Volume 23, Number 09 (September 1905) Winton J

Home , Clavichord, If You Lose Her, Music for Men, Piano pedals, Piano tuning, The Song of the Heart

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

9-1-1905 Volume 23, Number 09 (September 1905) Winton J. Baltzell

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_ aL'L / ; FOE THE TEACHER STVDENT AND- LOVER OFMVSIG , PRIGE15 GENTS mibb -n 1*50 PER ANN VW

pvblished BY THEODORE PRESSER HILADEEPHlA, PENN- THE ETUDE 345

A FACT WITHOUT EXAGGERATION IS CONTENTS ?.?.R.E C°NV|MC'NG than a page New and Standard Publications of Great Worth SENTATIOlfNTHUS,ASTIC M,SREPRE “THE ETUDE” - September, 1905 There’s ^ Reason TO ILI.USTRATE THIS WE ADVERTISE ISSUED BY THE FOLLOWING COMPOSITIONS For Everything' SIMPLY WITH THE STATEMENT THAT THEY ARE ALL GOOD The Summer Music Festival.A.L. Judson Since so many have evidently found THEIR The Education of the Great Masters. II. reasons for teaching music, we feel justified in it* JOHN CHURCH COMPANY II. T. Finch presenting OUR reasons for feeling entitled to SONGS FOR ALL VOICES A Practical Side to Sociability_W. F. Gates i their music patronage. In our way of reason¬ CINCINNATI NEW YORK CHICAGO LEIPSIC LONDON ing we can hardly think of anything more that By GEO. L. TRACY The Emancipation of the Musician. L. C. Elson ; THE SEAL OF APPROVAL ON ALL OF THEM should prove attractive to teachers, if YOU can BARITONE SONGS The Sense of Musical Beauty. ; write us about it. Written Work.w. D. Armstrong j The contemporary pianist needs two right hands. A Work of the Highest Didactic Character A Soldier of Fortune. Productive of Results ! F; a to F. . $0.50 On the Necessity of Better Music in Teaching REASONS Here is a work that will do much toward building up IF. S. B. Mathews ' that second right hand. ’ * Columbia’s Glory. First—A clean-store, quiet and well kept. PIANO STUDIES (Patriotic) . . As Teacher to Teacher.Mary A. T. Hood I By WILSON J. SMITH HELLER -BOHLMANN The Arab’s Dream. Ways and Means for the Development of Music Second—Courteous salesmen, PROMPT, August W. Hoffmann’s Piano (Descriptive). in Small Towns.T.C. Whitmer f well posted, polite, and plenty of them. Your Five Minute Studies, Op. 63, in two books, are Music Teaching as a Profession and a Business c wants receive IMMEDIATE attention. designed for daily practice, with special reference to 52 Selected Studies E minor; b to E. .60 Studies for the Left Hand the development of the third, fourth and fifth fingers. The King’s Own. Does It Pay ?.J. Lawrence Erb £ A stock ample for the prompt supply Chromatic Studies for Daily Use, Op. 69, two From Heller-Op. 16-45-46-47 Bb; a to g . . .50 Sight in Piano Playing.F. H. Morton 3 ot all who need the better class of music. Our Op. IOO books, involve in a similar system of sequences a The Song of the Children’s Page. 3 own publications are chosen with much care and Selected, Edited and Annotated by Two Books Each gl.00 plan advocated by Tausig and other great pianists Bugle. F; c to Editorial Notes.. 3 our catalogue furnishes a splendid lot of and eachers. F. material for teachers. All of the better class of THEODOR F. BOHLMANN Vocal Department.H.W. Greene 3 Testimonials from the foremost Exponents of Transposition Studies, Op. 70, supplementing The Song of the Hunter. E; b to F . . • . new music in stock as soon as published. the ones just mentioned, carry the students still far¬ This edition contains the most useful studies from the Organ and Choir.E. E. Truetle 3 Music at the various musical centers throughout the BASS SONGS ther in the system ofc chromatic modulation. works of Heller. The same plan has been followed out as Violin Department.George Lehmann 3 A/.f?r“C^Prompt and efficient attention to world have been accorded, through spontaneous en¬ Thematic Octave Studies, Op. 68. By means in the celebrated Bulow edition of “ Cramer’s Studies,” viz.: A Soldier of Fortune. D; f to D.50 Teachers’ Round Tablef. 3 MAILORDERS. Orders SHIPPED the day thusiasm—a genuine appreciation of a work of great of variations on a given theme, the design of wnich is to A Son of Mars. Eb; e to e. (Bass Clef) . .50 they are received. Leaving out all unnecessary material, and arranging the re¬ Humoresques..A. H. Hausrath 3 gradually develop the special requisites of octave mainder in progressive order. The Bold Dragoon. Eb; e to e. (Bass Clef) .50 playing. Et/fA—Exceptional facilities for selecting To each study are added annotations of a highly instruc¬ The Boys in the Lincoln Green. C; e to d. Publisher’s Notes. 3 music to meet your requirements if you will Upon receipt of request we will mail you a , Many teachers who are using Dr. Mason’s most (Bass Clef).. brochure giving reproductions of the autograph letters tive didactic nature by Mr. Theodok F. Bohlmann, a musi¬ state your needs. This department proves a excellent technics, write that they supplement that cian of sterling merit, favorably known on both sides of the The King’s Own. G; f to e. (Bass Clef) '.50 great help to out-of-town teachers. of these emin.-nt men and women in music. They method to their perfect satisfaction. Dr. Mason The Laugh of a Jolly Good Fellow. Eb; e are of much interest and worthy the consideration has been generous enough to publicly commend toe. (Bass Clef).. .40 Sixth—A rate of discount that is most ac¬ these studies. Published in Three Books, each, $1.50 MUSIC of the thoughtful. The Merry Monks. Db; eto d. (Bass Clef) .50 ceptable to teachers and schools and thorough¬ Price SI. 00 per ool. Or in One Volume, - cloth, $2.00 ly protects them. Write to us about this. TENOR OR SOPRANO SONGS Clover Bloom.E. M. Stults 1 Four songs-My Love. Ab; E to g . . From Olden Days (4 hands).P. Wachs 4 Two Roses. Eb; c to F . Vision Sweet.IF. Aletter 8 catalogues and teachers' aids sent on application. ALBUM of A Lament. B; d to F GRADED RECREATIONS It MUSICAL A Lullaby. Ab; E to E . Papillonette. Michel 10 Thy Voice. A; E to a. Hungarian Gypsy.W.G.E. Seeboeck 12 CLAYTON F. SUMMY CO. A Collection of Ting Ling Foo, D; d to E. 220 Wabash Ave., Chicago PIANO MUSIC Istar.E.R. Ephraim 14 and DICTIONARY These Songs Will be Sent on Selection. Pubtishers andlmporters Dealers in Music of the By AMERICAN COMPOSERS Pleasing Desirable Pieces . Thematic Vocal Catalogues Free. Mmuet.F.Borowski 16 A Foreign Subject, Opus 6, No. 3... .P. Benard 19 Four Volumes— One Grade to each Volume BEST AUTHORS Pastorale. ...E.Mathe 20 Price 50c per Volume The Pronouncing and Defining Dictionary by Mathews VOCAL COMPOSITIONS Eest.J- W. Bischoff 22 For the First, Second, Third and Fourth Grades and Liebling is beyond question the best vocabulary of Secular and Sacred musical terms ever published. The American School of Music is potent .be¬ Edited by V FRANK H. BRACKETT cause it is complex—because among American com¬ Contains over 10.000 definitions of words and terms, New Organ Music W. S. B. MATHEWS many of which are encyclopaedic in character. SECULAR SONG PEKRATA, 6. Nocturne ■ . . . IT) 7*1 posers, both by birth and affiliation, are members of DETHIER. GASTON. Minuet .... 7, the Art School of the World; he German, .the and EMIL LIEBLING Gives the correct pronunciation of each word. Love is a Star. The explanations are up-to-date in every particular, High and medium THOMAS MOORE SONG CYCLE WRIGHTS0N, HERBERT J. Morninn Thoushi . .30 Italian, the French, the Russian, the English, et al. — These melodies have been admirably selected, the grada- embodying the results of the latest thought and investigation For Four Solo Voices ., ", Caprice J30 .. March .50 all are in our midst and are of us and with us. tion is most consistent, each piece carefully and fully fingered. of musical scientists the world over. By W. WARREN SHAW In the Album of Piano Music by American „ „ Vespers . . .30 With the embellishments written out in foot-notes. This Consisting of two quartettes, one trio, one duet Composers,we note the leading American composers. senes will render many services-as delightful themes for Notation, Musical Forms and their classifications. Rules of RENZI, R. Auspice Stella. Visions Melodioues and six solo numbers. Each of thfe above may be Three Compositions, Complete . . 1.50 It contains good American Music and meritorious melody-playing, abundant and varied material for recreation used as an independent concert number. compositions in such an attractive dress and at sufch a and as a means of promoting acquaintance with the best com- Bound in cloth, printed on the best paper. posers of many schools. A charming novelty for a woman’s club Dro- Fermta's^Nwtiuntf^'îsônows^ * Musiclste ” °f Milan, seductively low price that all teachers and students gramme. r her,‘La 5pler?di(i Publication which reflects the will be eager for a copy. The Price, One Dollar; a cheap price. Copy sent on selection if desired. Two Volumes. Price, each, net, 75 cents. nIw York totro^h8thTUsrare°?fSenef J' FiScher & Br0” of Brochure sent free upon application. outside cover, and of general typographical aDDearanrfCe Pregards®&^s.the me mustrmisic, the “Nocturne” Lv r.tiAsroiiow t?. Price $1.00 net the distinguished Baritone in D. . .SO MELODY PICTURES Copies for sale by all music dealers, or SPARKLING anZ BRIGHT MOTHER GOOSE MELODIES ANTHEMS FOR for LITTLE PLAYERS A Collection of Melodious and Rhythmical GENERAL USE THEO. PRESSER, 1712 Chestnut Street, Philada., Pa. loved from all vulgarism rhythm or effects, it revei A BOOK OF PIANO INSTRUCTION By WINTHROP Bless Us To-night. ON KINDERGARTEN PRINCIPLES PIANO PIECES ^(Evening Hymn). .10 By Jessie L. Gay nor and Margaret J? Martin By BEHR. LICHNER, SPINDLER and STREABBOG Designed as a first piano book for both instruction and recre¬ Lord’s. The .8.12 For next Season add GUISEPPE FERRATA’S Piano Basing upon the claim that piano-playing should have an Bound in Flexible Boards with Cloth Back ation. Contains the favorite "Mother Goose” stories in both Emanuel’s Land. Compositions to your Syllabus equal place with all other exercises of the primary school and (Hymn Anthem). .10 kindergarten this book has been prepared from work done with Price, 50 cents sfodv the melody preceded by a short preparatory .It is somewhat unusual for European critics to select for children in the schoolroom. The plan of the work is to give the God That Madest youngest pupils an immediate comprehension of rhythm and an f 8"' "° be,,sr lnduc,iv» "”»erlal for the piano Earth and Heav- ability to play at once. = Special and = bcxkto oqualhTn muS“t‘&tf o '"tplrtUng Zd h&t°bu™Zy% withwhi characteristichlr, Mr design.a th'S Ve,T a,,raC,lvs b00k’ Co™ Light and Life Immortal. (HymnAnthcm) . . . r oriînaUty'îd'intHviduîtjf/t?8^*8 *""*1* With a decided Price, 60 cents Love D.vine, AN Love Excelling .... The renowned writer on here is a Blessed Home. (IlynTn Anthem) . ! j Weigel, of Vienna, expresse. cts. Dr. Bruno Extraordinary Offer which appeared In the “ Lyra A BOOK OF ANTHEMS FOR EPISCOPAL SERVICE follows: Ten1"*™1" °a • ■ *0.12 Cantate Domino in Vr 1. ouueu up ir Manual of Modulation Famous Compositions ^PIANO PRIMER KX-tur! : A6 Bonu'm Es't in E ! During September and October we 1^ of aJ.iy p,Fischern&uItall &oan r.Bro.,named New G -York, êrrata, has ’ desire to have all up-to-date Teachers Iish0eUdShislf8rsft'Sann wnrire Tk. —, distinguishing By T. L. KREBS TOf ‘Zp:/o7£Z7entP£ composer from an oiners FOR PIANO SOLO manic Extra°ctys1rom new ^th8’ Gujde’” gaining The- skill, which in. its thorough _* “initios us or tne Germans, A most valuable little work, containine conri«*A , GRIMM’S and the charming naturaln, is interwoven with a hearty en- Two Volumes, Each 50 cents ineach anthem. ‘ÊNT^REE.regardlr'g BOlos’ duets’ etc-> joyment of life with which e speaks to us in the tones of his native language. We wisl to make special mention of his the time and opportunity to study the theory of music Discounts to Organists and Choirmasters. MODERN METHOD OF TECHNIC Humoresques, op. 12, whi h, while slightly influenced by best^hhfgslrom rnîs^sourceâncfm"5 °f pkn° li,eratur® "the fme keyboard Mail Orders Pilled to Any Part of the Country. Schumann’s works of the sa re name, bear the charm of irre- SKoTthifmmuûl^sunnlk?h'?Vn*,i°5 m°dulation. The cicTanship hOTfop f n X of ‘hs jnstmment. it is a primer of ml- PRICE 81.00 sistible freshness. His opt 1 13 (four piano pieces) includes theâyer°ofh8oo'd musi'cRUSSian Schoo‘' “ 1?d“1 collection for Instruction is g“eV all t hi aStto^de^med8 nec’el^ry"/^ tf,0*} the principles of phrasinp m|niH,,on of har,monJr. musical form. an exceptionally cheerful anu graceful Minuet and a delightful behishments and omamem^?),00"^' ,w,ay of Playing all the em- Intermezzo. A more serious ick by the composer Send for descriptive catalog giving list of Contents. Price, Net, 25 cents andmuch other interesting ?r .ncipl®! of Pianoforte technic, To every one sending us 25c. in in his ‘ Serenade Triste.” op WHITE-S M ITH stamps, we will send prepaid a copy of a personal mood and an irri Price, i^rTTs MUSIC PUBLISHING CO. this standard work. .uu.ner in artless and graceful details. 3 ADDRESS of^Chopin s Minute Waltzes,” op. 64, our educational journal. M«fcSSand Muî^dan*1^ !*,St that yoxx re_ - BOSTON NEW YORK CHICAGO of study.’ 1 to more advanced players for 62-64 Stanhope 6 E. 17lh St. 259 Wabash nouncements as issued-Free Send if. ’ and othe** interesting literature andânf THE GEO. B. JENNINGS CO. : compositions for Piano and Viuun ana n™ 5treel’ Avenue. will be sent on approval to all reliable teachers CmsTraatorieS The Great Hail Order House Cincinnati, Ohio and Institutions or to their local dealers or supply hou?S? J. FISCHER £ BRO., Publishers. 7 £ 11 Bible House, N.Y. ntion THE ETUDE when addressing our advertisi 347 346 THE HTHDB THE ETil D E National TEACHERS 11 TEACHERS 1! 26 Glee or Chorus Books SCHOOLS. CONVENTS. AND CONSERVATORIES OF At Introductory Rates (ONE Copy ONLY of each Book at this Sample Price) Graded Course Speoia1 Offer THE ONLY METHOD OF PIANO INSTRUCTION MUSIC SSStt&SSSSSSR Highest note F8ha.rp( Partly Humorous).. QUARTETS Popular Songs Vol. 1 arranged for Male Voices by C. F. Shattlck. and gfegSgvoL| ;; ;; ;; v. g5;giSSS:::::::::::. Illustrated by America’s Most ARE SUPPLIED WITH EVERYTHING NEEDED IN THEIR WORK CHORUSES MXne'ux®0 CMlIcUon of tooted Music for"VoX, : Distinguished Teachers Molineux’ Collection of Sacred Music for Male Voices, not difficult, Vol. -••••• •••••■ I Barrett’s Collection of Sacred Music for Men's Voices, for Masonic and Church ute. ■ and Pianists PR-OMPTLY - ECONOMICALLY - SATISFACTORILY jSteele’s Vocal Class Inslraction Book for Men’s Voices, including Easy Part Songs. ■ • :! Molineux’ Humorous Selections for Male Voices, Vol. 1... ■ Old 8ongs arranged for Male Quartet and Choruses, Vol. 1. I Old Songs " “ “ “ “ “ Vol. 2. By THEO. PRESSER, PHILADELPHIA, PA. A Practical, Comprehensive and Thor¬ PART SONQS and Molineux’ Repertoire, Vol. 1,13 Simple Part Songs tor Mixed \ o ces.. Molineux’ Repertoire, Vol. 2,11 ■’ “ “ .. oughly Graded Course The unique but reasonable methods of the music CHORUSES lor The Unique, Vol. 1,13 Part Songs for Mixed Voices (43 pages). years as a publisher, have revolutionized The Unique, Vol. 2,14 “ . (48 pages). MIXED VOICES The New Gradus ad Parnassum, Em¬ supply house of THEO. PRESSER, the out¬ the music-deeding trade. bodying the Latest and Best of Glorias (IS settings)... growth of his intimate knowledge as a teacher It will pay every one interested in any manner to Ideas in Pedagogy investigate at first hand the liberal system and of their needs, and perfected during twenty policy followed by this house in its efforts to—

