICAGO SCHOOLS Special Notices “ I have bought golden opinions from all sorts of RATES-Professic people."—Macbeth1‘ tl b' f ‘ f AMERICAN CONSERVATORY lII Hall, 300-310 S. Wabash Ave OTHER CHICAGO PROGRESSIVE TEACHERS invited to THE DRAKE SCHOOL OF MUSIC the study of a Correspond with LOUIS ARTHUR RUSSELL, s masterfully taught bye7o%minentenStwy °* c11 branches of Music and Dramatic Carnegie Hall, Manhattan, or the Publish¬ FULL ORCHESTRAL ROUTINE FOR SOLOISTS ers, regarding the introduction- and use of MAGAZINES One of the oddest musical rewards was i.,F SpFallhan0 'fterm “d begins Monday.Public Sente,XI Scffi"M?sT ' nT„.°n„riuXU.!nval,ed11 fre7rai,li.e advantages.i1« Scho°' D. 6th Floor Auditorium the Russell Systems of Music Study for Pian¬ that given to the composer and director, ists, Vocalists, and Theory Class Work. The Johann F. Reichardt (1752-1814), by Fred¬ HARRY K. DETll’KlLEIt-Piuuo, Theory "gg - - Russell books are coming into use among WITH erick William III, of Germany. His BLANCHE BLOOD, \ ii—Associate D ' t musicians’ ' xt *~~oughout the country. majesty was so much pleased with the mu¬ INTER-STATE system THE ETUDE sician’s services that he made him In¬ private Teachers Fisk Teachers’ Agency spector of the Salt Works. This was COSMOPOLITAN SCHOOL OF Western Conservatory alar Conservatory Methods, as part of a State Chartered These combinations are selected really quite a lucrative post, and one w FREE TRIAL OFFER Index sent complete on receipt of price WESTERN SCHOOLS Music Teachers’ Card Index with privilege of return in 30 days and A Simple, Easy - to- be-Accurnte, PORTLAND, OREGON - Mahogany Box. $3.00 N. Lawrence Conservatory —-——- The - (A department of Lawrence College) Offere unusual opportunities for the Carson Voice Studios 1 CINCINNATI CONSERVE 0RY Of MUSIC ESTABLISHED 1867. advanced study of music. Enjoys the Miss Clara Baur, Direclress. intellectual and social life of Lawrence 6th and Morrison—Stearns Bldg. The Problems College. ROBERT B0ICE CARSON, Tenor, - Director Faculty of noted specialists, Choral Society of iso voices, Orchestra, Recit¬ RHEA CARSON. Soprano, - Assistant ALL DEPARTMENTS OPEN als by World’s Artists, May Music LIST OF PROMINENT PUPILS BEFORE Elocution-MUSIC-Languages ‘estival, Faculty Concerts. THE PUBLIC ON APPLICATION Also Special Normal Course in Fall Term begins Sept. 14th. Mr. and Mrs. Carson will be available for Ora¬ torio Concerts and Recitals. For further infor¬ PUBLIC SCHOOL MUSIC mation address R. B. Carson. Location and surroundings ideal SEND FOR BULLETIN In Europe from June 15th 10 September 15th— For Catalogue and Circular Address WILLIAM HARPER, Dean, Appleton. Wis. MISS CLARA BAUR, Highland Av enue and Oak Street. CINCINNATI. OHIO of Teachers "AT THE FRONT ” COLOR METHOD Campbell College Conservatory of Music Missouri Conservatory of Music - HOLTON, KANSAS. HUGHEY MUSIC SCHOOL All branches of music and dramatic art taught S. E. Cor. Boyle Ave. and Olive St. by faculty of 31 specialists ■: ST. LOUIS, MO. —— —; 1. SCnOEBEL. Dent C.IrdOK Free. 1057 Jelfcrwn Are., SL lech, JIo. Solved by WM. H. SHERWOOD Publish increase the Sale of Thc~ _ HUGH A. CLARKE, Mus. Doc, THE ETUDE. The Aramenti School LESSONS BY MAIL SEATTLE, WASH. of Vocal Music Harmony, Counterpoint and Composition C. W. ROLLER cq-lls attention to Mme. Julia Aramenti, the celebrated dramatic Soprano * HE-SE problems, and others that confront and Vocal Teacher of New York, Principal THE BRIDGEWATER SCHOOL OF MUSIC 4632 Chester Ave., Plifladelphia, Pa. music teachers, are solved in Mr. William a department of Bridgewater College, one of 206-7-8-9 ARCADE BLDG. Catalogue sent on application the best Colleges and Music Schools in Va. Standards high. Prices low. Board and Tui¬ H. Sherwood’s Correspondence Course tion ior 38 weeks. $210. Write for information. 