FEMALE VOICES Molineux’ Collection of Quartets for Female Voices... It Will Help YOU in Your Teaching' Publish Modern Teaching Material; BECAUSE To Give the Best Discounts Possible in Every Case; WE OFFER THESE BOOKS at the special low price in the special offer column to induce To Allow the Most Satisfactory Terms; you to examine them. You may select one Book or one each of any of these Books at the prices It embodies the work of the most emi¬ To Carry a Stock (no matter where published, or by whom) that will marked, and they will be sent, postage or express prepaid, upon receipt of the price in right nent pianists and teachers in America. Contain Everything of Value to Music Teachers and Students; and hand column. It can be readily adapted to your ONE COPY EACH of the entire list of 26 Books at the special price amounts to $4.50. “ method,” no matter what that may be. Thus to Aid the Cause of Musical Education and lighten the labors of its followers, As a further inducement, we will furnish one copy each of the 26 Books, expressage or postage It is the LATEST work of the kind. f FV. InKthC nCW ‘’“fMtag, 1712-1714 Chestnut Street, Philadelphia, Pa., lately purchased and remodeled for the host prepaid, upon receipt of $4.00. Future Discount: Twenty per cent, or one-fifth from prices in first column. To ALL of the studies are carefully annotated, cannot ^needed in the^Teach^s worl,^ which add postage. fingered and edited. With the exception of the ROTE SONQS and No. 714, all the music in these Books is also published separately in Octavo Sheet form. Prices in most cases will be found upon the It is the most carefully graded of any Equipped to Supply Every Teacher and School of Music in this Country and Canada covers. These prices in sheet form are subject to discount. course before the public. No matter how small or how large the trade, with everything needed. It begins at the beginning of study. S^LE PLAN. (ori5inaI With us) is arraneed and carried out on a far more liberal basis than obtainable from any of our imitators We will It saves the time that otherwise would CUCDV AnPiA MICT Professional or Amateur orders elsewhere. ^ ^ 3dVantageS derived from this Plan- and the aa™ discounts, even if they desire to place their regular be spent in laborious and often unrewarded EfV C|1V * 1 should have “MOLINEUX’ ORGAN search after that which is good and up-to- FOLIO.” Each of the three volumes contains 62 pages, Marches, Voluntaries, etc. Per volume, All Orders, Large or Small, receive the same Attention. 50 cents. Introductory price, until further notice, 35 cents each or the three for $1.00. Also date. “THE ORGAN,” published every two months, contains in each number an average of 13 All Orders are Attended to on the Day they are Received. pieces of Good Organ Music, Easy to Play. Single copies, 25 cents; one year, $1.00. It covers the entire field of piano litera¬ Year Books from 1890 to 1904: Vols. No. 1 to 15. Bound in heavy*paper covers, $1.25 each. ture in an eminently practical, interesting Send 20 cents, special price, for a trial 25 cent copy, or 50 cents forlor a trial copy and oneon and stimulating manner. SENDSrTmA.°oDDnEAL?MG: °UR MANY CATALOGUES- ALL FREE FOR THE ASKING. volume of “ORGAN FOLIO.” Other volumes of “ORGAN FOLIO” will be published. SEND A TRIAL ORDER AND ASK FOR OUR PLANS AND CATALOGUES, AND THUS SAVE TIME. Hundreds of your fellow teachers from all parts of the country have sent us, un¬ A FEW OF OUR STANDARD PUBLICATIONS solicited, enthusiastic commendations of Molineux’ Six=Hand Collection Vol. 2 Now Published these very features. harmony TOUCH AND TECHNIC Standard Graded Course of (Three Performers on One Piano). By J. W. LERMAN Dr. H. A. CLARKE A HISTORY OF MUSIC Dr. WM. MASON For Classes and for Private Reading is UNIOUE. Because there is very little six-hand music published (especially in hook form), and that little is for Studies for the Piano Edited by W. J. BALTZELL the most part, so difficult or intricate that seldom can three piamsts of sufficient ability get together and perform it THE STANDARD TEXT-BOOK Four Books $1.00 each well Not so with the pieces in this collection; for, while they are very BRILLIANT' and showy enough for concert The “National Graded Course,” which Price, $1.25 An -original system for the development W. S. B. MATHEWS Price, $1.50 Illustrated use, they are so arranged by Mr. Lerman, in a novel manner entirely his own, that they sound pretentious and full is complete in seven grades, will be sent to of‘: go," yet are so EASY to play that even those with but little ability-mere beginners, in fact-may take part in COUNTERPOINT H. A. Clarke 10 Grades. 10 Books. $1.00 each tludes the most approved id them. In nearly all the pieces, two of the parts (bass and middle) are played within the compass of a few simple any School or Teacher for examination and for teac —i -tudying history, mak notes or chords, and even the Primo (treble) part is not difficult. Most of the ledger line notes are written on the Price, $1.00 it the BEST TEXT-'-BOOK on the subj staff, with directions to play them higher or lower as is necessary. comparison with other methods, without ime to the present d For novelty, brilliancy and ease, this set of six-hand pieces is truly “ MULTUM IN PARVO.” any obligation to purchase. A critical ex¬ THE FIRST YEArTTn THEORY O. R.. Skinner Price, $0.75 amination -and a practical trial with your FIRST STUDIES IN SSSfs” 50 cts. each, S'SISSr™ 40 cis. each, S'E?%V0L: 75 cts. pupils will convince you that it is the Only MUSIC BIOGRAPHY Perfect Method of Piano Instruction. " The Modern Pianist." Price, $1.50 A Children’s History of the Classical Period All the pieces in these Books are also published in sheet form. Catalogues mailed if desired. Thomas Tapper_Price, $1.50 We publish a pamphlet concerning the GEO. MOLINEUX, 148=150 Fifth Avenue, New York advantages of a Graded Course and the ALL OF OUR. PUBLICATIONS SENT ON EXAMINATION TO RESPONSIBLE PERSONS ‘National” in particular, which is worth FIRST STEPS IN PIANO REED ORGAN METHOD TECHNIC AND ART OF reading. It will be mailed to any address. STUDY CHAS. W. LANDON PIANO COLLECTIONS Price, $1.50 SINGING FREDERIC W. ROOT First Parlor Pieces.$0.50 Popular Parlor Album.50 Brilliant Piano Music for Social and Recital U s ^ PRICE, EACH GRADE, $1.00 SCHOOL OF REED ORGAN Methodical Sight Singing. 4 PLAYING Books, each.50 Modern Dance Album.50 MODERN DRAWING ROOM PIECES ££*£ DESCRIPTIVE ANALYSES Studies compiled by In<1Cultvirey Lessons in Voice Musical Pictures (Piano or _ OF PIANO WORKS Cha.s. W. London TMrty-two Elementary Song 100 °r<5«>) .. Edward Baxter Perry Studies, 3 Keys, each.SO 24 Pieces for Small Hands . .50 Contains exclusively brilliant and attractive drawing-room compositions of a high order melrwi' 50 Standard Compositions analyzed. Hatch Music Company A work for every music lover. Price, $1.50 Juvenile Duet Player (Piano or and showy in the hands of the average player. Modern pieces of striking character ’and °“IOUS THE STANDARD GRADED Organ). 50 popularity, every one sure to be appreciated by the general musical listener. proven PUBLISHERS AND IMPORTERS OF MUSIC DICTIONARY OF MUSIC THE ORGAN PLAYER. course of singing Parlor and School Marches . .75 No further suggestion as to the high value of this work is needed than a mention of a f Pipe Organ Collection H. W. Greene the composers represented : Borowski, Paul Wachs, MacDowell, Reinecke and Rolling Iew °‘ „ AND musicians First Recited Pieces.. Eighth and Locust Streets, Philadelphia Dr. Hugo R_iema.nn Price, $4.50 Compiled by P. W. Orem Four Grades, Four Books, each $1.00 The Two Pianists, More Diffi. The latest Encyclopaedia of Music For Conservatory, School and THEODORE PRESSER, Publisher, 1712 Chestnut St., Philadelphia pa Price, $1.50 _Studio Use cult Duets. i qq WE MAKE A SPECIALTY OF SCHOOL AND TEACHER TRADE Ma; >n THE ETUDE when addressing o" THEO. PRESSER. 1712 Chestnut Street, Philadelphia, Pa.

ation THE ETUDE when addrei 348 the etude TRE ETUDE 349

SCRIBNERS’ T A TEST BOOKS Worth of Standard THE STUDY OF THE HISTORY OF MUSIC Copyrighted Music Of With an Annotated Guide to Music Literature. BY EDWARD DICKINSON, JUST PUBLISHED BY G. SCHIRMER, NEW YORK Professor of the History of Music, Oberhn College, Author of Musi History of the Western Church8

Garden Song, reverie - - 50c This is unquestionably the most complete and carefully edited small dictionary of musical terms that Song of the Dawn, nocturne - - 75,. Fanetello, Spanish serenade - . 5(|C has ever been published. It contains very nearly four thousand definitions. In order to realize what this \yjE call Attention to the following Piano Angels’ Salutation, meditation - . 5^ means, count the definitions in any other of the so-called Pocket Dictionaries. Furthermore, these are Song Without Words, tonstuck - 50c definitions that define. Within the limits of the work, the explanations are full, correct and systematic— W& Compositions Just Published: Last Meditation, reverie - - . 50c not a mere conglomeration of hasty jottings,.got up with a minimum expenditure of labor and thought. Rippling Brook, salonstuck - -50c The vocabulary of the Italian language, “the language of music,” is absolutely the most complete of Italian Sleep On, slumber song - - - 50c musical terms in regular and occasional use which has ever been offered to the public. The English voca¬ Flowing Streamlet, nocturne - - 5(fc bulary is likewise remarkably full; and a great many French and German terms have also been added. Sparkling Spring, etude - - - 50c Dreameries, meditation - - .50c The usual fringe of Hebrew, Greek, Latin, Asiatic and African words—the pseudo-scientific trimming The Roman Charioteer, march - 50c which so often serves to hide defects in the foundation-material—has been dropped. Splashing Waves, galop brilliant 4 The ‘introductory” matter, covering sixteen pages, comprises “Elements of Notation,” a list of all hands) - - - - 75c Common Abbreviations of musical terms, three pages of very practical elucidations of foreign pro- Polka du Concert, caprice - - 50c nunciation, and a “ Comparative Table of Tempo-marks.” There is also an Appendix of Condensed Gypsy Carnival, fantasie - - 50c Chiming Bells, nocturne - - 50c Biographies, which will be handy for reference when period or nationality of a great musician are momentarily in doubt. Consolation, melody in G - - 50c Merry Shepherd's Lay, nocturne - 50c A feature of peculiar interest and value is the accurately marked pronunciation, not only of all foreign Thoughts of Home, meditation ■ 50c words, but also of all English words whose pronunciation could possibly be doubtful. The system adopted The Fawn, valse du salon - - 50c for marking the pronunciation is one which arrests the eye and compels attention. Besides so few diacritical marks are employed that the system can easily be learned; and the Rules for Pronouncing FPFF Your choiceof any five of the above German, French and Italian are so plain and simple that a novice can understand them and apply them * ■wLL, successes will be sent express pre¬ intelligently. J paid and absolutely free of any charge whatsoever to all purchasers of a copy of the “NEW TECHNIC” Valuable Study Works for Piano Rafael Joseffy, School of Advanced Piano Playing, cloth, net. Engelman’s Special to Etude Readers By HUGO MANSFELDT $3.00 Rafael Joseffy, Instructive Edition of Studies for the Piano, net. Fleeting Hours, (New Reverie), By Marie Louka 2.50 Latest Success Recognized, accepted and endorsed by Franz The Groundwork of the Leschetizky Method, by Malwine Bree, cloth, net. A Silent Prayer, Listz and other celebrated professors, instructors 2.00 “SONG TO THE STARS” (Reverie Nocturne) The Hour of Prayer, “ and pianists throughout the world as THE MOST G. J. Huss and Henry Holden Huss, Condensed Piano Technics. “GLADYS DANCE CAPRICE” The North American, March, VALUABLE COMPENDIUM OF THE ERA. 1-50 “WITH LOVE AND LIFE WALTZES” Frederick A. Williams, Wrist and Forearm Studies. “LA PETTITE DEBUTANTE” ^Intermezzo) March, 1.25 “OUR MASCOT” (Characteristic Patrol) The Rajah, Price, Two Dollars and Fifty Cents Alexander Lambert, A Systematic Course of Studies for Pianoforte, 3 volumes, each.. “LOVE, JOY AND SORROW” (Reverie) Cupid’s Dart, (lydiie), 1.00 “EVERY CLOUD HAS SILVER LINING” (Song) EXPRESS PREPAID “TWO ROSES” (Spanish Song) Dance of the Snow Flakes, I. Philipp, Exercises for Independence of the Fingers. 1.50 for the four parts complete, handsomely bound Special for this month: Any of the above I. Philipp, Exercises, Studies and Examples in Double Notes, net. “NYANZA” (African Two-Step) at 18c. per copy, or the above named 7 compo¬ in flexible cloth and hand sewed. 3.00 sitions for $1.05, postpaid. It is a common-sense tuition, and guarantees I. Philipp, School of Octave Playing for Pianoforte, net. a perfection in finger dexterity-, and enables the 3.00 Arthur Whiting, Pianoforte Pedal Studies. WEYMANN & SON. Publishers pupil to accomplish greater results in far less time than any other system now in use. 1.50 923 Market St., Philadelphia, Pa. Teachers simply glotify it, and no other Artistic Piano-Playing as Taught by Ludwig Deppe, together with Practical Advice < book has met with such a sincere welcome from Questions of Technic, by Elizabeth Caland. Boards, net. the guild. 1.00 Satisfaction guaranteed or money refunded. John H. Rogers, The Development of Velocity; Part I, Scales; Part II, Arpeggios, each. POPULAR SONG HITS 1.25 Blasius & Sons August Spanuth, Preparatory Piano Technics, cloth, net. PHILADELPHIA, PA. “ Lights of Home"’3’ ^ Tkaheei' aml °KBA* s«m -25 “Just A Picture of You*’ Carl A. 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KT™... ’_ QUICKSTEP.Adolph Sc SONNAMBULA, BeHini, Italian-English... W. H. WILLIS “ n^5d. °f rePair> 80 much the better—but don't’ fail to ON LOCH LOMOND.Brown, A. L. useful matter. [SkIsI send all the leaves.) Write your name and address on the front cover • Marches, Two-steps, Wnltzes, Lancers, PROCESSIONAL MARCH.Quigley, L. J. CARMEN... enclose a 2c stamp for return postage; roll firmlv wr»n , ’ Dances, Transcriptions, Intermezzos, etc. QUEENA (Valsel.Krogmann, C W.. jg@“SENT FREE ON APPLICATION address plainly and mail to us. We will do the reVand remaif „rn “ ♦ y* IRM WITCHES. - Krogmann, C. W.. 3. ROMEO AND JULIET. Any copy of old musicI- “"GAMBLEUCD- GAMBLEIZED ” Yinwill oi.tweor pt!y* UNFORGOTTEN..'.W j ” I'.Sartorio A.... 4. TANNHAUSEK. ‘ “GAMBLEIZED." PRIZE CAKE WALK Exceptional opportunities to agents. p Walter V. Ill ner'agrvfit Ragtime Twostcp. Ananas a WALTZ.Meyer, Aug. ... 6. LOILENQRIN. . good number, full of fire, vim and go. It* exhilarating «yr- ZENOBtA.Quigley, L. J.nu 6. TRISTAN AND ISOLDE .. GAMBLE HINGED MUSIC CO. \ \ 1078 Millard Ave., Chicago, Ill. aelyRll> UK you off irour feel Noi difficult tophi BRAINARD’S grade III, and a Amt-cl aw teaching piece lue. po#tp*i«l 8. RIGOLETTO. OUR “EDITION WOOD” Little Steps in Music-Land 9. TROVATORE. ROSALIND WALTZ is the best and most Carefully prepared Edition 10. TRAVIATA. Klmorr. Well written and Immensely ; Bright, Melodious, Easy to Play 11. LUCIA. A. *>'K 9 page Wain Don't miss this opportune » of the Standard Studies, Recreations and Classics obtain it postpaid for only l«r. A New Book Just Issued. 12. BARBER OF SEVILLE. ... yet issued, containing many important volumes In Preparatory, First and Second Grades. 13 MARTHA. not to be had in any other edition. It contains twenty-one of the best pieces in their grades, by A HAND-BOOK FOR^TE ACHE RS FIVE NEW TRANSCRIPTIONS composers well known through their excellent and popular teach- 14. DON GIOVANNI. STEP BY STEP We feel positive that any important dealer 15. HUGUENOTS. GRADE IV CONTENTS 16. CAVALLERIA. BY A. K. VIRGIL _ F. W. Mn.rh.nt, one of AmerbWs beat known *t will send you a package of our music for ex¬ BEE MARCH.G. C. Miller. ranger*. The title* arc: BON VOYAGE MARCH.Adolph Schroeder. 17. MIGNON. . THE TEACHER'S WORK MADE CLEAR, THE PUPIL'S CERTAIN THROUrn Tur amination with the “privilege of return.” In CINDERELLA WALTZ.Carl Henschel. 18. BOHEMIAN GIRL. S3 2?ke“ BucieL Mocking Bird. case you should have any difficulty in procuring DANCE OF THE FAIRIES.Duncan J. Muir. APPLICATION OF CONSISTENT AND LOGICAL EDUCATIONAL Princ,pLES Old Black Joe. Dixie's ..and. DANCING ON THE GLADE.R. Ferber. 19. SONNAMBULA. Old Folks at Home. such, if you will send us the name of your regu¬ 20. FREISCHUTZ. Issued in two itmo volumes of 400 pages each. Price, $2.00 per vol.; to Teacher* «, DOLLS’ MARCH.Adolph Schroeder. Any our lOe, postpaid, or SOc. for all «n. lar dealer, we will try and arrange the matter for DOTTY DIMPLE WALTZ.. . Duncan J.Muir. 21. N0ZZEDI FIGARO. Vol. I out Nov. 1, 1904; Vol. II will be out April i5, I9o5 ’ $1'60' EVENING CHIMES.R. Ferber. you, as we feel positive that after you have once EVENING LANDSCAPE .C. Reinecke. 22. FIDELIO. FAIRIES’ MINUET .Carl Henschel. 23. NORMA. The following are still 10c a copy: examined our publications you will find many Address A. K. VIRGIL, 11 West Twenty-Second St New V ^ c- ¥.*»c>1|a Abo Twottntra: Cavalier. Intzuler*. High life FRISKY LITTLE FIREFLIES .Duncan J. Muir. 24. ZAUBERFLOTE. that will become of permanent value to you. LITTLE FAIRY WALTZ .L. Streabbog. Am,»1|iLf,Tn' SporU, National Air Medley. <'«• MARCH.M. H. Cochran. 25. FLYING DUTCHMAN. For sale also by THEO. PRESSER and book and music dealers generally u’wl, Iron.- Twentieth Century Woman. MARCHING THROUGH GEORGIA 26. WILLIAM TELL. lint flwpp»wZJ?: Lakewood Society. Love Slorie*, Mlnero, (Arr. by Frederick Weber). H. C. Work. 8 M*n wlth the lioe. Mv lady Urn. =SENT FREE- OLD CLOCK.. . Duncan J. Muir. 28. GIOCONDA. Ponchielli Olaml ^Y-. Tw<>stk^: I’adlshah i lVmlsn). JiftM* Our latest Complete Catalogue, Every Pianoforte teach¬ ROBIN REDBREAST .M. H. Cochran. DaJsTra.1 blai*)' ,Ioo,• Hwl« ' Hawaiian), fiance of ll* er should have one in the studio. Also our Thematic ROCKING CHAIR.M. H. Cochran. 29. TARSIFAL.Wagner WATCH THIS SPACE SACK WALTZ.John A. Metcalf. 30. MASTERSINGERS. “ Catalogue of Easy Teaching Music for the Pianoforte, SLUMBER SONG .C. Gurlitt. Brehm’s Monthly Bargain ETUDE READERS: v011 SUNNYSIDE WALTZ ..F. Marcelle. 31. R1IEING0LD.’’ ## NOTICE SWEET VIOLETS.F. Marcelle 32. WALKURE... ## By WILLIAM JOHN HALL. SWALLOWS’ RETURN bv i °T * ° hav sentILKIHwSf roc*,' rr kistrumental imposition wfllW PRICE, 50 CENTS, MAILED POSTPAID. 33. SIEGFRIED. In the Land of Cupid 1st grade. It i, a brilUant and p ea^ ’ * Uand« Fisher for ,rece,1Pt «f per copy, or S a-sorted coJ** The B. F. Wood Music Co. 31. GOTTERDAMMERUNG. “ Voices of Summer, 2nd grade. “-rt Co„me^cCL^s'U.«™P°sition suitable that we ha« 1 inqu.i,e’ son<1 on your order and iwemW 35. FLEDERAIAUS.Straus* Special this month, 30c. per set of six or the two sets for 50c Urmg a copy postpaid, 15 e nav e a complete and always up to-date asaorunenl- 246 Summer St., Boston 6 East 17th St., New York BREHM BROS., - - ■ ERIE, PA. M. M. LEIDT, THE S. BRAINARD’S SONS CO. The above 35 operas in Paper, Net, $10.00, G. V. MECKEL 12 Rathbone Place (Oxford St., W.), London In Cloth, 33 operas (11 vols.), Net, $16.50. — ' 569 Main Street. Bufialo, N % NEW YORK CHICAGO, ILL. Please THu; 845 EIGHTH AVENUE NEW YORK Single volumes at customary discount. Please mention THE ETUDE when addressing our advertisers. 352 Tf4E etude THE PUBLISHER OF THE ETUDE WILL SUPPLY ANYTHING IN MUSIC

JUST ISSUED an IMPORTANT INVENTION In Pianoforte Construction New Easy Teaching Sight Reading and Pieces for Pianoforte Memory Lessons PIANOFORTE

MUSICAL EMBELLISHMENTS THOMAS TAPPER

Seven Instructive Pieces Price = 75 cents By Max Franke. Op. S9 No. 1. Morning Greeting. Melody Study. (3a).$0.40 1 of tl s toplaci VOL. XXIII. PHILADELPHIA, PA., SEPTEMBER, 1905. NO. 9. No. 2. Helter Skelter. Staccato Etude. (3a). 40 ultivates correct habits of observation and analj . correlates all music study. ibility of the sounding-board No. 3. At the Fountain. Arpeggio Etude. ft makes sifrht^readmfj^ withm the technical acqu o have been satisfactorily to (3b).40 The Summer Music Festival Organization at No. 4. Dreams of the Past. Double Grace mC"lt

New Musical Stories that two c y ,USk Sht UP 40 °ate’ arranged lessons of suitable length, so By Ludvig Schytte. Op. 139 prepared every week, with helps for teachers and students, No. 1. At the Village Forge. (3a) . . .$0.50 dexes including ,essons’.^view outlines, topics for essays, tables and complete in. No. 2. In the Ball Room. (2b).50 No. 3. Agitation. (2c).50 No. 4. The Aiolian Harp. (3a).50 !=E — h~ • — - ~ No. 5. Dragon Flies. (2c).50 No. 6. Madrilena. Spanish Dance. (2c) .50 No. 7. The Troubadour. (3a).50 staff TontaTn°srl!hUnber the e,dit°r‘al direction of Mr. W. J. Baltzell of TH E ETUDE No. 8. Shooting Stars. (3a) ..50 lost pitied hi f" m°re admirable pedagogic ideas, making it the best and

The contributors are^Dr H^Ckrk^Mr A 77 ”7 the EnR‘ish languace' Eight Little Piano Pieces B Hill Mr AT i, a l ' Mr' Arthur Elson’ Mr- C. G. Hamilton, Mr. By N. von Wilm. Op. 215 Baltzell a^l teaches ^nd011’ l La"’ ^ PrCSt°" Wai" a"d Mr. W. J. No. 1. Joys of Youth. (2a).$0.40 No. 2. Maybells. (2b).40 about 500 pages^t ST No. 3. A Country Dance. (2b).40 No. 4. Slumbering Child. (2b.40 needs a knowledge of the history of music VlT'l ^ P“P °f “ No. 5. Full of Frolic. (2c).40 conduct a class with successful results. ’ ’ Th b°°k Cnab,C any teacher W No. 6. Silent Grief. (2c).40 No. 7. Before the Marionettes. (2c) . . .40 No. 8. In the Moonlight. (2c).40 Selectors for Teachers and ? chon's made a Spe¬ ical associations and a multitude of other organiza¬ it becomes a significant fact that outside of the few cialty MAIL ORDERS solicited and filled promptly to THEO. PRESSER, Publisher tions. in large assemblies or conventions. It is doubt¬ occasional winter festivals held in many places in all parts of the country. Send for catalogue of First great winter festivals held in America, these large that, instead of the desultory work (extending Fiec s tor Young Pupils. Catalogue cot taming Por¬ 1712 CHESTNUT STREET ful whether there is a section of this country that assemblies, and therefore large musical festivals, oc¬ traits of American and For. ign Composers of Piano has not been touched by the fever for World’s Fairs, through many weeks), on only one oratorio for a Music sent free upon application. v PHILADELPHIA. PA. cur during the summer months, and at summer re¬ conventions and large assemblies of all kinds. There single concert, the work is constant for the weekly sorts. This has the definite advantage of concen¬ concert, and for ten weeks the chorus and orchestra is, in these large assemblies, a. potent force for good. trating the largest crowds at convenient points and The American people are today too largely a mass present new oratorios weekly. Ocean Grove is per¬ at a time when a relaxation from the cares of a haps distinct from many summer resorts in that it of umssimilated. though perhaps worthy, foreigners, business life makes these people peculiarly susceptible SPECIAL INTRODUCTORY OFFFP and the spirit of the convention plan has been to is the meeting place for Methodists from every sec¬ YVe will send this book, when nubl" 1 j KY to art culture along many lines, and more especially, tion of the United States; this in itself places at a ARTHUR P. SCHMIDT make familiar to the people of one section the habits music. It is also noticeable that these large assem¬ 65 c. Every teacher and student shouWtak 7"" to any address on receipt of ’premium the performance of sacred works, such as BOSTON: NEW YORK: and cu-toms of another. This spirit probably attains blies are all located in the East; this is probably to introduce this new work. If a C,J ^ advai«aRe of this offer, which we make to its highest influence for good in assemblies where oratorios, rather than the more popular’and dis¬ 120 Boylstoi: Street 136 Fifth Avenue not only a concomitant of natural advantages, but tinctly less valuable music of certain kinds. So that some definite point is settled, such as the decision also a resultant of the fact that business life in the 16c) will be additional. There is no ^ made °n our 6°°^ Postage (about of a grave political or theological question, or per¬ during the summer there are presented, once a week, -- restriction as to the number of copies ordered. West (excepting the few largest cities) is more such works as the “Elijah,” the “Messiah,” the “Crea- haps more completely in the giving of a great music leisurely and allows more time for current relaxa- ention THE _ festival. If this tendency toward large popular as- tion, the “Stabat Mater” (Rossini),’ the “Holy City,” the “Rose Maiden,” etc., besides many pop-