1. How can I get more pupils ? Ail,Iron, BRIDUEOMTER COLLEGE, Bridgoirntor, Vo. SEND FOR RATES Detroit Conservatory of Music * °\ Normal Piano Lessons for Teachers, California Conservatory FRANCIS L. YORK, M. A., Director 2. " H°lessons?1 gCt more m°ney for my with questions and answers thereon. OREST PARK of Music PUBLIC SCHOOL MUSIC AND DRAWING Stockhoff, Piano. Nordstromom CarlCarter,Voice. Burg,Wo- rpwo Year Course, which entitles to LIKE CERTIFICATE ,, , .. Course of Lessons embraces the r who has devoted lin. 51st year. College, Collegeallege; PPreparatory and Col¬ lege of Music. Annual Session, September 20. Gym- 3' Wman°„th1°S? teaChCrS SUCCMd better result of Mr. Sherwood’s 30 years’ successful ex- nasium, Expression, Domestic Science, Art. Apply inuly tioal Class. Grading PrlvnU promptly. ANNA - MUSIC—Metho< 1 ^Knr ^Trnhing,°stgt^ Riding, Hnr- S. CAIRNS, President, Diplomas awarded. 4* H°&I-3” 1 raiSS my standard of teach- K arS teac^er and player. You can learn UNIVERSITY DRAMATIC ART and ELOCUTION DRAwTSc^Kree Hand and Mechanical Drawing. Completely organized department, splendidly m this Course, and apply in your own teaching, equipped. Residence department 1509 Gough 5. How can I keep the Interest of beginners? Street, near Sutter. he secret of this success which enabled Mr. Sher¬ Year Book and Particulars upon request 6. How can I teach them Interpretation ? Kohler & Chase Bldg., SAN FRANCISCO wood to have crowded classes at $8.00 per lesson. 7’ WpaliS. best way of teaching Sight Reading to beginners ? This course Will also teach you how to perfect SPOKANE, wash, University School of Music 8. Should all beginners tfe given the sam#* school of Vocal Art Ann Arbor, Michigan. Albert A. Stanley, Director controlWsoP ayitn2 by,“mbinine relaxation and exercises and treatment? Diaphragmatic Breathing. Correct Tone Plaelng. strength th enable you to economize in 9. What Teaching Pieces shall I use? trength, thus making your playing of the great masterpieces comparatively easy 10' W Rhythm?6”' Way to teach Time and BEETHOVEN CONSERVATORY 11. How can I teach my pupils to Memorize? OF MUSIC 12’ HODamBnerIpedah,?the Dr°Dar u“ of ‘ha The oldest, largest and best music school in Specially Low Rates for useful to the Protheroe, which is especially the West. All branches of music taught. Beginners 13- useful to the many teachers who are deficient in FREE Handsomely Illustrated Catalogue on application to Simony. No teacher should be witho" THE BROS. EPSTEIN, N. W. Cor. Taylor and Olive Sts., St. Louis, Mo. I4' Wteachin8h? Secm °{ successful music 15. How can I best prepare to teach ? Etc., etc., etc. Diploma Granted DANA’S MUSICAL INSTITUTE FREE SAMPLE LESSONS if . " WARREN, O. 41 WILLIAM H. DANA, R.A.M., President 4* mORTY-THIRD year. Music taught in all its branches. l Lessons daily and private. Faculty of first-class instruct¬ ors. Located in one of the most beautiful small cities in the country. Healthful location, pure water—not a death in forty-three years. Chartered 'and confers degrees. Fine modern __fewPart,al Scholars still available. if you apply at once i dormitories for pupils, with running hot and cold water in each ™°“’ Te‘C-’ Aetc‘ Send for 64-page catalogue and blue book to 0 WM. H. DANA, President. Siegel-Myers School of Music ch^0°^ilK« Please mention THE ETUDE when addiressing our advertisers. Ivers & Pond THE DELICIOUS FLAVOR OF pianos Baker’s We can furnish you with an Ivers & Pond Piano no matter where you live, with as little inconven¬ ience as if your home were in Bos¬ Breakfast ton. From every view-point, the Ivers & Pond reveals superiority. Its distinguished reputation has been earned by actual service in UPRIGHT GRAND. Style 361 ■ Cocoa nearly 400 