J THE etude 354 THE ETUDE 355 always come first in the musical evolution of The Director and His Assistants. ular overtures and choruses. When we say these and that not until the community has bwomf'’1'1' THE EDUCATION OF THE GREAT MASTERS. he learned, like many other things, from the school educated mind. His frequent references in his letters This organization of clmros and orchestra wou^, works are presented, we mean presented more than oughly permeated (even saturated) with voe,l i’1"' of experience, which is better than books. He prof¬ and conversation to ancient and modern authors in¬ adequately: the care used in engaging the soloists, however, be perfectly useless without ^ does it turn to the higher forms of musical T*1 BY HENRY T. FINCH. ited a good deal, too, by association with aristocratic dicated the wide range of his reading. In Oriental the training of chorus and orchestra, and the atten¬ tactfulness and power of the nan who g lar„e Whether the constantly changing audience* at r personages, who were more cultured than the com-' literature, too, he was interested. tion to many minor details assure a perfection of Grove will prevent this saturation from oea- II. mon people. But my main argument is derived from Concerning his musical education, perhaps the ensemble not attained in any other large musical there is an ojacii question; it may I* w„j“rriE- The impression prevails in the musical world that Mozart’s letters, some of which are remarkably keen strangest fact is that as a child he*shed bitter tears undertaking in this country. The means used to stated, however, that these constantly chant-i the old masters were musicians et praeterea nihil. and bright. I have room for one only, in which he over his lessons. This may have been due in part make possible these concerts are first the chorus, diences will at least delay its occurrence. \\y In The Etude for June, 1905, this opinion was put gives a thumb-nail sketch of the famous poet Wieland. to his father’s harshness, but it also indicated a which varies from 300 to 1000 members; the orches¬ years for the success of his idea is a story can go to our summer resorts for a relaxation ” ' to the test with reference to four of those masters I maintain that a youth of twenty-one capable of certain slowness in the workings of his mind which tra of 65 pieces: and the best soloists that can be some day be told in its completeness. Associated our writer’s work, and there hear symphonic! ' Handel, Bach, Gluck and Haydn—and the con¬ writing the following letter might have become fa¬ characterized him all his life. He was a genius, engaged. And lastly, the Director, Mr. Tali Esen with Mr. Morgan at Ocean Grove are Ui. r. • tets, oratorios, in fact, everything we desir, * clusion reached was that three of them, at any mous in literature: hut not one of those lucky ones from whose brains -Morgan, whose efforts have made these festivals pos¬ Freemantel and Mr. Julian Walker, chorus and oi- quately performed, then indeed will the musical ' rate, gave evidence of mental powers that would “Now I have made Herr Wieland’s acquaintance; thoughts spring instantly in full stature and armor. sible. chestra directors; their work needs no commentan. lennium have come. have enabled them to win distinction in other but he does not yet know me as I know him, for His thoughts began as crude germs which he grad¬ In speaking of the means of giving these concerts one A Unified Program. branches of intellectual labor had they not chosen he has not yet heard anything of mine. I should ually fashioned into their finished forms. Many of must not forget the financial end. The advertising The General Results. The plan of giving concerts haphazard as to choice to devote themselves to music. In this second paper not have imagined him as I found him. He seems to them were remodelled more than a dozen times be¬ corps is large and efficient, and, in connection with of artists and programs, and with no underlying But while these results are of great benefit me somewhat affected in speech; a rather childish the large orchestra, chorus and eminent soloists, suc¬ of the series I purpose to discuss briefly the musical fore he was satisfied. One might say that he educated motive of continuous development of musical thought perhaps from a strictly professional point of ■ voice, a persistent use of his eyeglasses, a certain himself specially up to everyone of his great works. ceeds in getting, at times, as many as fifteen thousand and general education of two other great masters; in the hearer, may be considered more fully here; of the greatest benefit, yet the most encouraging' Mozart and Beethoven. ' learned rudeness, and yet at times a stupid conde¬ It was a hard path to travel, but the results were it is a serious question and worthy of seriohs thought. people at a single concert. suit is to he looked for elsewhere. That resuf * scension. Yet I do not wonder at his thus conducting worth while. Mozart. The tendency of the American people is toward a the general influence on the assembled people, and f himself here, for people look at him as if he had Beethoven, of course, received lessons on the piano Thousand Islands Park Assembly. On reading the full name of the immortal com¬ lack of continuity in thought and action, and con¬ consequent dissemination over the entire com," faUen from the sky. They seem actually embar¬ and the violin and in the theory of music from But Ocean Grove is not the only summer resort in poser of Don Giovanni—Johannes Chrysostomus sequently a lack of unity and lasting result in work. These festivals reach and interest singers and nil rassed, do not talk, keep quite still, listen to every diverse teachers; he also had experience as an or¬ America in which such work is being done; it is, Wolfgangus Theopliilus Mozart—one cannot help In certain conservative and, musically, highly-cul¬ of moderate ability at a time and in a manner it" word that comes from his lips; a pity, only, that chestral player, beginning with his thirteenth year. however, the most successful one. Up on the border¬ fancying him to have been some mediaeval scholar tivated countries it has become an almost fixed cus¬ is most attractive; and to those to whom misicT they often have to remain so long in suspense, for Schenck, Albreehtsberger, Salieri and Haydn were line between Canada and the United States is situated who spoke in Latin and wrote letters in Greek. But tom for a family to become identified with one cer¬ largely a pleasure, it proves an incentive to f„to he has an impediment in speech which makes him some of his teachers, all of them famous in their a resort, which for natural beauty and attractiveness, .Mozart was not a scholar; nor, on the other hand, tain locality, and to maintain a residence there and harder study. It presents to the assembii talk slowly and unable to say six words without day. Every student of music has heard of his odd is unsurpassed. Thousand Islands Park—on the St. was he the mere infant in everything not relating to through generation after generation. And not only people some of the greatest compositions, and e„aJ pausing. Otherwise be is what we all know him to relations with Haydn, to whom he submitted his a residence, for it is almost as customary for the Lawrence River, near Clayton, New York—is an¬ music that he has generally been represented to be. those front the middle West and the smaller 1 ! be—a man of brains. His face is cordially ugly, dis¬ exercises only after they had been corrected by son to take up the father’s work and to carry it other summer assembly grounds for Methodists, but He had, as we shall presently see, a keen intellect where large festivals are unknown, to hear figured by smallpox marks, and his nose rather long; Schenck. It may comfort the ordinary music student further toward completion; witness the families of has not the near-by cities to draw on for audiences and a remarkable gift for literary expression. He works. And who knows what it may not his stature is about the same as papa’s.” to know that Beethoven’s exercise books, both of the Bach, Strauss, and others, well known in the musical as has Ocean Grove; as it is, out of a population died so young, however (in his thirty-fifth year), and them to do? 1. myself, know of two winter fM,L Bonn and the Vienna years of schooling, contain not world, in proof. of seven thousand, the audiences frequently number was kept so busy with his music, earning his daily Beethoven. brought about by just such influence. A ten a few errors. Albreehtsberger had to help him with fifteen hundred. The work is under the same man¬ bread, that no time remained for developing his association with the world’s greatest writers ,f V0CJ'| In conversations with Schindler and Czerny, Bee¬ all his double fugues. The American Musician Moves too Often. agement as that of Ocean Grove, but is, as yet, some¬ mind in other directions. and orchestral scores cannot be without great re thoven regretted tne insufficient instruction in music It is true that this custom tends to fix the habits what new, this being only the second year of the In her excellent book. Bow to Sing, Lilli Lehmann suits. In my opinion, the great results are not vet he had received in his youth, and compared his own of the person concerned and to cause his develop¬ work. The results are already gratifying, for enough refers to the well-known fact that Adelina Patti A PRACTICAL SIDE TO SOCIABILITY. fully apparent, hut are working slowly and quietlv fate with that of Mozart, whose wonderful develop¬ ment to move along in a certain line or rut, but it interest has been aroused to form a chorus of two seemed an exception to the rule that singers, to suc¬ below the surface. These summer festival people ment was to be ascribed, in his opinion, especially to is also true that it produces a result—from the hundred and fifty and an excellent orchestra of thirty. ceed, must go through a long and difficult course of BY W. FRANCIS GATES. are scattered all over this country from Maine to the systematic education he had received from his cumulative efforts of generation after generation— The work and organization are similar to that of voice training. As a mere child she was able to sing father. If Beethoven nevertheless reached one of which seems to more than repay the small loss in California; do not these festival* cause a demand Two prosperous professional men of New York Ocean Grove, and the concerts are fully as good, the most elaborate colorature arias without the least the highest pinnacles in music, this does not argue individual freedom. The American, and particularly for better music ami more o( it, at home! Do sot met on the deck of an outward-bound vessel. Said though on a proportionately smaller scale. The same effort. Remarkable as this is, it is a trifle compared against his own belief in the importance of a regular the American musician, remains but a short while in artists are engaged for soloists as at Ocean Grove, the home standards constantly rise as most of th. the doctor to the lawyer: “Hello, Jones. Going over with the much more astounding fact that there have education, but simply indicates that his genius and one place, as a rule, tries to do too many things at but a totally different class of persons is reached. energetic young |>eople demand it ? Most assure* been boys to whom composing came as easily and again, I see?” “Yes,” answered Jones, “going for once, and loses altogether this effect of cumulative they do; and in this there is a future for music in industry were so great that they overcome these early the same purpose you are; we will conquer two ship¬ Altogether the combined influence that these resorts spontaneously as singing did to Patti. One of these disadvantages. effort. The correct average between the first example must have reaches an immense number of people, America. America, they say, lacks a musical atm! loads before we get back next week. I have been boys was Mozart. At the age of four, he composed If his musical education was not so complete as it and the American would lie between the two; there otherwise uninterested in, and untouched by, musical phere; that is, a musical spirit among the people, over eighteen times myself.” a doncerto for clavier which was so difficult as to be might have been, still more was this the ease with should be no loss of individuality or freedom but development. the constant jierformance of great masterpieces, the almost unplayable and showed such remarkable evi¬ This rather enigmatical speech has in it the germ there should he the permanency of place and effort, diffusion of musical knowledge. Be it so; a in his general education. His father was a dissolute of a matter the successful musician must recognize The Results to the Performers. dence of talent that it moved his father to tears of tenor with a very limited income, most of which, which alone brings real results. In our musical life more summer music centres in America, a few more joy. Three years later he wrote four sonatas, which and put into practice to a certain extent, if not so these faults are fed and intensified by the music of Now what are the results? The greatest benefits, years of diffusion of their spirit and the “bogey" of a moreover, he squandered in the tavern. Nor was far as these men were applying it. They recognized his father, an excellent judge, deemed good enough his mother, whose first husband had been a lackey our average summer resort. In place of separate of course, accrue to the singers and players who, bv musical atmosphere will he consigned to eternal oh to send to the printer. the ftict that the most pronounced element of pro¬ programs lacking unity and continuity of thought in the service of the Kurfiirst von Trier, of suffi¬ the constant rehearsing and performing, gain much At the age of ten he had accomplished such won¬ fessional success is personal acquaintance. They and results, we should have such festivals as Ocean m sight-reading and singing, and technic. Attendance cient culture to compensate for the father’s de¬ ders with the pen and as a player, that his father, knew that the best people of the city were to be Grove supports (all tending toward one end), and at either an orchestral or choral rehearsal would con- ficiencies. There remained the school of a means of with justifiable pride, announced him as “the great¬ found on the passenger lists of certain lines. They then like results would be attained. Let. us ex¬ vince even the most skeptical on this point. To see WHY PIANO KEYS TURN PINK. mental advancement; but, apparently, Ludwig van est wonder that Europe and all mankind boast.” He might wait five years to meet as many persons whom amine the process by which Ocean Grove has ob¬ the rehearsing of part after part in the chorus- to Beethoven left school at thirteen, with only the most it was worth their while to know if they took the tained these very desirable results. Do YOU know why piano nnd organ kevs occasion¬ had learned to play as he had learned to compose— notice the hard, systematic work of the director’and elementary knowledge. His father had had no more, ordinary social means of making acquaintance. ally turn pink? If you don’t, it will pay vou tore- by instinct, as it were. One day, while he was on and could see no reason why he, whom he was train¬ The Chorus. tiofor:th°rh ° attei\d rehearsals <>f the string sec- member this. ’ a concert tour, the stage-coach broke down. To On each ship, going and returning, there were gath¬ tion o! the brass section of the orchestra, or an e„- ing to be a musician, should learn anything besides ered together several hundred people who would not Piano and organ keys, regardless of the material while away time pending its repair, the family went music. It was the spirit of the time. Musicians The means employed to utilize the various forces semble of both, would prove an instructive lesson to be averse to making new acquaintances, if the latter and to insure the best results, are more than resource¬ used, will occasionally turn color, and it is invariable to a church where the father explained the use of were like mechanics; if they knew their trade, summer visitors. Then there is the influence oftlm were well-vouched for and were cordial and enter¬ ful; they are wonderful. The chorus is composed caused by the fingers of the player being very warm the pedals to the son. The boy promptly began to nothing more was expected of them. older and more practiced singers on the newer and taining. These two men filled the bill. They were primarily of summer visitors, all of whom are in¬ younger ones, the interest in new memters lb “ and perspiring to a greater or less extent; or el*e play, using the pedals as if he had been practicing Beethoven himself, however, when he was a man, for months 1 well informed; they were good conversationalists; vited to join, the only test being the ability to sing a made to feel the value of obedience to -fh’I r i'** the hands of the player have been in sospv water did expect members of his profession to be versed they were cultured and had the social polish; and scale in tune. The members are provided with cards and the correct singing of the parts; can oneôveT and the fingers still retain some of the soap. Tie Nevertheless, Mozart took lessons of his father, in other things besides their art; indeed, Schindler they had the good judgment never to intrude their which show the rehearsal attendance; less than estimate the value of these things? acid from the perspiration, or the alkali from tie both in playing and in the theory of music, and he tells us expressly that he made enemies by his at¬ professional interests on their acquaintances. They three rehearsals indicated prevents participation in soap, will, either one, cause the kevs to turn pint was a hard worker over them. Some of his exercises titude in this respect. As a matter of course, he appeared simply 111 their social capacities and made a concert. Rehearsals are held daily so that no Their Home Influence. V IU> 'ins<'rs of the jierformer were'always perfectly are preserved in the Salzburg museum (Mozarteum). coulil not have assumed such an attitude had he not friends. Do you think that so delightful a travelling singer can fail to find some convenient time for such dry and absolutely free from soap, there would be no His father, Leopold, in fact, gave up not only his in the meantime overcome the shortcomings of his < »' 1 n as Dr. A. or Lawyer B. was forgotten attendance. This chorus is assisted, on certain oc¬ ;:ir.rz.r: trouble with the keys’ turning color. own ambitions as a composer but his other pupils, in early days at Bonn. In a letter he wrote in 180!) conceive what the results of thiT* -1S dlfflcult to when the pleasures of summer were over and those casions, by large choruses from New York and , , remedy which usually proves successful is to order to devote himself entirely to the education of to Breitkopf and Hartel, he said: “There is no ship loads of passengers had returned to their home Philadelphia; these latter choruses have, however ub the keys thoroughly with a little common whiting. his talented son. Young Mozart’s industry during treatise that is likely to be too erudite for me, and the benefit of winter rehearsals. because they are not of f 1 ’ more especially city? If, out of the hundreds on each ship, but two •1 f8 18 URed in denning silver. It is also a good what may lie called the educational or experimental without making the least claim to special scholar¬ reaches, with a certain influence,SSmore ^,ma*eur turned to the physician at the next twinge of gout , . “ *° ru b the keys briskly with a soft cloth sat- stage of his career, preparatory to his immortal ship, I may say for myself that I have endeavored, The. Orchestra. ten professional musicians. The soloist 'T than or indigestion or feminine hysteria, he would be well uated with wood alcohol. The alcohol will remove works, was astounding. At the age of twenty-one he ever since my childhood, to comprehend what was course, a more limited influence hnl lll bave> of paid for his trip, for it is no great trouble to a tact- The orchestra consists mainly of amateurs from all the kX °r tfrease which may have accumulated on had already written nearly three hundred eomposi, good and Wise in the literature of the period.” Nor parts of the country. There are sixty-five perform¬ by the students of music who hear andVe^ ga""‘«*- full twenty years or more; matter what: “Whatever was given to him to loarn philosophical and less realistic manner by his fa¬ lie attached himself to, in such a degree that every¬ important, have them know him. Attend social af¬ 1 Mr. Morgan will announce, some time during the But fated death hath stopt his breth. vorite Christian Sturm than it is by our John Bur¬ s,ueh as symphonic and quartet fn^ absolute thing else, even music, was put aside. When he fairs; don’t be a wall-flower. Adapt yourself to the winter, his plans for the testing, in different parts yet unappreciated and have no XLT fu™18’ are a* And he can larne no more. roughs and John Muir. He knew, too, how to value was taught arithmetic, for example, he covered the social whims of others. In short, get a wide circle of the United States, of applicants for positions in good poetry and was thoroughly familiar with his of friends and acquaintances; see that they know the orchestra. His scholars all that are behinde tables, chairs, walls and even the floors, with his Klopstock and bis Goethe. His letters are less in¬ or from their greater appeal Xthf aver' Simplicit>- Ringing he did unfold. figures in chalk.” We know, further, that he was a teresting than Mozart’s or Mendelssohn’s, not to your specialty, but do not keep talking about it. good linguist, being familiar not only with Latin but .Let them find out for themselves. average person. Shorting „1| their God to minde speak of Schumann’s or Wagner’s, yet there are in with French and Italian. These modern languages Then, when that specialty is needed, their friend Before they turn to molde.—£>. them plenty of bright sentences and glimpses of an —you—will naturally be the man sought. 356 THE HTUDH T.H E ETUDE 357 the best light operas of Germany; that Hennas Goetz was obliged to play in concerts while in the around him. There was a momentary pause and then are generally shown in the right direction. Musical most of all is that nowhere has he set down anything last stages of consumption, and could not hear hi8 the sensible princess replaced her arm in his, the beauty is partly objective, that is, of absolute ex¬ because he felt he ought to, but because he had to. The Emancipation of the Musician symphony played in Vienna because he was unable to walk was resumed and the amendment accepted. The istence, and partly subjective, that is, dependent on His note books have revealed to the world how slow afford the railroad fare thither; that Hugo Wolf sentence flew all over Europe and was possibly the the listener’s culture and point of view. and painstaking was his method of developing his died in an insane asylum because of his life-long first formal announcement of the dignity of musician- By LOUIS C. ELSON Musical beauty must possess an absolute existence, initial ideas, yet listening to the completed work, who battle with hunger. ship. however much appreciation of it may depend upon can lay his finger upon any passage and say but what gj£3Vg In the United States. Advancement in the Musician of Today. the individual. A smiling landscape is no whit less it was inevitable, the very thing that had to be said ? a thing of beauty because a man may chance to be a question of creating a demand for the suPP'y:.,f.° It is interesting to study the same trend of Low Social Standing of Ancient Musicians. But it is not by the admission of this or’ that com¬ blind; and Bach’s “Passion According to St. Mat¬ The Personal Equation. long as the musician was dependent upon the liber events in America. The earliest regular composer in Throughout the ages, until very recent times, the poser to the society of the great that the emancipa¬ thew” is no whit less a masterpiece because a man ality of-an individual, or even a small number of in¬ America (although Mr. Sonneck proves that two Musical beauty then has an absolute existence, yet caste of the musician has been generally low and his tion of the musician is to be accomplished; the com¬ may chance to find therein what strikes him as a dividuals, he was the slave of caprice and was liable musical amateurs—Messrs. Hopkinson and Lyon—pre. to some extent also it is dependent upon our capacity social standing somewhat degraded. The banquet panionship of Beethoven with princes, the acceptance mass of unintelligible complexities and angularities. to be depressed into an unjustly humble position. for appreciation. In other words, what we call musicians of the ancient Greeks, the Hetairae, were ceded him) was Wm. Billings, who rests in an un¬ of Mendelssohn or Liszt as social equals by the aris¬ It needed onlv a Public to change all this and the Light is light and beauty is beauty, even though the women of very questionable social standing, like known grave in a Boston cemetery, and whose last tocracy, are, after all, but exceptional eases;' even beauty is something which is not merely inherent in musical public soon came. Concerts, public con¬ eye be darkened and the understanding clouded. many of the female musicians of China, and even of years were full of poverty. Oliver Holden, whose a half-dozen swallows do not make a summer. It is various arts, but is something which approximates to certs, began in England, and they came in the wake Japan, today. The male flute-players of ancient “Coronation” has not faded in a century, supported in the advancement of the musician himself that the certain standards that we fix for ourselves. That Rome, however, were of much higher rank and seem of the popular drink, coffee! himself more by carpenter work than by music. changed conditions are to be seen. There was a time Requisite: Attractiveness of Theme. which is familiar to us becomes the measure by which It is delightful for the musician to pore over the we judge all else. The Dutch lady accustomed to the to have been held in high esteem. In connection with Jacob Kimball, who left the law for a musical career when the musician studied absolutely nothing but The requisites which go to make up a real, endur¬ leaves of “Pepys’ Diary” and to note how often he windmills and dykes of her native land complained these, Valerius Maximus relates a story of what was died in the poor-house. music. Among great composers examples of this ing piece of musical art are so many, that it is pos¬ goes to a coffee-house, or indulges in the “new China that in Switzerland it was impossible to see the probably the earliest musical “strike” on record. The price of music lessons in New England, in the one-sidedness may often be seen. Beethoven was sible to touch upon only a few of them here. First drink, called Thee.” In the time of Charles II there scenery for the mountains! So also the man whose The flute-players formed a guild in Rome and had 18th century, was between 37 % cents and one dol¬ illiterate in spite of the cultured aid of the Von may be mentioned attractiveness of theme, not be¬ certain privileges, among which was the right to take were coffee-houses for all sorts and conditions of men, lar each, although sometimes an “entrance fee” 0f Breunings; Haydn’s diary in London betrays no mind is steeped in the “Belle of New York,” or in in London, and they became very like to what the cause this is of primary importance, but because a lunch in the Temple of Jupiter. It seems that on one from three to five dollars was added to the price. great interest in educational matters in spite of his theme, whether tuneful or powerful, that possesses Sousa’s marches, is unable to perceive much beauty occasion, the janitor of the temple refused them ad¬ clubs are today. In the keen rivalry that grew up There was so little profit in the profession at that Oxford (honorary) degree; Rubinstein’s “Conversa¬ in a symphony. between them, music played its part and landlords distinction will always appeal to the listener. Mere mission. Instantly the entire guild was notified and time that the music teacher often gave instruction tion in Music” would not have been written as it is The moral of this is obvious. If we want to in¬ entered into competition with each other in the prettiness in a tune, mere harmonic ingenuity, are the flute-players left Rome in a body. This was a in penmanship, in dancing, in anything that would if the poor Jewish lad had been less of an outcast crease our appreciation of musical beauty, the one quality of the music which they gave to their patrons. nothing by themselves, but, as far as they go, are most important defection, for the flute was the re¬ add a few dollars to his scanty income. As pianos in bigoted Russia; instances innumerable might be thing necessary is to hear nothing but good music, Finally, one of them got together a fine band of qualities of decided value. Very much more depends ligious instrument, and funerals, weddings and other were scarce (there were about twenty-five in Boston cited in the same vein. and in time the taste for rubbish will die a natural professional musicians and charged admission to the on the use that is made of them, or, in other words, sacred ceremonies were about as much hindered as in 1790), it was often advertised that the pupil Today, even though we are in an age of specialism, death. The man who is accustomed to wheaten rooms while the music was in progress, thus inau¬ the treatment to which they are subjected. if every organist among us, at present, were sud¬ would be allowed to do his practicing upon the the musician finds time to study the sister-arts; con¬ bread will turn from the rye loaf. Of course, dis¬ gurating, for the first time, a series of public eon- denly to refuse to touch the keys. teacher’s piano. servatories whose curriculum is almost entirely mu¬ cretion dictates that the steps in the upward course An embassy was immediately dispatched to the sic, yet insist upon the student’s possessing a good Balance and Proportion. must not be too abrupt; the musical digestion must But the advance came slowly enough, and musi¬ In “The Euterpeiud,” a music journal of 1820, \re village of Tibur, where the irate musicians had taken have found more than one essay trying to prove that English education and even teach some of the Human nature loves balance and proportion; be accustomed to more delicate food by degrees, and refuge, and pleaded with them to return to Rome. cians were still held to be menials and mere ser¬ it is certain that no vehement advocacy will be of a gentleman did not lower himself by adopting the branches when necessary. It lias been said that “To • it would be strange were it otherwise; for every¬ The flute-players, however, remained obdurate. The vants of pleasure. The harp player of the king know one language only is to know none,” and it may any avail in bringing about a revolution. What is musical profession. The very fact that essays were where may it be recognized that throughout the embassadors were diplomatic and sought the aid of (Charles II), one of the best musicians of England, be added that the single language of music comes necessary is that all our steps should be in the same was allowed to starve to death. Pepys himself had a considered necessary goes to prove the low estimate whole of the infinite diversity in detail which char¬ the inhabitants of Tibur. These gave a banquet in within the scope of this definition. To know music acterizes animate and inanimate nature there is a direction, ever pressing upward. Probably there will recognition of the honor done to tlieir village by the good musician (Mercer) in his family, with whom he that was placed upon a musical career about a cen¬ only is to limit one’s own musicianship. An inter¬ pervading harmoniousness of form. We are so ac¬ always be a type of person to whom poor musie will musicians; but at this banquet they insidiously delighted to sing duets; but this musician still re¬ tury ago. est in poetry, belles-lettres, history or science, has a customed, for example, to see a man with two arms appeal, but in process o‘f time, as musical culture made the flute-players indulge in the cup that cheers mained his wife’s maid-servant, and once received a Dawning of a Better Day: Mendelssohn. splendid reflex influence upon one’s musical abilities. that the sight of one who has lost a limb inspires advances, we shall find concurrently a real increase and at the same time intoxicates, and at the end of beating at the hands of her mistress for staying at But a better day was dawning, both in Europe and Our musicians are beginning to realize this and are us with pity. A tree may not be of absolutely sym¬ in the sense of musical beauty.—Musical News (Lon¬ the feast handed them over to the Romans in a thor¬ her mother’s house without permission. At this time, donj. in America. In Europe, at least in England, both decidedly more cultured than in the past, and the metrical outline, yet if a half has been torn away by oughly' befuddled condition, and the latter put them too, one finds evidence in the newspapers as to the Handel and Haydn had been received and befriended true emancipation of the musician and the elevation lightning or tempest, we want to remove the half in carts and drove them back to Rome, where they low caste of the professional musician. Servants are by royalty, in the 18th century, and the advent of of his caste are rapidly coming with his own fitness which stiU remains, for it is an eyesore. In the awoke the next morning, probably with very severe advertised for who are good singers or who can take for it. that gentleman in music, Mendelssohn, emphasized same way, a composition which is short in a part headaches. part in viol-playing with their master' if desired. WRITTEN WORK. This guild of flute-players, and the larger guild the fact that a great musician might be a well-bred where it should be long, and long where it should of Dionysian artists (also in Rome) were probably man of the world as well. It meant much to the mu¬ be short, does not appeal to the innate sense of fit¬ sicians of that time to have a composer received in THE SENSE 0E MUSICAL BEAUTY. ness. There is sometimes shown an impatience of BY W. D. ARMSTRONG. the earliest Musicians’ Protective Unions in existence. If one scans the lives of the great composers, h< the family of Queen Victoria, to have a musician the “fetters” of form. Of course, formalism is an will find more than one of the great masters treatec It seems to be universally admitted that music is The Instrumental Musician in the Middle Ages. mingle with the greatest of the earth on terms of ab¬ abomination, but form really is founded on the in¬ as a menial and with far more arrogance than on< pre-eminently an art which deals with the beautiful, The value of written work needs only to be tested stinctive correlation of our emotions and feelings In the days of the early Christian Church, the would dare to use to an ordinary house servant to solute equality. Of course, such a man needed to be using that word in its widest sense. We say pre¬ to be fully appreciated. Lord Bacon has said that with our environment. The Sonata form, for ex¬ vocal teachers and composers were held in very high day. Mozart was but the servant of the Archbishop more than a mere music-maker. Mendelssohn had eminently, because all art, to be worthy of the “writing maketh an exact man.” And, further, he ample, is not a form founded upon rule, but upon esteem. They were all of them in the service of the of Salzburg, and took his meals at the servants an education that fitted him to move in any circle, name, must beautify everything that it touches; who can accurately put on paper his own, and the law, that law which enjoins variety in details within Church and, although they received no fixed salary, table m Vienna, besides being abused with vile lan however cultivated. Beethoven. Handel and Haydn when mean and sordid, or even prosaic themes are thoughts of others in a concise and legible style may they had many high offices and perquisites. But the guage and kicked down stairs. had not such an education. A perusal of that charm¬ employed in a professedly artistic creation, one is the symmetry of the whole. It arose primarily from be said to be truly an educated man. conscious that the worker, whoever he may be, has the desire for contrast in theme and key—a desire instrumental musician was in very different case. Haydn deserved the nickname of “Porpora’s boot ing little volume “Mendelssohn’s letters” will reveal A young lady, to whom had been assigned a certain which be it noted is equally pronounced in the most His music was not recognized by the Church and he black,” for he was merely the servant of the singing- to the reader how many-sided this cultured musician misused his abilities. True art must elevate and subject for an essay, went in despair to her roommate, was a homeless vagabond, an outcast, an outlaw. In modern symphonic poem—together with the artistic master, his valet, and the servility that he ac- refine, and not merely cover with glitter what is saying: the Middle Ages he occasionally sought shelter and instinct which prompts the development of the qmred in this position remained with him through essentially base. Painting, sculpture, architecture, “I cannot write this, it’s impossible.” protection by becoming the accompanist of some pros¬ poetry, music, all should deal with worthy themes material .which is being employed and the natural “f- about sixty years of age before he in¬ “Have you tried? ” replied the other. perous troubadour. He now received the name of Then there came another musician of still stronger pleasure which is felt in returning home after a pro¬ duced the Esterhazys to treat him as anything but in a worthy manner, so as to arouse beautiful “No, I haven’t.” “Jongleur." His lot was a hazardous one, for if his calibre, equally well-equipped for both the concert longed excursion. an abject inferior, and this was after he had been thoughts by means of beautiful objects. “Well, how can you expect to do it unless you master became tired of composition, or ceased his and for the drawing-room—Franz Liszt. We may All human beings possess in some measure the Coloring. make the first, and many succeeding attempts, as all singing tours, or sent him out of service, he was England “ * ^ f°yalty and aristocracy in consider Liszt and. Mendelssohn as the two chief sense of beauty, yet probably no two will agree in others before you have done ? ” obliged to make what money he could by playing to emancipators of the musician. Both of them teach their definition of the nature of that beauty. Espe¬ Another element of beauty is coloring, not a very So it is in the first beginnings of musical composi¬ the people, generally to the peasantry or small °“+nalIy °ne ™ exception, in strong contrast, but an exception that, in Continental Europe the lesson that, in order to sustain the higher social cially is this the case in music, the least material accurate term, perhaps, but a convenient one. With tion. The simple, somewhat childish effort, worked burghers. Music alone was not sufficient to attract only proves the rule. Orlando di Lasso, in the 16th position of the musician of the present it is neces¬ of all the arts. Here what is one man’s meat in all the resources of the most modem orchestra there over again and again, will, with untiring practice these, and sleight-of-hand tricks, dancing bears, and century, was treated with homage by kings and sary to be more generally cultured than the com¬ emphatically another man’s poison. The old-fash¬ is possibly some danger that this essential to beauty overcome the most insurmountable difficulties. many dance-tunes were added to the allurements of pnnees; Beethoven was not only trited wSêsp^ posers of the preceding centuries have been. ioned countryman with his folk-songs; the working may be looked upon in a wrong light. Too often one Writing or copying teaches one to be careful, and the strolling instrumentalist, so that from the word by the highest aristocracy but was even all™ Liszt had a keen wit, much literary ability, great man with his ditties from the music-hall; the smart is conscious that “coloring,” instead of enhancing and is the best means of producing good readers. A very “jongleur” are derived both “jingle” and “juggle.” be arbitrary and rude to his princely patrons. Yet it mguistic talent, and if he had not known a note of clerk with the latest popular song; the enthusiastic expressing the idea, is made to stand for the idea important item in our Civil Service examinations in From this time on, the lot of the wandering mu¬ music he would still have been a remarkable man. amateur who worships Tchaikovsky; the “classic” itself, and it seems as if the composer is anxious, not thi - country is the copying from a rough draft. It is sician was a very hard one. All countries seemed to e was able to assert the dignity of his profession, for whom music’s development ended with Beethoven; so much about what he has to say, as to how he is sail that there are more failures over this exercise unite in making laws against him. In England he highe/cal oilZ musician11 ffls^ccentricitie^ ^ oo, whenever it was in jeopardy. Playing once be- the ultra modern who deems Wagner a bit passe; going to say it. Just at present, the worship of the could be committed to jail as a vagabond by any rudenesses were tolerated but could ceSjy Zt than any of the others, due to the fact of not being oie the Czar of Russia he found that monarch talk¬ all these have their various standards of beauty and orchestra threatens to become a fetish with composers accurate. justice of the peace into whose hands he might fali. emancipation, to foHow"”’ ^ SOUght ing unconcernedly with a courtier. Beethoven once, none of them would agree with any of the others. and listeners alike, to the obscuring of other and To kill him was a venial offence far removed from One of the most tedious and thankless jobs is that in a similar case, called his audience “hogs” and was It would be quite possible, for example, to find two more delicate forms of arts, such as chamber music. of the professional copyist, who copies orchestral and murder. It is a strange fact that some of the laws Small Sums Paid to Composers. persons who would respectively aver that “Sing Me However, this is a matter which will surely be righted enacted against the strolling musicians in England bl“tally rude and unmannedv. Not so Liszt; he band parts from the full score; every note must be There are still, unfortunately, manv ceased playing, and when the Czar asked him why he to Sleep” and the “Sinfonia Domestica” are to them in course of time. Coloring, in its fullest sense, correct, every measure and character the same, in have not been definitely repealed, although, of course, social position entirely by wealth gaUge absolutely beautiful, while at the same time each includes Buch qualities as chromaticism, expression they have dropped into obsolescence. It might be paused, he replied: “Courtesv demands it. When the order that the piece will sound properly. Think of sordid standard, the musiciaT^raS^Lj would pour contempt on the other’s appreciation, and dynamics as well as differences in instrumental odd to find such a dead-letter law suddenly put into ®pfak*’ others should be silent! ” He was the labor involved in writing the great operas and low indeed. One has but to think of P^w /"7 and what is more, both opinions would be absolutely tones. force by some practical joker against Richard Strauss , . to leave Russia in twenty-four hours, but he symphonies, whose full score and parts are still in rceiving about twelve dollars a month at iZ l had gmm hls lesson a„ ^ sam not business! ” was the gist of his Beethoven’s best works, what strikes the musician v*7, hich was bold enough to petrify the guests been taught to record their musical thoughts. 359 35§ the etude THE ETUDE talent are so great, the number of lessons and the carefulness of the instruction so different, that even- AS TEACHER TO TEACHER. compositions for the piano. Such State examination is necessary before music teacher will And it necessary to deviate here and Others are doing the same for us in other depart¬ can be freed from the quarter-of-a-dollar teacher, there from any kind of well-graded path which may ments of music, but we instance Hofmann’s work and so reach a higher average than it has at pres¬ THE NECESSITY OF BETTER MUSIC IN TEACHING be laid down for her, no matter by how skilful a as being particularly concerned with piano music. ent. And that is precisely what is needed—the gen¬ teacher. The most that the graded collection can eral average raised. That is what education is for. By W. S. B. MATHEWS We are returning from seashore, mountain, a so¬ He seems to have taken something from the Ameri¬ do* will be to give a wide and productive choice of journ abroad (where we rested a while in the cradle can public and is giving it back tenfold. Perhaps Geniuses usually take care of themselves but average o0od material, leaving her to supplement still by ne« of the arts) or perhaps have remained quietly at it is this very power of observation in many direc¬ mentalities need supervision. works and by selections from other sources, accord- home, while we allowed our minds to travel in read¬ tions, this alertness. We will seek to educate our The private and unattached teacher is a great force, in** to the community and talent which she has to A large proportion of piano music teaching fails lion, of V.rv mud, higher > th“ X!, , ? ing or other ways in several directions instead of pupils in this as well as ourselves. but he needs to give his dues, his name, his presence in efficiency through the instructors’ forgetting that handle. along the line of study of music alone. For instance, let them find where they have made and his influence to the central organization, which a part of the office of teaching is to build up a mu¬ From these journeys in strange lands we are re¬ mistakes in playing, and what caused them. Do will do things better and more speedily and more It would be possible, I think, for a board of sical experience, by which I mean an experience with turning far richer than when we started. All this not point out the error until you see the pupil is sWeepingly and more publicly than he alone can do. superior teachers to lay down programs of material time the seeds of last year’s teaching have been ger¬ unable to correct of his own accord. This will help 3. The musician should keep himself fresh, alive, the kinds of music we have in mind when we speak liu's” as having been made in haste; but his atten of art-music. Music, rightly understood, has been for each grade, requiring every pupil to have had minating, watered by skies of other lands and warmed thought from straying and will rivet the attention. absolutely progressive. on w as later învited to the fact that the remark defined ns “the art of the beautiful and the expres¬ at least so many pieces by each one of several rep. by thoughts and words of souls and minds great Again, let us train the pupil to notice forms of The ways? First, read a musical journal; still would have been true if made at leisure. The ie sive in tonal forms”—that is to say, tonal forms, resentative authors included. This is the kind of and small. Even what we might be disposed to con¬ rhythm presented to the eye in waving fields of better, read five. Secondly, keep in touch with your pertory of the city teacher is little better, grae01 organized successions, and combinations of tones to thing which the American College of Musicians be¬ sider as failures, assume a different aspect viewed in grain, the winged movements of birds and insects, fellow-teacher, not only through teachers’ organiza¬ grade, than that of bis country colleague. The fact express a beauty, which is, first of all, tonal beauty, gan, years ago, in defining conditions for demon¬ prismatic light, which experience of all kinds teaehes the swaying of branches, quivering of leaves, roll of tions, but in as much more frequent relation as pos¬ is that music teaching is still predominantly clesul a pleasurable exercise of a tonal sense, or a sense strative admission to the Associate and Master de¬ us to throw upon the subject, and failures, if prop¬ waves; and those carried to the ear in the falling sible, so as to add his experience to your own. Every tory and lacking in co-ordination ^ weli as m fore¬ for such organization: and, secondly, tonal forms grees. The work needs now to be improved and to erly used, are the germs of healthy growth. From water, song of bird, song of the varying wind. In teacher progresses in the degree that he absorbs ideas sight. There is also a reason for this in the tact organized for the expression of musical individuality be carried downwards from those tests, which were wishing to cast them aside, I am learning to cherish his own body let him notice the rhythm of heart¬ readily. Not all problems are suggested by one’s that parents enter their children but for a te , and strength of character; and so, by an easy and practically'suitable for graduate and post-graduate, them. The pure water lily, with its sweetest of per¬ beats and the movements of the body as it uncon¬ own work in any one year, but they will come some and the teacher forgets that tacitly they mean to inevitable transition, music which expresses human to the passing tests for each of the lower grades from fumes, the growth of the slimy, stagnant pond, bear sciously adjusts itself to run, skip, walk or dance. time; and it is important to anticipate their com¬ continue until the education amounts to something feeling and human moods. the third up. the Associate, membership test being in its depths a practical lesson for us. Let him notice the mechanic at his work, how each ing. or becomes too burdensome financially. If wc al- practically equal to completing about the eighth Yes, we are again at work. New blood is pulsating tool has some special work to do and how the hands Now all the preceding is of great importance to ways remembered this we might do better and hold It is regrettable that the “on sale” packages of grade. through our veins, and strength and courage are are trained to use them. the music of the small town because it suggests de¬ publishers contain a large proportion of music which I think that certificate and diploma forms might stamped upon our faces. Nothing shall daunt us; Some pupils, of course, seem to be impervious to velopment to the man himself. But once given the answers to neither one of the demands mentioned be made answering to the several stages, which neither stupidity, stubbornness, laziness, nor egotism all our efforts, and wilfully drop a curtain across musician who is a vital, intelligent worker^ the The different courses of graded studies now before above—it is neither musical nor expressive; and could be given to the students completing the sev¬ on the part of the pupil; lack of interest, ignorance, the mind, so that we cannot look in or touch them specific needs of the town itself are about as follows: the public have done much to familiarize teachers even when it is musical the pupils who use it are eral stages and taking in connection therewith the nor uncharitableness on the part of parents, nor and we acknowledge this is far more difficult to con¬ 1. Try to get the woman’s club of your town to with the desirability of restricting the study to com¬ not taught to discover wherein the music lies; theoretical study properly appertaining thereto. Such weariness nor honest failure on our part. tend with than dulness of intellect. Some pupils establish a music section. If there is no such club positions which are essentially musical and worth neither arc they exercised in finding wherein the students could be examined by a local examiner, the From watching the ceaseless, even swing of the seem to be failures, whether it be from dulness or —which is rare—use your influence to have one studying. But in the nature of the case these col¬ expression lies, nor even to feel truly that there is teacher herself, who would sign the diploma; or waves as they flow (leaving only a part of what they wilfulness (the latter sometimes the fault of homr started. Remember that if you have no interest in lections cover only a. part of the work that should be expression at all. by a travelling examiner, if the candidate desired carry at our feet) we have learned patience with training) but let us not be discouraged, knowing it, the inertia of people at large will not permit This neglect generally passes unnoticed during the done. The studies have to cover the necessary pas¬ and would pay the cost, the travelling examiner sign¬ the small attempts, knowing that a later swing of that in spite of all the gardener’s care, only one them to move a finger. Do not blame your towns¬ sage experience, and are able, in addition to this) early years of Btudy, because nobody expects begin¬ the wave will leave what before it carried away. For, rose of its kind may reach perfection in form, color people for not being progressive if you are too weary merely to suggest the phases of poetic music which ing the diploma in connection with the teacher. ners to be dealing with Bach and Beethoven, any while it looked like the first, this wave has perhaps and perfume, which perfection is the fruit of year's to go to any trouble. more than we expect the primary pupils in school belong to the grade. Collections of graded pieces are gained some power the first did not possess. A few- of life ana death of past generations, which have 2. Form your music pupils into a musical elub, to be reading Shakespeare and Browning. But the necessarily restricted to the copyrights of the pub¬ The real thing here is not the certificate or the more drops of water, perhaps. From mountain peaks helped to vitalize the soil which gave it birth and having talks on the composers and musical pro¬ neglect of real education continues all the way up, lisher issuing them, or else to old and tried music, . diploma, but the thorough and many-sided course, we learn that while we must not be discouraged without which it could not exist. A Bach, a Bee¬ grams. Choose one man for study at each meeting. and nothing is more common than to find that young which alone is no copyright. No course of studies, along’ which the student would have been taken be¬ with the grain of sand deposited at our feet, yet thoven, a Wagner were the fruit of many generations 3. You yourself should give a lecture or lecture- women of more than average talent have begun even if supplemented with graded collections of mis¬ fore becoming eligible for examination at all. 1 the mountain is our aim or goal. It is possible, of effort and apparent failure; so we