leading Educational In¬ Musically speaking this model reprj stitutions and 50,000 homes. Our mto which the upright lias been brought Appeals to the strong new catalogue shows attractive and vigorous as well designs in grands and uprights now as to those who seek ready for shipment for the fall trade. Write for it. health and strength. IT IS A PERFECT IMPORTANT TO BUYERS FOOD DRINK If we have no dealer near you, we can supply you directly from our large Boston establishment, in Model. S(yle71 guaranteeing the piano to please or it returns at A small upright of charming our expense. Unique easv payment plans avail- Registered U.S. rat. Office 53 Highest Awards se "design3 An ideal piano "for a^e any where in the United States. For cata- >me use. logue and full information write us to-day. Walter Baker & Co. Ltd. IVERS & POND PIANO COMPANY, Established 1780. DORCHESTER, MASS. 141 Boylston Street, Boston, Mass. 1. LEFT HAND TECHNIC. 3. HANDS TOGETHER. 6. OCTAVES AND CHORDS. Preparatory School of Technic Important to All Pianists and Students FOR THE PIANOFORTE THE NEW GRADUS By I. PHILIPP AD PARNASSUM AUTHOR OF THE IN EIGHT BOOKS PRICE, $1.00 EACH “Complete School of Technic* By ISIDOR PHILIPP The “PREPARA. §In this unique work each separate department of technic is consider cl TORY SCHOOL OF TECHNIC” will serve by itself, all the studies bearing upon any particular technical point being as an admirable prepa¬ classified together and arranged in logical and progressive order. Proceeding ration for M. Philipp’s in this manner each subject is treated exhaustively in a separate part. The larger and highly suc- main points thus covered are : 1. Left Hand Technic 4. Arpeggios 7. The Trill 2. Right Hand Technic S. Doable Notes 8. Various Difficulties 3. Hands Together 6. Octaves and Chords <1 The entire literature of educational piano music has been ransacked in ing of the usual studies, order to select the best possible studies adapted to each of the above pieces, &c. The “Pre¬ classifications. A student completing any one of these will have fought that paratory School of particular subject to a finish and have imbibed the ripest and best ideas on Technic” may be taken the subject. up bystudentswho have «| Monsieur I. Philipp, leading Professor of Pianoforte in the Paris Conserv¬ grade work and con¬ :d freely in con- atory, is admirably equipped by knowledge, experience and natural talent for the comp, ation and preparation of a work of this type. He has engaged tinued to good advan- method of teach- m the task with devotion and enthusiasm. Each classification will be published as a separate Part. I. PHILIPP :CONTENTS: ADVANCE OF PUBLICATION OFFER Exercises in the Five-Finge Position Exercises Based upon the Triads Exercises with Holding Nc =s Preoaratory Scale Work We will send No. 7, The Trill, when published, for only 20 cents, post¬ Rhythmical Exerch paid, cash with order or, No. 1. Left Hand Technic, No. 3. Hands Similar and Contrary Motion ^ Scales and Arpeggios in all keys Together, No. 6. Octaves and Chords and No. 7. The Trill all PRICE, - $1.00 tor 80 cents cash. An exceptional opportunity. THEO. PRESSER CO., Publishers, m2 chestnut st., Philadelphia, Pa. Theo. Presser Co. 1712 CHESTNUT STREET, P H I L A D E L P H I A have been established 60 YEARS. Bv c PIANOSi everv family in mnrloroto ___* vose vose * sons'p.'