may be help¬ recital once a week, absolutely free, to the public. teaching without having had any musical education cellanies will ever suffice for the good teacher. The believe that were such a course well made, hundreds within our reach; and is ours as is also the grain ing in our small way to make the soil out of which Send out invitations personally until people get ac¬ at all or experience in any music of real art value. moment she gets herself into a living condition, mu¬ of piano students and teachers would gladly follow of sand. will spring one fit to be numbered with the masters. customed to coming. sically (and otherwise she is unfit to teach an art it: whereby instruction would at least be broadened Returning from the atmosphere and conditions of Let us honor our work, as we teachers best know 4. At least twice a year bring singers, pianists, The situation is by no means confined to the pupils so dependent upon enthusiasm and inner aptitude and improved. Moreover, the tendency would be to the Old World, where the lives of the great Masters the value of small things, the grain of sand. Do etc., to your town, and make prices within the reach of private teachers; students in conservatories share as music) she will begin to reach out and try to steady' the study, and make the music teaching year (in one sense, the great pupils) still give and ever you say: “Away with such dreams, oh visionary! ” of the residents After they get accustomed to the same neglect, or if by chance some teacher may bring into the early grades a few of the compositions correspond with the school year. Of course, nobody will, dauntless courage and a certain feeling of kin¬ But remember, dreams are the atoms from which life spend their money for such purposes it will be easier have given them a sonata or some good composition thbt belong to musical art in its purity and truth. is going to sign certificates to students lie has not ship, be it even so far off as the grain of sand and springs, the real from the ideal, the spirit made flesh. to raise the price and increase the value of your for study, more than half the good of it has been I have myself tried to minister to this desire by personally inspected. Hence, such a course, even if the great mountain, we learn what the friendship of This world was once a dream in the mind of God. concerts. lost through lack of preliminary experience and including in easy collections selections from Beetho¬ bearing the name of some school or conservatory, great minds will do for us; and their endless cour¬ As one of the greatest thinkers and workers of our 5. Try to get the School Board to put music in training adequate to such study. Thus we find, as ven, Schumann, Chopin, Stephen Heller and the like would still not be the work of such school or coti age in the face of despair reduces our trials to a age and natipn says; “Have high ideals and try to soon as we begin to hang things together, that if in early grades. servatory, because in music it all turns upon hoic il the schools. If they do not appreciate .its worth, nominal minimum. realize them in practical shape.” Is it not safe to do what Lowell Mason did in Boston—gave his ser¬ we mean our pupils to pick up experience in real is done. The course might bear a merely general Spending a few months in our homes, we have say he had teachers who helped him to think that What is needed now, it seems to me, is some kind vices free for a year to convince. He convinced! music and learn to appreciate its fine qualities, we name, like “Music Extension,” and be localized by read of many different subjects and people, of events way? of collective effort by real musical educators' and 6. Organize a choral society. I was going to write have to begin the work very much earlier in the the name of the town and the teacher or examiner. past and present, knowing that times and conditions pianistic scholars, to define the range of studies in an article on “Singing Towns” but I have made it game and conduct the training along much more From what I hear from teachers, there is now a de¬ help to form the individual mind, and the relation intelligent lines than we now do. each one of the early grades, at least from the sec¬ WAYS AND MEANS FOR THE DEVELOP¬ a portion of this one. At any rate, it indicates pre¬ mand for something of this sort. We need an intel¬ of mind to mind is a great consideration between In a school with which I am acquainted it is now ond grade up. What can be done to lay foundations MENT OF MUSIC IN SMALL TOWNS. cisely what I believe to be the most potent feature ligent consensus of the most advanced musical edu¬ teacher and pupil. We know the success of teach¬ a settled principle that during the ti. . : mur grades for a Bach, Beethoven, Schumann, Chopin, or Brahms in the development of music appreciation. cators to formulate authoritatively the essential de¬ ing lies not so much in one’s stock of musical knowl¬ BY T. CARL WIIITMER. of piano work (four years of school life) the pupils cult in later grades? Or are we to wait' until we The choral organization should be somewhat tails of these grades and the accessory theoretical edge, as in the power to carry that into the mind must follow a graduated course in ear education reach technical proficiency, and then spring our great smaller than the available singers would make pos¬ and ear training, for lack of which almost all of of the pupil by hundreds of different avenues for and elementary theory or harmony, which, beginning master upon the pupils all of a sudden? Surely we I DOUBT if any problem has more value in the de¬ sible, in order that there should be some margin in our existing experiments in good music in the early which one needs knowledge of much besides music. with the major tonalities, passes through all kinds must prepare, because the music of these great velopment of music in this country than that of how case singers dropped off; and then, too, because grades come to very little. We will be observing in all things and read also to deal with the music of the small places. Many of minor tonalities and of transitions from one key geniuses is highly specialized music, using many where not every person is a member, it becomes a In fact, we have several technics to build up: An along many different lines. Indeed, this is an age to another—to hear, recognize by ear, mark, and simple chords and melodies with unexpected inci¬ articles have been written but few have been sys¬ more select and desirable thing, and you have a means ear technic to hear with; a soul technic to feel with; when we must be more wide-awake, quick to feel the understand, and repeat again at the piano. In this dents and for the expression of rare personal quali¬ tematic; many have moaned, mourned, complained for enforcing attendance far more potent than scold¬ a “know-how” technic to discriminate with in finding electric touch wliich surrounds us on all sides; quick and reflected generally on village music but few have wav, when a fourth year has added some instruction ties.' No one of them is to be mastered without good ing and fining: that of dropping some and taking in material; a persistent technic, to stick to it with; to see as the pupil sits beside us, his moral, mental, been constructively critical. in Form and History, pupils know many things wliich ears, sympathetic study and suitable technical facili- others. Give one or two concerts a year. graduates have often lacked, and are ready lor and an elastic and experienced technic in playing «>"I and physical conditions, and bring the point which we 1. Let the good musicians work in this country I know of a town of about three thousand where whatever thorough training in real musicianship the hearing good music of different kinds, in contrast and wish to impress most strongly, at the most favorable and not flee to Europe because the atmosphere is there are two choral societies, the one with 90 mem¬ - me case is not so diilici in connection. moment, with a directness and the flash, as it were, “so uncongenial.” future may have in store for them. for he has written many easy pieces, a few of th bers and the other with 120, singing Mendelssohn’s I believe sincerely that ear work has to follow die ot striking power and quality. It is not so w of electric light. Of the many virtues possessed by the late Theodore “Elijah,” Haydn’s “Creation,” Coleridge-Taylor’s line of progress of the race, beginning with the prime Chopin; scarcely anything easy of his is to Do the electric cars, the telephone, wireless teleg¬ Thomas, not the least was his willingness to remain “Hiawatha's Wedding-Feast,” Carl Busch’s “King raphy carry no lesson for us? ferment which has given us our entire tonal system; found except the easy waltzes and two or th “Whole events in history come down to me vvitli in America and fight the cause of good music. It Olaf” and similar works. This town spends $1300.00 Can we not take the art born in the Old World the major triad is the ultimate fact into which all preludes and mazurkas. And these are in collecti. the effect of an orchestra, playing in the distant would have been a softer pillow, perhaps, to have on its three Spring Festival concerts; brings an or¬ harmony stems back and has grown out of. Melodic single lives sometimes like a great solo. As for the and mature it in the spirit of the New? It can left us and dwelt in some recognized music centres chestra of 30 (next year, 50) from St. Louis; en¬ hearing, simply, lacks fermentative quality, as is the mass. But Chopin can be prepared by anot] people I know, or have known, some have to me the still he art, A rose grown in American soil is still of the Old World, where “atmosphere” is ready-made. gages artists like Sherwood, Blanche Sherman, Ward plainly to be seen in the significantly slow progress very refined tone-poet, Stephen Heller, who has sound of brass, some the sound of wood, some the a rose. Does not Josef Hofmann interpret the mas¬ It certainly is the braver thing—and more pro¬ Stephens, Campanari (he and his company costing ters to the American public with their true artistic during the centuries prior to the beginning-in har- injustice done him by the persistence of tea sound of strings. Only so few, so very, verv few yield ductive of good to us—to “hold the fort” here at the managers $000.00 a night) ; Ottokar Malek and ers m giving out whole books of his in place of the perfect music of their kind. The brass* is a lit* riches all the more clearly because he knows and home and create one’s own atmosphere in the course others; has about 25 lecture-recitals (free) every pieces m each book which really matter. 4nd too loud; the wood a little too muffled; the strings- feels and lives in the thought of the present century of time, as did Thomas. Certainly, our own evolu¬ year; dozens of pupils’ concerts and private musical I have, for some years, advocated the formation of the nocturne cult of Chopin there are hi some of the strings are invariably broken. I k”0" with its own peculiar growth and development, alert¬ tion will he helped only by such courageous musical “seances” by the score. student clubs among the pupils of one teacher, the ness and power ? He seems to understand the Ameri¬ easiest melodie of Heller, others still ea’sier bv C a “Jg man who is nothing but a big drum; and l souls. If all do not possess Thomas’ ability they at This is possible in towns, not so-called college teacher herself at the head, for the purpose of fixing can mind, is conscious of the demand and supply nehus Gurlitt, who often manages within ™ ■ ° know another whose whole existence has been a ji? least may hang on to the situation and in a lesser towns, as I know. All that is necessary is what is in the attention a few of the great names in music, of the 20th century, and as he sits at the piano, limits to strike the note of true ™ l \ y Slm on a fiddle; and I know a shrill little fellow who is degree get a similar result. always necessary—some intelligent and thoroughly and of making these names significant by explaining master of himself and of his instrument, not simply felt harmony. There are also som 7 ^ llea a “ie; and I know a brassy girl who is a pair 01 2. Become a member 'certainly of your own State aggressive person. Remember there is no fund and illustrating the ideals of each composer through a dreamer in the hands of a mysterious power, but tone-poems by other writers wWch are 1 * cymbals; and once—once I knew an old maid * Music Teachers’ Association, as well as a member of created in the town above referred to. There is no the medium of a few of his compositions—as many with a consciousness of the mystery which he grasps the bulk of their works. now lost was a real living spinet. . . . Martin Luther. the Music Teachers’ National Association. one person in it who says to the man; “I shall stand as possible thoroughly studied by the class. Ex¬ with power, feeling the temperament of the age, he i cathedral organ. . . . Plato! hois*® There are certain things which usually only an behind you in the financial part.” Up to this time perience has shown that this sort of thing works out presents the grand ideas of noble minds with a re¬ onLlSt mLsTS8ible t0 Plaee Within , music of the stars. ! . And wit'goes. And organization can get accomplished; for example, to no money has been lost. admirably, and promotes a better standard of play¬ markable clearness, so that the majority of the phases indispensable forThe'^mus-8 differ SO the whole past sounds to me: it is the music01 have passed by the legislature a law creating a com¬ It is just energy and intelligence; let us say, ing as well as the study of at least a few composi- public in great measure through his help, are learn¬ of sincere pupils upon the piano. The dSnces mission of examiners for music teachers, such as now intelligent energy and energetic intelligence! i 6 ''’orÂ: it is the vast choir of the ever-Uv>nc ing to know, understand and love the best in musical dead. —The Choir Invisible. exists for physicians, dentists, lawyers and barbers. These things our country needs! 361 360 the ETUDE THE ETUDE holidays; and from the second week in January to are legitimate, if the teacher actually is able to the first or middle of June, with a sprinkling of It seems to be commonly accepted now that one SIGHT IN PIANO-PLAYING. MUSIC TEACHING AS A PROFESSION AND “DOES IT PAY?” work, perhaps, through the summer. These vacation who wishes to become an instrumental performer A BUSINESS. times must be prepared for, and the scale of liTi0„ must begin the training in childhood, if possible be¬ BY F. H. MORTON. should be adjusted to this fact. BY J. LAWRENCE EBB. fore the age of ten, in order that the muscles may Owing to various incidents, then, a music teactej attain the highest possible development, or, which BY BELLE SQUIBB. cannot count upon a certain steady income, but is quite as important, that there may be nothing How many piano players make it a rule to play must make allowances for many lapses, learn to Probably no question is more widely asked in done in work or play that will in any way stiffen or scales and exercises without actually 'looking at the average his monthly earnings, and adjust his H America today—or in any other land, for that matter injure them. This necessitates a long-continued ex¬ keyboard, as their hands move from place to place? paJs tha'tihe6 jSSThaTlitUe faith in ^teacher If any one outside the profession were to step penses accordingly. Business ability is a prime —than this. All other considerations sink out of penditure for instruction and the most careful nurs¬ On observation, I find that not one of my pupils plays whose price is within reasonable reach. All this ha into a music teachers’ convention he would be sur¬ requisite in teachers if they would be successful sight before the one all-important matter of pecu¬ ing and coddling, that no accidents may befall. The a simple scale without gazing anxiously at her left but increased the number of teachers and decreased prised, no doubt, at the youtlifulness of the gather¬ financially. As in all other professions and oceupa- niary success. How far this is wise is a problem too whole family is liable to need more or less adjust¬ hand the whole time. the proportion of pupils to each. It has decreased ing. Well-dressed and business-like young men and tions not on a salary basis, they have success usually great for discussion at this time; but the question ment to accommodate a future Paderewski or Pag- True, the left hand plays correctly while thus care¬ the proportion of pupils by putting a musical educa¬ women, with a scattering of middle-aged and old men commensurate with their ability, plus or minus their certainly has a legitimate place in the calculations of fully watched, but so does the right. Now, if watch¬ tion out of the average person’s reach. At has in¬ would greet his eyes, and perhaps a few women be¬ business sense. every young man who is weighing the professions Those who have had experience will agree that ing be indispensable for correct left-hand scales, why creased the number of teachers because of the seem¬ yond the flush of youth. He would look in vain for The teachers who do succeed sometimes make a before deciding upon a life-work. Music teachers are from $2500 to $5000 (more likely the latter), for a is it not also required for the right hand? They are ingly golden rewards. It may be right, perhaps, for the traditional spinster with funny corkscrew curls, splendid living at the work. Usually though, they often pressed for advice upon this question, and, while musical education, entirely aside from a good general both normally controlled by exactly similar sets of the prospective concertizer to pay heavily for^th¬ and mincing walk, who used to be thought of in con¬ have something else to fall back upon. They write there are necessarily many strong reasons why each education, which is essential, is a conservative figure. motor nerves and muscles, and what is required for ing the secrets of the trade, for he may get it back nection with notes and music-rolls. they lecture or appear in concert, unless they are particular individual should enter upon a profes¬ Then, somewhere between twenty and twenty-five the one should be required for the other, excepting auto¬ in solid cash. Such a pupil seeks such a teacher in sional musical career—else the question is not worth fledgling artist is launched upon his career. The matic movements. From this I conclude that the left the tacit agreement that the latter will reveal to really gifted as teachers and can turn out remarkable Music Teaching has a Business Side. pupils. Such teachers are, of course, in the minority. considering at all—yet, in view of the fact that com¬ first thing (and the last) to impress itself upon hand does not require exclusive following with the him the secrets of his success. But is it right for petition is sharp and a life-work, like a wife, is (sup¬ him is the absolute necessity for an unremitting eyes when the two hands are used simultaneously. one who has nothing to offer but the common knowl¬ The more modest professionals, the ones who are Music teaching has become a business, which men, posedly) selected for all time, it might be just as grind, of daily practice so long as he lives. This is Here we see a peculiar phenomenon—the pure re¬ edge and experience of the ordinary professional to climbing up from the bottom, are less liable to fluc¬ as well as women, now train for, and reap, sometimes, well to consider a few of the drawbacks. For the perhaps the most discouraging feature of our profes¬ sult of habit: On asking a pupil to repeat a minor indulge in a hold-up game and get his living by tuations if they work among a class of people who the big rewards of other professions. It is still the world is already too full of dissatisfied, disillusioned, sion, that, over and above the labor necessary for scale (recently learned), two octaves apart, watching genteel avocation for young ladies of social preten¬ flattering the vanity and credulity of his pupils, do not indulge in vacations frequently. Their prices unsuccessful men and women. the earning of one’s livelihood, is this necessity of her right hand all the time, she found it did not come sions, but it has become a serious business, as well and leading them on simply for his own gain? being cheaper, they are more approachable by those unwearying practice, simply to keep from retro¬ to her nearly so easily as before; in short, there was as a profession, and it is rapidly coming to the place Thus there are drawbacks to this seemingly golden who can spend only a very limited amount of money. Dudley Buck, who is surely a competent judge, grading. For, so surely as the eternal vigilance, increased mental tension. The left arm seemed bereft where its practice confers prestige on those who fol¬ profession, where an expert can get for an hour’s They will find pupils who wait until vacation to once made the statement to a class of which the which is the price of musicianship, is relaxed, the of some sustaining power, while the right received low it successfully. work, a modest clerk’s weekly hire. In the first begin their work, and are not 60 much subject to dull writer was a member, that nobody is justified in actual efficiency is impaired. It is not enough that that which under the circumstances seemed strange In the large cities especially, where a variety of place, the expert has been in training, not for a year seasons as those who depend upon more fashionable taking up the study of music with the idea of going one may know with the mind; one must be able to and unnecessary. Hence the difficulty. Yet, when causes have sent the prices up to a point which or two, but from early childhood up. He has taken patronage. Such teachers can make fair livings, into it professionally unless he has money enough, do with the fingers. No matter how well the mind the player was asked to play it a second time with makes the uninitiated gasp with surprise, it has lessons and practiced weary hours when other chil¬ especially if they have the business sense well de¬ not only to study for a number of years under the may be trained, the fingers must be kept at their eyes closed, it went as well as at first, or better. become a very serious business. The music teacher dren were playing out of doors. He has climbed veloped. It is these more humble teachers who help best teachers, but also to wait for several years, if tasks, else the musician soon falls from his high I confess I was at a loss to account for this, until sells his time by the hour and the half-hour, or up year after year, has had to deprive himself of to swell the limited summer funds of the high-priced necessary, for “business,” to spend for advertising, estate. This is a serious handicap in more ways than the thought oeeurred to me—perhaps she followed rather, sells his knowledge and experience at so much many pleasures, and success comes slowly to him. teachers, for many a modest teacher spends the hall or to supplement an often-slender income. The state¬ one. The choice of a location is much modified by the left hand in mental sight, and being quite famil¬ per hour or lesser time. In the great music centres, A young man or a young woman going into a leisure summertime in study and preparation for the ment was made to the writer several years ago, by the fact that one is a musician. There are many iar with the keyboard, this explains the even scale. the top prices for what is supposed to be first-class clerkship at from $8.00 to $10.00 per week, can get coming year. He gets his inspiration from his own one in a position to know, that a prominent baritone places, often the most desirable, where musicians can¬ “Now,” said I, “we will have it for the last time, teaching are $10,00, $9.00, $8.00, and $6.00 per hour, his training in bookkeeping, type-writing or stenog¬ advancement. The fact, too, that lie is a pupil of had, up to that time, spent for his musical education, not secure lodgings, and such buildings as are open to with closed eyes, turning your head and eyes toward or from $5.00 down to $2.00 per half-hour. The raphy in from two to six months, at a payment of a more famous teacher adds to his prestige and it in round numbers $50,000, and he is still studying. them are often held at higher rentals because of the where your right hand is.” What was the result? more modest ones charge anywhere from fifty cents from $50.00 to $100.00 for the course. If he gets is really good business to thus connect oneself with to a dollar or two dollars per hour, while beneath The figures seem incredible, unless one bears in mind privilege; so that the poor musician is at the mercy Utter confusion! a position, he commences with his weekly or monthly a teacher whose name is made. the fees that some of the highest-priced teachers ex¬ these are the hangers-on, who charge anywhere from wage secured to him at once. He knows that his of his landlord. Then, in the second place, the time This interesting experiment has led me to another fifteen to thirty-five cents per lesson. act for lessons, and the many-sidedness of the art. and energy and vitality that must be devoted to prac¬ conclusion regarding the use of the eyes in piano work will bring him, on the following pay-day night, There is an organist in New York City who, it is As in any business where fancy prices prevail, a a certain sum at least. Not so the musician. He Publicity Essential. ticing are, of necessity, so much subtracted from the playing. The oft-repeated advice: “Watch your said, spends $1000 a year and upward on advertising, large number of applicants rush in to grasp the spends far more years in training than the stenog¬ earning capacity, for the day contains but twenty- hands in scales and exercises,” is liable to serious It is scarcely possible, in this day, to keep up and his income is not colossal. Many of the great prizes. At first glance, a profession or a business rapher does months, with a corresponding outlay of four hours, no matter how they be used. abuse, inasmuch as it is so ingrafted upon the pupil a reputation on what has been done. It must be kept artists spend so much for coaching and advertising that promises in the future a reward of perhaps money. After weary hours of practice and study, he that he religiously adheres to it, from primary to upon what is being done. Like every other pro¬ that their large gross-receipts net them but a mod¬ So much for the dark side of the shield; now a $10.00 per hour, seems far more attractive than a • sets himself up in business in a modest way, with a senior grade, and, I suppose, for the rest of his mu¬ fession, music has its share of “have beens.” The erate income; so that it is not unheard-of that the modest clerkship or other business enterprise. At studio perhaps, if he has the capital; in his home, word “in rebuttal.” We are told that obstacles make sical life! teachers who are succeeding are workers, or sooner popular idol of the last generation should die in a $10.00 per hour, working from eight to ten hours a if he has one; or, teaching from house to house. At men, and nowhere is this truer than in the musical Of course, it is necessary for a beginner to look at or later they fall, und some one else pushes into garret in this. day, and six days a week, the profession would be ' first his prices are modest—fifty and seventy-five profession. These obstacles become a series of tests, his hands to see that they assume the correct posi¬ their place. A music teacher who hopes for success The fact of the matter is, that the amount of money very profitable indeed; so would $9.00 per hour, or cents and a dollar an hour, according to his prestige so that, while “many are called,” at the end “few tion, but I maintain that correct position should must keep before the public, must advertise in required to study thoroughly with first-class teachers even $6.00 or $5.00. Even at $2.00 or $1.50 per and social surroundings. are chosen.” In ours, as in all other professions, chiefly be remembered by the internal motor impres¬ various legitimate ways to hold his own. He must in any large city is startling when viewed in the hour, it would not be so bad; a trifle like from Little by little he climbs up, has a studio in the there is a weeding-out process which results gen¬ sions of the hands; in other words, how the hand appear himself, or have bis pupils appear, or both. bulk. Certainly, no other profession would seem to $300.00 to $400.00 a month is not to be despised, nearest city, and lias an assured following for the erally in the “survival of the fittest.” It is no con¬ felt in such a position. A beginner’s attention should after all. Add to this the public appearances of these It is for him to decide whether he will take few call for so large an outlay. On the other hand, the time being. Perhaps there is no profession quite so solation, after the expenditure of money, time and be directed to this important consideration, because famous teachers, who often get big fees for an even¬ pupils at a high price and keep himself in good form, average income of musicians is discouragingly small, precarious as that of music teaching. A family labor, to be among those found wanting, and crowded it is psychologically correct—what he feels has al¬ ing’s program. A pianist like Godowsky, who or take more pupils at a lesser price and give up probably less than in any other profession. This will take pride in having a family doctor, and stick from the ranks; but progress is heartless, and on ready reached his inner consciousness, and is more charges $10.00 per hour or $6 00 per half-hour, will his own career in public, and depend upon lus pupils being the case, the question certainly seems pertinent: to him year after year. They employ the same the other hand, there is much satisfaction to be de¬ real than what is merely seen, without any note be¬ get perhaps $100.00 or more for an evening. The to spread his fame. In this case, pupils’ recitals “Is music a fit vocation for a young man who has to lawyer, and the same dentist, go to the same stores rived from the mere fact of having survived where ing made of its inner result. prizes are dazzling; no wonder our young people are with programs, invitations, hall and piano rent, are earn his living?” others have dropped out. But, if at first it is necessary to direct his atten¬ crowding into the profession. for years and boast of it, but in music they follow the fads. A teacher may have an assured standing sources of expense which must be met bv tuition Then, besides, the very “drudgery” of practice may tion (in sight) to the hands, surely the only safe But, after all, are they so dazzling? There are not Leaving the matter of talent out of the discussion, have considerable prestige, and yet wake up some from his pupils, and can be looked upon as part of become transformed and transfigured into golden course is to insist that, as both hands are equally many musicians who ride in automobiles and have the advertising fund. there are in almost every case other influences which morning to find his pupils slipping away from him, hours of communion with the greatest souls who “at sea” in early stages, the eyes should oversee each country homes as well as city ones, in spite of this have more or less weight in the final decision. Such the ground undermined beneath his very feet by Thus, in spite of the prevailing high prices, music ever expressed themselves through the medium of hand to the same extent. Then the student would not array of figures. In the first place, the teachers are, on the one hand, desire, all too common in our some one who has discovered a new way to hold the teaching, except to the favored few, is probably not tone. It is often the inspiration of these hours of have made such a bungle of a simple minor scale, who charge tnese prices maintain expensive studios, hands and raise the fingers. so profitable ns school teaching and many other day and generation, to enter upon a life-work which practice that makes the entire day brighter and more realizing an oversight is the best way to prevent its which must be rented by the year, the rent to be vocations and is much more precarious. It involves makes soft hands and good clothes not only always effective, or even bearable at times. Then the ostra¬ recurrence. But to continue: If watching is not in¬ paid in dull seasons as well as in busy ones. They much business tact and management, faculties so possible but necessary; on the other hand, the more cism, which is in a measure the musician’s lot, sim¬ dispensable for correct right-hand performance, either maintain studios themselves, or else divide Income Uncertain. otten lacking in really talented musicians, and lack¬ than century-old prejudice against musicians, re¬ ply makes him stick all the more closely to his neither is it for the left hand. ' Therefore, neither the profits with the management of some conserva¬ ing perhaps in the ordinary run of people, so that, sulting from their inferior status in society even so brothers in art, which accounts for a great deal of tory. Then the number of pupils who can pay these Competition among teachers is not the only draw¬ hand requires active eyesight. Why should it? If back. Let us speed the time when there will be the except to those who have business ability or are so lately as Mozart’s day. However, the financial prob¬ the comradeship and “freemasonry” among musicians. both hands have been properly practiced apart (at¬ prices is limited indeed, and competition among the lem is in itself sufficiently important to demand Unquestionably there are financial drawbacks about teachers is very keen. same professional courtesy among musicians tjat situated that circumstances aid them, the returns tention being drawn to motor impression), they will do not always justify the outlav in monev. time serious thought. music as a profession, which must in the not far surely run in harness together. So it really seems to “^:rxdr;%:*r"-fo“erT‘- “d m! and strength For this reason, people who are really In the first place, the age of the person contem¬ distant future work a radical change in many par¬ me that the best spot to focus the eyes upon is the Financial Returns. 0/ taW». teachers. At ,c„„Ul‘TriiTtol g d for the work of teaching are often crowded plating the musical profession is a factor of first- ticulars. And it would certainly be wise for any far end of middle OS- Thus both hands will be kept rate importance. There have been eases where peo¬ young man who is considering the choice to bear The first impulse that sent the price of teaching good, sound educational methods in music Wn- Q^h6jWa11 b%V those of less in both music in sight, or at least within the margin of sight, and th. Md M be ple have begun serious music-study after childhood these things in mind. In the meantime, the value of up to its present point was the profitableness of pedagogy, with business faculty well developed. the attensive force be received equally by each arm very small town one teacher cannot do all the teach -Notwithstanding the drawbacks.' music teaching and have still attained renown, but they are not the music-study, both for itself alone and as a factor with its resultant in the fingers. This will conduce concert work to the few who were really worth the rule. Schumann was well past his “teens” when the hearing. Pupils preparing for an artistic career an enjoyable occupation to those who have talent in the broad culture that is becoming more neces¬ to an even technic, and in skips and other difficulties, final decision was made and he had already begun naturally were eager to study with some one who threatens l^professfon isfoHS ZZ**? sary every day, cannot be overestimated. Financial sight-reading will not be seriously interfered with, m-nfiV mnd °an afford to prepare for it. To make it preparations for another profession; Berlioz was a was already an assured success. As it is unwise and considerations aside, there is no other profession as is so much the case with indifferently-taught per¬ amount 6f °ne mUst first P°sses8 at least a fiir medical-student when came the parting of the ways; unsatisfactory to appear in public without constant which is more satisfying, or elevating, and none formers. expenses still go on thouo-h nil • tn .tlme wllen tion ^n ITsical talenl> should have a good educa- Tchaikovsky was already in the Government employ practice, such teachers were obliged to limit their Dpj ° Pr things, must understand the principles of which so completely wins over its devotees, body and It may perhaps be thought that such a little thing when the amateur at last gave way to the profes¬ teaching hours, and finding their services still in The vacation season’for teachers of^Tusic8 iiTrkT' soul. No other profession is to be compared with it as continual looking at the left (or right) hand bus?i°f;-,nma* have a"d above all, must be sional. In our own day, Schyttd, the Scandinavian demand, the prices were raised until the maximum to begin before the June examinations for of co 7 for the man or woman of leisure or for the leisure hardly merits one’s attention; yet, in the aggregate, lected as fi J ,le business part has been sadly neg- pianist and composer, was twenty-two when he began of $10.00 per hour was reached. With the teaching the average teacher depends mainly Mon °°Urse’ moments of men or women busied in other walks of these “little things” make the success of a player. musicinn *he many failures among really talented the serious study of music. But in all these cases, hours limited, his class reduced to only the most mg of children and young people for ? ,the teael1' life. The question: “Does it pay,” applies only to .h, peep,. *“> part will ,teSUfy' Perhaps some day the business there was a great talent which early showed itself, earnest and determined students and a comfortable music as a means of livelihood, and from that point The imagination is the greatest of human powers; even reasonable ones is the u, lancy Prices or those taught with the advanced lessons to and the real decision had been reached by the future and steady income assured to him, the artist-teacher of view it bulks large. no matter in what field it works—in art or literature, ing or pretends to take one from June an °Ut~ other wnri-art? p.rePari“g to be teachers. Like all musician long before the “powers that be” finally could devote his most, serious attention to the study in mechanical invention, in science, government, com¬ The fashionable teaching season lasts f° Sep*ember- it and m- ’ music teaching is pleasant if vou like gave their consent. Moreover, as compared with of his art. In such cases these seemingly high prices Never try to teach to others something you your¬ merce, or religion—and the training of the imagina¬ .. I. „idd„ DcctoL, s gt: if vou W prepared for it, and it is remunerative these few, the great majority of important musicians self do not understand and can make clear to others: tion is, therefore, far the most important part of it pay. 6 taIent anct the business ability to make were consecrated to their art from earliest youth. —Von Rochou, education.—Pres. Charles IF. Eliot. 363 362 the h T U D H THE ETUDE Each held one or two sharp little hooks, and they pricked and stung him while the little creature's 4. When did they meet? His friends often entertained him by having him persistent endeavor, for almost without exception danced and scampered like mad. calling: (Five o’clock in the morning or In the gloam¬ name notes which resounding bodies gave out, or ones their lives repeat the oft-stated but none too often ••Do you see liow quick we are? Eighths and Six- ing.) which they struck on the piano when he did not see emphasized truth that success comes only to him who teenths, sir! Ah, and you never would play us fast 5. What did he say? the keys. A professor of the Conservatory who could earns success. Then every one of the great masters enough! Dance! Dance! Let him feel our hooks! ” (Oh, promise me.) not recognize the notes in this way, forgot that many was a child-musician and in his daily life showed Ned was indeed tormented and he began to be 6. What did she say? good musicians and even some great composers could the value and necessity of steady discipline and en¬ frightened too. He tried to scream, but his tongue (I’ll leave my happy home for you.) not do it, and was rash enough to say that no one thusiastic work. Bach, Handel, Mozart, Haydn, Bee¬ could not move. He was thankful for one thing, that 7. What did he then say? could, and to require Camille’s friends to test the thoven, Mendelssohn, Chopin, Schumann, Schubert, and Wagner are the subjects of the readings which the kobolds were so small, and hadn’t strength enough (Good-bye, little girl, good-bye.) child. we recommend most heartily to directors of clubs as to do more than prick his skin. But there was more 8. What did the band play? They met at the house of an old friend of the to come. Those who carried ladders ran up to him (The girl I left behind me.) Saint-Saens family. The child sat with his face useful for readings at meetings. now and turned somersaults from his hair to his 9. Where did he go? toward the wall; a note was struck, and he named it. Foub little girls, Mollie, Cor- heels, and jumped on his nose and if one fell, they (Marching through Georgia.) “Wrong by half-a-tone! ” the professor beamed with THE ROBERT nelia, Frances and Margaret, only been willing to work a little he would have screamed: “Tie up his hands, the bad boy! He has 10. Where did she stay? delight. "It c-annot be wrong! I could not be mis¬ SCHUMANN CLUB, all piano pupils of one wise learned to play on his piano very quickly, tor ms spoilt our beautiful scales! ” The Sharps and Flats (Dixie.) taken ; the piano is out of tune! ” The professor But r teacher, and of ages ranging fingers were clever and his ear was 11 110 screwed themselves onto his fingers till they pinched, 11. When did he return? still insisted that it was a mistake, but unfortunately . his teacher from eight to ten, met together to form a musical nehe preierreapreferred to10 inaivemake lifeme .**a burden- t- . shrieking: “Do you know us now?” and all around (St. Patrick’s day in the morning.) for him, a tuning-fork was brought. The piano was club. They made up their minds to call the club and to his mother. Whenever they practiced with him were thousands of kobold-notes dancing and yelling 12. What did the band play? half-a-tone low, because it was so old that the tuner 3 slow; (When Johnny comes marching home again.) could not bring it up to correct pitch. The pro¬ "The Robert Schumann Club,” because the great com¬ he would play wrongly, first too fast, then t and singing horribly out of tune, till Ned thought his r lift his fingers 13. Where did they again meet? fessor left the house in a rage, and never entered it poser who bore this name had become pretty well he would not hit the right notes, r~ ,if+ 1,; ears must burst. (’Twas within a mile of Edinboro’ town.) again. posted, through his own flock of children, with what from the keys nor hold his hands properly. He was He remembered his teacher and his mother and 14. What did he say to her ? At five years of age. Camille Saint-Saens wrote was needed to make young folks understand and as naughty as possible at every lesson, hoping that how he had tormented them day after day, and he (I would that my love, Mendelssohn.) galops and waltzes, in the style of the day; and be¬ finally his mother’s patience, would be worn out and resolved that if these spirits left him alive he would 15. What was her reply? cause a neighbor, Mile. Granger (afterward Mme. Our four girls had been told by their teacher that then iie would be rid of the hateful practicing. be a very different boy. One day his mother met a famous musician who (Call me thine own, Halevy.) Paul Meurice) composed romances, he wished to write every piano student should know by heart Schu¬ Hardly had the thought passed through his mind was a friend of hers and told him how discouraged 16. What did he give her? some too. They gave him some verses of Mme. Des- mann’s “Rules for Young Musicians.” Already the when he seemed to hear music approaching, and in¬ she was with Ned’s music. The great man gave a (The last rose of summer.) bordes-Valmore: girls had committed to memory a great many of stantly his tormenters stopped their screaming and sharp look over his spectacles, a look that seemed 17. Where were they married? “En vain l’aurore these rules. They knew that he who made the rules dancing, and formed themselves into line again, on to Ned to read every thought in his mind. (Old Kentucky home.) Qui se colore believed it to be veiy foolish to devote several hours ^ “We must send for the Music Fairy. She knows the edge of the shrubbery. Ned sat up and looked 18. What did the organist play at the wedding? Annonce un jour each day for years to mere mechanical practice in about him. There stood the Music Fairy-. Tamboubine Player. how to make him practice! ” (Wedding March, Lohengrin or Midsummer Fait pour l’amour.” which neither head nor heart was concerned. He Ned tried to laugh, but the tone of the great mu¬ “You have been punished as you deserved,” she Night’s Dream.) In vain the glowing dawn heralds a day made for said it was “as if one should busy oneself daily with Undeb this head we shall give a sician had a peculiar meaning in it, and he could not said. “But I hope that you are better for it. Re¬ 19. Where did they make their home? loving; evening I wait for, lost in the thought of thee repeating the A, B, C as fast as possible and always NOTES FOR number of concisely stated facts quite shake off the uncomfortable feeling it gave member that I am always near, listening to you. If (Way down upon the Suwanee river.) till I see thee again. faster and faster.” THE CLASS, about music and musical instru¬ him. He said to himself that there couldn’t be such you have to be punished again, the second chastise¬ 20. Where did they ever afterward remain? The girls laughed when they thought what stupid ments. They can be used for recita¬ a thing as a Music Fairy, and anyway he had never ment will be much worse than this one.” (Ned could (America.) business piano practice would be if it meant nothing tion and study at class meetings, and should be valued heard of one. not help shivering at the thought.) “But you more than to let the fingers glide glibly over the as items of interest. Next morning his lesson was worse than ever, so promise, do you not, that you will be diligent in From the time when he was two keys, or wrestle with technical difficulties, while the Violins. bad, in fact, that his teacher quite lost her patience your music after this and so try to repay your THE CHILD years old, Camille Saint-Saens sur- thoughts wandered and the feelings were occupied and gave the bad boy several smart raps on the teachers for all their trouble?” SAINT-SAENS. prised his parents by giving re¬ only' with self-pity at the uninteresting work. Mollie, Our violin has been unchanged for three centuries. knuckles. He cried and pounded the keys until he Hardly had he promised when she and all her markable attention to all kinds of Cornelia, Frances and Margaret had each and every The most perfect violins were made by Antonio was sent away. Having rid himself of the lesson, he army disappeared. He heard the sound of his own sounds, listening to the clocks as they struck, making one of them found even scale and exercise practice Stradivari, 1649-1737. went good-humoredly to dinner, and then ran into piano, and rushed into the house, half-crying, to tell the doors creak softly, tapping resonant bodies, and interesting because they had been taught to take The Addle of the 13th century Troubadour is an the garden to sit under his favorite tree and cut some his mother what strange tilings had happened. following the sound till it died quite away. Schumann’s advice and “cultivate the sense of Hear¬ ancestor of the violin. figures on a stick he was carving. “You must have fallen asleep,” she said, “and A large tea-kettle had a special attraction for him. ing.” When they were wee dots of children, they Viols, with cornerblocks, the next step, were in¬ All at once he had a strange feeling. He dropped some insect stung you; or perhaps your hands and Whenever it was put on the fire he would draw up a had learned from little Red Riding Hood and her vented in the 15th century, probably by the Germans. his knife and tried to stand up. He could not stir feet went to sleep.” stool and sit down before the kettle, hearing a sym¬ grandmother that our ears are given us to hear with. The violin shape was Arst used in Italy about the from the bench, to which his arms and legs seemed But Ned knew better. He had seen the Music Fairy phony begin and grow—and end by boiling over. Now they were well aware that much more good middle of the 16th century. to be tied. Then he heard a great shrieking and with his own eyes, and had heard what she said. One day his great-aunt opened her piano for him. could be found in music study, as in everything in Scales. chattering of small, high voices and a strange thump¬ No! that was no dream! Alas for the boy who It was an ancient instrument made by Zimmermann, life, if we could train our ears to hear all that ing in his ears. He looked up. There stood a beauti¬ should not keep his promise to her! with narrow keys and light of action. Instead of was to be heard. Music was made Arst and scales afterward. ful, tall figure carrying a lyre, and wearing a wreath Ned was not that boy, however. He kept his drumming, as most children do, Camille touched the It had been found great fun by our girls to dis¬ The value of a scale is shown by the music that is in her hair. Her eyes had such an angry look that keys softly, one after another, and held his finger tinguish the difference between the strong whole- made in it. word and worked hard at his music, and now when he tried to turn away, but she commanded him: on each one till its tone had ceased. His aunt The modern European scale is the only one which people remark upon his wonderful playing he thinks tone and the weaker half-tone. They knew well the “See who I am, and remember always who it is waited until he was two-and-a-half years old before is founded on the needs of harmony. with gratitude of the good Music Fairy who brought story of the ancient Chinese who regarded the whole- that you have so insulted! I am the Music Fairy! teaching him the names of the notes. At that time The modern European scale is thought upward. him his talent.—From the German of A. Bleiblreu h tone as the representative of man, the sun, or any¬ When you were born I put into your cradle a Saint-Saens in 1845. Oriental scales are thought downward. Florence Leonard. a tuner came to put the piano in order. To the thing lordly or grand, and who long banished the beautiful gift to make you and your friends happy. The Arst Greek scale had but three notes like our astonishment of his family the little boy at play half-tone from their music because it was a reminder But you are lazy and disobedient and now I have C, 0, G, read downward. in the next room named the letters as the tuner He composed the song mentally in a few minutes, of woman, the moon, or anything feeble or weak. come with my spirits to punish you so that you will In this so-called “Musical struck them. His great-aunt, who was an excellent played it off, sang it in his little voice to his own When finally some one introduced the use of the half¬ China, Japan, Java and the PaciAc Islands have become good.” five-note scales. A MUSICAL GAME. Romnnce.” each one taking musician, thought it was now time for Camille to accompaniment, and finally wrote it down. Just as tone in the music of China, there went up a great Before he could move or speak she had clapped Seven-note scales belong to India, Persia, Arabia, part is to be provided with begin to study in earnest, and she began to teach he was accustomed to do later, he did not hunt out hue and cry over the land because it was thought her hands and out from the shrubbery rushed a probably Egypt, ancient Greece and modern Europe. a sheet of paper on which are written questions sim¬ him, using the “Le Carpentier Methode.” But at the one note on the piano. This little piece has never equivalent to admitting woman to the affairs of State. swarm of strange, little,creatures. The Persian scale system is the most elaborate in ilar to those given below. Or, as saving time and end of a month the study was given up. However, been altered, for it is written quite correctly. The girls had learned that we prize contrasts in the world. “Punish him! Torture him till I bid you stop! ” trouble, one list of questions only need be prepared the child would not let the piano alone, and he Somewhat later he wrote a sonata in three parts our music, and that we believe in the combined and she called, and vanished. Five-note scales have few semitones. and this can be read by some one appointed for the shrieked and cried when it was closed. So it was for piano and violin, at the wish of the violinist varied usefulness of tones and half-tones, precisely Seven-note scales have developed many semitones. Oh how Ned wished that he too could disappear. purpose. After each question, the musical answer left open with a little foot-stool near by, and when Bessems, who was kind enough to play it with the as we believe in the combined and contrasting activi¬ But no! The shrieking, squeaking kobolds fell upon Chromatic scales grew out of the seven-note scales. m played and the listeners put down the title on the fancy seized Camille he would leave his toys, author. But the task exceeded the powers of the ties of men and women, boys and girls. They had him like angry bees. Some were all in white, fat and Music in the seven-note scales can have the most their papers, which must be numbered to this end. climb upon the stool and improvise. workman, who had no violinist father to help him. learned also promptly to recognize the joyousness round; some were tall and very thin, with limbs all varied melodies.