/So cTtaES Mar*”' °and "pl*L,i“ ,0”r ** * °f the sermon. It seemed to the s*“ _ _._ __o _ dent that such preaching could never Austin Organ Co. chance, be the good or poor acoustics , tbp pHifirp tbe bi„h or iow pitch of "•orthyV"“V of™ carefulr‘w“‘ consideration'T‘“T/ar°n 7,5L,by thet,!!» iV^nlLr^h^e^h?the solitary shores; the cataract.fcataracts”pour- n, become wearisome, when suddenly the 165 Woodland Street ORGAN SCHOOL ** ** mighty volumes over the hymn that always followed the sermon HARTFORD, CONNECTICUT DR. WILLIAM C. CARL, Director factory atmospheric conditions,*• •— the . . . p ® precipices; the thunder, and the winds was announced, and he realized that numerical size of the choir—all these —in them all were notes of music, the discourse was ended. Conse- FALL TERM OCTOBER 10th at times have to be considered; and Nature was full of music before man auently the next Sunday he was anx- E»tuWI,lio.l Sow lork, 1851 St. Loni«, 185! when an organist has the ability, which, THE ORIGIN OF MENDELS¬ was made; music is as natural to him ious to hear him again, and it was evi- Exceptional Advantages. SOHN’S ORGAN SONATAS. GEO. KILGEN & SON of course, it takes time to acquire, to as speech. And yet some will ask what dent from the crowded church that Send for New Catalogue. transpose to a key best suiting the ex¬ is the use of music. To appreciate hundreds of others as well as he were Pipe Organ Builders isting conditions, he can always be sure CHARLES W. PEARCE. it thoroughly should be a part, of our drawn there because the preacher tact- Address, 34 West 12th St., New York City of gratifying and satisfying results. If religion. Whatever tends towards the fully considered the length as well as the organist feels any hesitancy in The first thing which strikes a elevation of man, to lift him above his the quality of his sermon. The lesson trusting the transposition to memory, about Mendelssohn’s Organ So- natural condition and to make him feel to recitalists is apparent—don’t ORGAN AND SONG RECITALS let him, for the sake of practise, pro- natas is the astonishing fact that, that he was created for something, can- load your hearers. Better by far is it cure a manuscript book and notate at although these works are universally not be despised. Music will outlast to send them away anxious to hear MR. and MRS. CLARENCE EDDY T1NDALE MUSIC CABINETS least in part those hymns and anthems accepted as being the very best of their speech. Articulate language may be more, for then do your chances Church Organs SEND FOR NEW CIRCULAR enable you to keep your music so that that are most often used. kind, yet not one of them contains a needed no longer after we have done brighten for having them come again HAENSEL & JONES you can fifid what you want when you single movement written in what is with the body, but the elements ot and bring others with them. sCNewYork Season 1911-12 want it. Also, they are distinctive fur¬ FREEING ONE HAND. commonly called Sonata form. It is musical expression are eternal. Another good idea is that of insert- niture for every music room or studio. Another most useful practise for the so remarkable that a set of master- It is most desirous thatsthe improve- ing something familiar on the program, Main Offices Wo: ks £$sKTend Send for illustrated catalogue young student is to strive after the pieces should hold their own for over ment which has begun in our church Who of us do not enjoy for our weekly l IWVW If, » ■ •• — w ■ I Wi a a ■ » w 73 In Pittsburgh; TINDALE CABINET CO. occasional freedom of one hand in his half a century and more under such an music should take the right direction, symphony that which we have heard 72 in New York; 45 in Baltimore; 38 in Philadelphia; 32 In Cincinnati; 1 8 in Washington : Hook=Hastings Co. 28 West 33d St. Dept. E. New York service playing. Here again take apparently disqualifying condition that The music of the church should be the orchestra play before, perhaps BRANCHES! 20 In Hagerstown. For Catalogues address M. P, MOLLEW, HAGERSTOWN, MD. simple hymn tunes and anthems, and a short account of the causes which led intelligible. By this I mean that it many times? Novelty is a good thing, by grouping the harmony, leaving the to their production may not be without should not be of such a character as but a familiar work “fills the house.” bass notes to be taken care of by the interest to the inquiring organ student, to bewilder us by complicated passages -So on an organ recital program Bach, Pipe Organs of Highest Grade Only pedal, use one hand only—the left as In 1844 Mendelssohn paid his fifth and by feats of vocal gymnastics. Mendelssohn, Handel, Rheinberger, frequently as the right—except, of visit to England, and whilst staying in There is no special edification in listen- etc., are all splendid in their place but Our Instruments comprise all features which EDWIN ARTHUR KRAFT course, where for the sake of smooth- this country he astonished everyone by ing to the exercise of their gifts on the do not give over to them the whole are of real value. Many years oi practical ness both hands would best be em- his playing of Bach’s organ fugues, and part of a choir when it is impossible program. At the point when you think experience. Write for specifications. Organ Openings, Concerts and Recitals ployed. The playing of the Doxology by his own wonderful extemporizations to understand a word that is sung or the hearer likelv to hecnm/ restless EMMONS HOWARD Westfield, Mass. in this manner will be found excellent on the organ. Some of the leading even tell whether they are singing plan to^him practise; also simple hymn tunes like organists of the day, who were fortu- English Latin or Choctaw. The music his attention because of its familiarity. Dennis, Duke Street, Federal nate enough to hear these perform- of the church should never be allowed A program divided into two parts-the Tour of the United States and Canada Street,” “Hebron,” “Hamburg,”‘Amer- ances, expressed a strong wish that the to become tedious. I would not am first n wo p ica.” The student will find it surpris- young German composer should write scribe the introduction of ne^ tunes llrt X ^ fa CONCERT Entire Season, 1911-1912. (Write For Circular) ing how soon he can acquire the idea some organ pieces in various styles, altogether, but there should be a fair miliar a"sc"ptlons' s°me of th®“p„ and more surprising how satisfying will Mr. Coventry, of the firm of Coventry proportion of the old ones in wbirV, f, 1 * ’ v f- bee” by some. ®uc Sb Stearns Bldg., Portland, Ore. For dates and terms, address the Organist, Trinity Cathedral, Cleveland, O. be the results. No longer will it be & Hollier, communicated this desire to the congregation may join approvaf^" ^ ^ ^ INSTRUCTIONS: PIANO AND ORGAN Please mention THE ETUDE when addressing 01 THE ETUDE 633 THE ETUDE 632 OPEN STRING BOWING. ings should be mastered on the open of Cremona violins which was recently THE ARTIST’S TECHNIC. The reason there is so little artistic IS Cents"— strings before the notes of the bowing placed in the market for sale in London. -The technic of the true artist must violin playing in the world is largely exercises, given in the various schools, It was acquired by George Haddock, well owing to the fact that comparatively IS the Cost of the one soap are attacked. The student should be known as a violinist and the founder of few violin students learn to bow ac¬ so perfect that you ought to have made to understand that fine bowing, the Leeds College of Music, in 1873; and the mere virtuoso. TheP.UD‘reiessly oLAugust Gemunder & Sons fine instinct, and does not “r* J curately. In order to acquire this ac¬ it in daily use. It beautifies, and consequently fine tone, is the on his death it was bequeathed to his pass by the divine signs oE talenf, b , V* curacy a vast amount of preliminary cleanses, economizes. There is no prime requisite of success in violin family, of whose members G. Percy Had¬ »i»i