—Florence Leonard. n case the music is not recognized, that particular When he was four years old he began to play When he was seven, he had Stamaty for teacher in of a major chord or passage, the tender plaintiveness twisted and deformed; some looked as if thev had number is left blank. A reasonable length of time from notes, but it was difficult to find pieces for piano and Maleden in composition; and from the of a minor, and the wailing despair of a diminished changed clothes or caps or even heads with their him. Little ones written especially for children, or Once there was a little should lie allowed after each selection, and if re¬ time that he studied theory he ceased almost entirely one. It had been most delightful to them to be fellows. Every one had something in his hand. Here airs from the operas with an uninteresting bass he THE MUSIC FAIRY. boy named Ned. He was quested it may be repeated. After all the questions to write. He did not begin again until he was able to tell when the dominant seventh was struck was a group dragging ladders, there were others refused to play, and nothing could induce him to fifteen years old, and some of the pieces written then an only child and his pa¬ lave boon given out the papers are collected, and that a question was asked, and eagerly to seek the change his mind. “The bass does not sing,” he would are among his most interesting compositions. rents loved him so much that their one thought was they weremdS ^ to°ls~~a great swarm of tormenters one showing the greatest number of correct answers answer in the return to the tonic. Their good to give him pleasure. receives a prize. say. His aunt hunted through Haydn and Mozart At the age of ten (May, 1846), he gave his first teacher believed that any child old enough to find its ' St,rike him! Wm!” they to find bits adapted to his tiny fingers; he played concert in Pleyel Hall, with the assistance of the way about the keyboard could be taught to know Perhaps you think that Ned was a good boy and I lie example given is intended merely as a sug¬ shouted. He has abused us enough! We will them smoothly and correctly. At five years old he Italian Orchestra directed by Tilmont. He played tried to deserve all the kindness of his mother and him to mind his notes! ” ° Wl11 teach gestion; the aim has been to make the music as simple intervals and chords when these met the eye played extremely well a sonata by Mozart. then, wonderful to say, the C minor Concerto of on the printed page, or fell on the ear when played. father. But you are quite wrong. He was a lazy ■imple and familiar as possible. Other questions Then a crowd of little round creatures, some of Unlike most wonder-children, he was not at all Beethoven, a concerto in B(j by Mozart, and several She proved this to be possible by making her pupils boy, and disobedient and stubborn, and altogether he may be added and the music innv lie more ambitious gave his parents much anxiety. However, they spared vain, and did not care to have people admire him; pieces for piano alone.—From the French by Florence familiar with every musical form and combination ,,p“w' ™ in scope, according to the musical knowledge of the neither money nor trouble and tried to have him he only wished to make them admire the music that Leonard. that their fingers grappled with when they practiced. learn, in school and at home, everything that a little V1 case of ) me. (Throws his arms around her neck.) /•jîoopa her takes a cap from & nail and nu.. derful power of expression touched me to tears. 1 “Now this second one is just too lovely for any¬ favorite! Some day, I shall play in New York, and ing turns in playing intervals, chords and passages, Mme. DeLattre: My Roland, my darling! Dear Mme. DeLattre (seating herself at the inquired about him from the director, and the repli,, thing ! Poor Mozart! What a genius he was! Some this is to be one of my numbers. (Yawning and and calling on the others to tell what had been husband, look down upon your soil and bless him taking up her embroidery): How glad I received proved to me that I had not overestimated day I intend to write music. (Drums the first page going to the windqw.) The milkman is making his played, even to write it down. One of the club’s that he may reach his goal, bless him that in the if I couldPgo to the church and hear Holand sing his the greatness of the talent of the young singer. And of No. 2.) Now this sounds better than the Inven¬ rounds. I suppose my time is up—I’ll run to see— choice amusements was to be musical dictation. In great world his heart may remain steadfast and pure. tions. Bach’s music is Greek to me. dear me! I certainly have worked—my wrists ache.” order to understand notes the girls well knew they solos. But I dare not stop working, for this em I also learned from the director that your boy is as Curtain falls. “I wonder what Elizabeth will wear to the party; —Daisy Johnson: must be able to write them as well as to read and broidery must be finished in a day or wo 1 aood as he is gifted. I called the Httle soloist to to keep the Countess Argentines favor. Roland poor girl! She never will learn to play the piano. play them. me put him in my carriage and have brought liim sings his solos beautifully, so my neighbor whom here. In eight days I shall leave for Milan. Your (Calls) Mother, how long have I been in here? At each club meeting one of the members was to Muxv Crawfobd, seated “Well, if my time is up, it will just have to be up, “Thebe is no music in a ‘rest,’ but there is the play a piece that had been studied and analyzed in versed in music says; he was at the rehearsal yes son is to accompany me, and, under the direction of WHY M1LLY DIDN’T before a piano, opens a but there’s the technical work! (Opens book five- making of music in it. And people are always the way indicated; and those who listened were to terday and savs that the boy is music through and the best teachers of Italy, shall cultivate his great LEARN TO PLAY. copy of Bach’s Inventions. finger exercises.) This is sheer nonsense. Oh well, missing that part of the life melody, and scrambling express their opinions upon technic and interpreta¬ through. Oh! 'if I could only assist him m the dearest talent. My dear woman, will you give your boy to As her fingers wander aim¬ they are dry, and will keep! I’ll just wait until to¬ on without counting—not that it is easy to count; tion. Schumann’s rule was not to be forgotten in wish and have him instructed in music. lessly over the keys her thoughts stray after this morrow afternoon, and then play through the whole but nothing on which so much depends ever is easy selecting the piece, which says: “It is better to play But it is useless to think about that. It was difficult 1UMme. DeLattre: How can I thank your most fashion: book; how is it? Oh yes, legato and staccato or stac¬ —yet, ‘all one’s life is a music, if one touches the easy pieces well and beautifully than to render harder enough to get the money together to send him to the gracious Excellency? Though my heart seems nigh “I wonder who that girl was; she certainly wore cato, some kind of a hopping word. notes rightly and in time.’ ”—Buskin. ones only indifferently well.” Besides this, each one Latin school. And now he is the best scholar there, to breaking at the thought of sending my only child a pretty hat. I should like to dress well. “I believe my music teacher knows everything present was to tell what the music played meant to in the church he is the finest singer of all the boys, into that far-distant land, I will consent to the and in playing he can execute quite difficult tone “Oh dear, I wish we could skate this afternoon. about foreign words as well as she knows music. her. Such an effort will do a great deal to sharpen separation, will not oppose the good-fortune of my “Eveky day that is bom into the world comes like “There’s the telephone.” Gets up from the piano (Finds a copy of Mendelssohn’s G Minor Concerto.) the imagination and quicken the sensibilities. passages. My dear boy is a good son, who rejoices darling. My sainted husband, who looks down upon a burst of music, and rings itself all the day through; his mother’s heart because of the respect and love and goes to the hall. Well, here’s some of sister’s music. (Drums on last Among other things, the girls gre going to play us from heaven, will bless me, because I have been and thou shalt make of it a dance, a dirge, or a life he shows. Never a cent of the small salary that the “A party! tomorrow evening! Yes, I shall be movement.) This isn’t so hard to read! Now, why march as thou wilt.”—Carlyle. duets, for Schumann said concerted music made the able to conquer myself and to part with him for church pavs him does he spend 011 himself; he thinks playing fluent, spirited and easy. He also advised years, ah, (with broken voice) perhaps forever. only how he can use it to give me joy and to help accompanying a singer whenever possible, and making Roland (throwing his arms around his mothers make ends meet. God bless him, and lead him to the the acquaintance of the folk-songs of different na¬ neck and sobbing) : Mother, dear mother, the part- tions, as they offer many beautiful melodies. Efforts life he so earnestly desires. (A knock at the door.) The following is a little musical romance which requires a translation of musical characters for an accurate reading. It can be used for an exercise by members of clubs. ing will also be inexpressibly sad! (Gonzaga steps in these lines were to be undertaken by the club. Scene 3.—Mme. DeLattre: ' Who can that be? The only variation from terms usually employed is the use of the German terms for chromatfc terms, Es for E flat, As for A flat, or Fis for F sharp, etc. to Roland’s desk in order not to disturb the comer Do you not agree with me, dear young readers, that (Opens the door.) Why, Mme. Martin! Come in, sation of mother and son. He leafs through Roland's with an occasional bit of help from the wise teacher, come in! (Showing her to a chair.) Sit down! The Sweetest Story Ever Told. our girls ought to have a most enjoyable and most Mme. Martin: Dear Mme. DeLattre, her ladyship, books.) Mme. DeLattre: What a weak-hearted woman I (Up to date.)_ profitable club?—Aubertine Woodward Moore. the Countess Argenthibre, sends me to see you about your son. She proposes to you once again that you am! My complaints have brought tears to my dar- Yeabs ago, when boys give your bright, handsome boy into her care. Her ling’s eyes. Weep not, child of my heart! Good H time 1 A GREAT MUSICIAN were in demand for the ladyship will make a clever, active servant of him fortune has called you, a future that is worth a great OF THE OLDEN DAYS. choirs of the great and he will have it good in her house ; she will also sacrifice. Every day you will think of me as 1 of 2 X the threshold of an already happy family, by the cathedrals, there was take into account his love for music and allow him you. Thus shall we, though separated, always be to continue to sing in the St. Nicholas Church. Now, united in heart. How happy am I that I no longer great rivalry between those in charge of music, and : and 2 TO j * I | it was no uncommon thing for one maestro to try can I say to her ladyship that you consent ? need fear the disfavor of the Countess because 1 to take singers from another. Boys with beautiful Mme. DeLattre: I am well aware of the great would not consent to her renewed offer to take yon voices and great musical talent were guarded with favor which the Countess shows to Roland and me, as a servant. the greatest care. A -famous boy-singer in the 16th and I value it; yet I must decline it. When my Roland: Has the Countess made this offer again! century was Roland DeLattre, who was several times dear husband was at the point of death I gave him Oh, mother, will the haughty Countess make good her carried off from his home on account of his beauti¬ my solemn promise that Roland should have a threat to withdraw her patronage because you have ful voice and artistic singing. He was born in the thorough schooling. And I cannot, I cannot break refused her offer? I remember very well that you Netherlands in 1520. While still a boy, he was taken my promise. Please give to the Countess my most once told me that she is your best customer. Ii she to Sicily by Ferdinand Gonzaga, the Viceroy of that heartfelt thanks for her goodness. gives you no more orders, you will fall into want island, and afterward to Milan. He received a thor¬ Mme. Martin: Mme. DeLattre, you are acting If you lose her favor, you have nothing but aniiety ough musical education in Italy. In 1562 he settled foolishly. Here you are offered a chance to make and need before you. No, no, that shall not happen. in Munich, Germany, where he remained until his your life easier and to put your boy in a good posi¬ (With trembling voice) Farewell, sweet Music! death in 1594. He is known in history as Orlando tion, and you throw it away in your pride. Yes, Farewell, thou joy of my life! (Kisses his mother.! di Lasso, a Latinized form of his French name. Be¬ your pride, I say. How are you going to give your I will hasten to the Countess and become her servant. low we give an incident in his life in the form of a boy an education which is so far beyond his position My dear little mother shall not be compelled to suffer little play that may be acted out by members of a in life ? Do you think that later, as a highly edu¬ that her son may have a brilliant future. The joy made her very “grave.” club. Two girls can represent the two women, while cated young man, he will be in a position to say to preserve my best protector from need will help two boys can represent Roland end the Viceroy. The yes or no to an offer of a place as a servant or, to me to suppress my longing for art and to do my latter Will not be in military dress; a history cover¬ she sat dreaming of 1 dearer than all the go a little higher, as a secretary? I tell you that duty as a servant. (Is about to rush from the room.) ing the period will suggest some points for the gen¬ without favor Roland will never, in spite of his learn¬ Gonzaga: Softly, my boy, yon seem to forget your eral’s costume. ing, reach anything; his education will only serve patron, Gonzaga. Characters: to make him unhappy. TO -— she was startled from her “ Reverie ” by quick Ferdinand Gonzaga, Viceroy of Sicily and General Roland: Pardon me, your Excellency! How im¬ Mme. DeLattre: It is impossible for me to break polite, how thankless I must appear to you! Anxiety of the Spanish forces in the Netherlands. my oath. Heaven will help my boy! for my mother made me forget you for the moment, Mme. DeLattre, a poor widow. Mme. Martin: If you stick to your pride and your E corning toward the door of her you who have been so kind to me! Be not angry Roland, her son, twelve years old. foolishness you will lose the patronage of my mis¬ with me, dear good General! Mme. Martin. tress, and I would like to see how, without her many Mme. DeLattre: And I too must be ashamed of Place, Mons. Time, 1532 A. D. orders for work, you will support yourself and your - There w; — knock. On a The scene is a very simply furnished room. In the boy, to say nothing of keeping him at sehool. my behavior. My mother-love— background a door. To the right a window, before it Mme. DeLattre: The disfavor of her ladyship will Gonzaga (interrupting her) : Not one word more, a reclining chair, a small table, on which some un¬ be a great sorrow to me and cause me much anxietv my dear woman. I know well what a great sacrifice she v the door, and found a boy with a ^ p finished embroidery is lying. To the left is a writing nevertheless I keep absolutely and unchangeably to I ask from you; but it will bring great joy to you desk, on which may be seen books and paper. the promise I gave to my dear, blessed husband through your son. My dear Roland, your filial low- which she took with an "agitato movement.” Scene 1.—Roland (sitting at the desk, lays down Mme. Martin: All right; You are makhm'vour your self-denial have completely captured me; I his pen and strikes the table.) There, the Latin les¬ own misfortunes; you will soon enough rue 'vour and -will remain your true and father-like friend- E she read the-s her calmness seem¬ son is done! Now I must make good use of the stiff-necked behavior. (Angrily leaves the room.) Give yourself no concern in regard to your gw' paltry fifteen minutes that is mine. Since early Mme. DeLattre : I can see the hard times coming mother; I will provide for such an excellent, un¬ ed to D. C. “pocoapoco.” Itcontained in sfz -= morning the most beautiful melody has been ringing selfish woman; a small pension will give her a We of the loved one’s deep love. The last few - J*11/ ** able t0 overcome them? But trust in my head, and I must get it down on paper in a in God and courage shall not forsake me- thev win free from need. So it is settled, my bov. In «?ht hurry. If I do my part all right in the St. Nicholas give me strength with which to strive With the on' days you go to Milan with me. Church today, especially if I sing my solo correctly coming care But no more delay; nor more useless Roland (bowing low before the General): D*81' and well, I may venture to ask the Capellmeister to brooding; I must get to work at once (AbT gracious General! How ‘happy, how blest 1 *»•1 look at my little song. If only he should not find it sitting down to her work again, a knock on can never thank you as my heart desires. I bad! How I wish that I could have a clavichord right door is heard.) That must be Roland. (Goes 5o be so very- diligent that 1 mav become a P* here in my own room so that I could sing the beau¬ the door and opens it.) throes to master My untiring effort to accomplish good ^ tiful church songs that I love! What joy ’twould Scene L—Gonzaga; is this Mme_ DeLattre? fcrea things shall be my thanks for your goodn^ be to practice music to my heart’s content! But Mme. DeLattre (bowing low) - At Gonzaga (raising the boy and preying him tote never will so great happiness be mine. (He writes, Roland: Mother, dea^juslIhinl ft is tbTv^ ^ now and then stops and looks thoughtfully at the neait) : I will trust you, my little Roland. of Sicily, General Ferdinand Gonzaea VlC®roy me’^ ^L&ttre: Your gracious Excellency ^ floor.) the honor of greeting! How good tU f W Scene 2.—Mme. DeLattre (coming into the room will not lightly hold the blessing of a greatly ^ in heaven has been to n»e. Joy Hes mT and going to Roland, laying her hand gently on his tremble, and words fail. pfcJL p f a11 °f a wver;-an<1 'viU you a thousandfold for*’ shoulder) : Roland, dear, you must stop your writ- action. Endless thanks shall be vours. mother how you have promised to’ help me!’ “ “y Gonzaga: Not another word, my good worn*! appy to sene your boy. For the present, H 366 THE ETUDE Etude contains discussions along lines to interest future teachers. Let them take an article, for * Therefore we say to the warjiere ci>L ample, read it carefully and then write a critiqUe of young pupils: Encourage profession to it possibly elaborate the ideas and suggestion. who will probably cnt^#e “CT can. If it We ho]!e to hear of other schools using this method 1 stick to their books as long a • the great N? 5461 impossible to do this, hen ôwjhemh^ masters by dint of then +heir early edu- necessity, amended the deficiencies0 ^then-ai ^ ^ CLOVER BLOOM A Monthly Journal tor the Musician, the Postponing happiness is one of the failures that cation. In the present ifsu® well-known writer Music Student, and ail Music Lovers. article by Mr. Henry T. FmchtheÛ know ^ many make along life’s road Another is postponing CAPRICE recreation. While it is well to be dihgent, it is a!a) and critic, himself a Harvard giaduate w the the stress that Haydn “d Beethoven ^ well to remember the old saw: All work and no R.M. STULTS. nlav makes Jack a dull boy.” The man who takes knowledge and culture to be de literature, general and professional and how y his recreation each day finds happiness each dav. Months and years of continual attention to a >e made by post-office or express tried to build up their own education. We co 1 art have a narrowing effect 01 k or draft, or registered letter. ftSS this article to all of our readers. business or 1 1 life. aiigerous, and we are not responi mind and reduce the outlook < enough to have a vocation—that is necessary; . The reports that reach the office show conclusively it is also a matter of great value to the mental and that many teachers have found that it PJ (lf physical condition to have an avocation, a side issne every viewpoint to have meetings o le .j in life, a thing one can turn to because and purely thek classes once a week, or twice a month, be because he enjoys it. Thus life is relieved of fa rcserves as a receipt lor your subscription. case may lie. Yet there is much room monotony and zest is given to the vocation by the MANUSCItll'TS_All manuscripts Intended for publication \o teacher should hesitate to make use of this mean relaxation of the avocation. The musician who should be addressed to THE ETUDE, 1712 Chestnut Street, of musical education. So many teachers in all s enjoys hunting, skating, golf, cycling or some other and should be written on one side of the butions on topics connected with music-t tions of the country have made experiment Jith it form of sport and who takes a few hours for it cadi study are solicited. Those that are n and pronounced in favor of the movement, that there week comes back to his work refreshed and re¬ returned. ADVERTISINQRATES^will be^sent «m_“PH1™**jj“- t?s can be no doubt of its value. created, ready to do better work. There is no difficulty; no formal organization is If it is not some form of sport, his pleasure should needed. Simply call the members of your eiaas to¬ 1SSUC THEODORE PRESSER, be taken in a social way. A clam does not make a 1712 Chestnut St., Philadelphia, Pa. gether and then offer them some little theoretical successful business man or a successful teacher, (it Entered at Philadelphia P. O. as Second-class Matter. exercise, some reading in history and biography, some interested in the world and its people; do not Copyrighted 1905. Theodore Presser. exercise in writing musical notation, analysis and despise those who seek recreation, but learn by their plaving of some interesting compositions, some mu¬ practice. sical games, etc., and an hour’s time is quickly filled and with gain to all present. Some teachers go so In every age there is a secret band of kindred far as to make attendance at class meeting a regular It is said the feminine portion of civilized hu¬ spirits. Ye who are of this fellowship, see tl.at part of the course of instruction. Here, then, is a ye weld the circle firmly, that so the truth of new idea, yet one of determined value. We hope manity finds it a good thing to take a look in a art may shine ever more and more clearly, shed¬ that teachers who have not tested it for themselves mirror frequently. The mute glass seems to tell ding joy and blessing far and near. things the fair sex desire to know. It would not be will begin this very month. a bad idea for the musician to take a hint from this. Do not think, however, that The Etude desires to In an address made by Dr. W. T. Harris, U. S. Not every school child can expect to become a faster vanity among its renders or to puff up the pro¬ Commissioner of Education, the following statement master-writer in poetry, criticism, history or fiction. fession with personal pride. The idea is to use the of great interest to educators and to those who have Not every child who studies music can expect to be¬ public us a looking-glass. It will reflect a valuable the care of children was made: come a master-writer in the large forms of composi¬ opinion if chance is given. The musician throws “From 1800 to 1870 the nneducated boy in the tion, the opera, symphony, tone-poem, oratorio, song, off his raj's for the public consumption; the publie United States failed entirely to become so notable in or even the smaller, the simpler lyric forms, suited to will reflect back its opinion of him and his work. any department of usefulness and reputable endeavor the pianoforte. Yet every child who attends school Let him profit by the reflection. as to attract the attention of the ‘Who’s Who’ editors, is taught to read, to write grammatically and to at¬ Mirrors are prone to have bumps and wrinkle. who proved that only 24 self-taught men succeeded. tempt to express his own thoughts in writing. With The raj-s are apt to be too scattered or too con¬ “A boy with only a common school education had, just as much reason educators in music claim that in round numbers, one chance in 9000. densed in spots. Curvature will produce distortions. children who study music should have an elementary So it is not well for the musician to pay attention “A boy who had graduated from the high school knowledge at least of those principles of musical had one chance in 400, increasing this chance 22 to these excrescences of opinion that come quicks', theory which are at the basis of the work of the to his gaze but pass them over understanding their great composers. They may never use this knowl¬ cause and taking the general result for his guid “A young man who had graduated from college had edge to create but they can use it every day in in¬ It is simply seeing oneself as others see hin one chance in 40, 10 times the chance of a high terpreting the works of others. Let the children cording to Robbie Burns, a thing to be desired. A school hoy and 200 times the chance of the boy whose be educated in music to an extent corresponding to willing ear to public opinion has been the m training stopped with the common school.” the intermediate or grammar grades in general edu¬ We wish that Dr. Harris had been able to give the of many a man, and an ear to good musical opinion cation. The teacher who has not sufficient training figures for the present decade. It is probable that in theory can get it, by correspondence if necessary, may lead a musician to alter his plans or me-1'1' they would show that the educated young man or and after a few months’ lessons can start her own for the better. young woman has a greater advantage over his un¬ pupils. If a class of four, six, or eight be formed the educated brother than was the case during the period expense is slight, perhaps six to twelve cents a lesson. to which the statistics given above apply. At the We urge teachers to add elementary theory work in In the chase for that much-sought, necessary wi present time the demand in business is for boys classes to their courses of instruction. You will have elusive individual, the music pupil, and in the h®' who have reached a fair standing in the grades; for better pupils. ness side of the teaching profession, it is entirely more responsible place or for lines of work which possible that a man may blunt his musical nature offer promotion the high school boy stands the best to the point that he loses his appreciation for the chance; in still other lines it is the specially trained The editor of The Etude has recently seen a finer things of tlic art. As a general thing, the best young man who carries off the prize offered by the series of short essays on practical subjects con¬ teacher is not the keenest business manager. ft’- large business firm or corporation. nected with music teaching written by pupils of a haps these two features arc found combined, b And this ratio maintains today also in the musical school of music. These pupils are preparing to teach such a combination is rare. The musical manager profession as in other callings which have to do with and have been required to study and to discuss cer¬ is a good thing—in his place, at the head of a mua< art. The young musician who has a good general tain phases of their future work. The value of this education will have an advantage over his uneducated plan is apparent. A pupil needs to ponder over school, for instance, a business man with a good »p competitor. Let two such persons try for a position problems connected with music study and music preciation of musical art But in the p in some school of music, one connected with a col¬ teaching; for in this way he obtains a clearer grasn business it is possible for the musician to rout* lege, for example; is there any room for doubt as to of the principles employed by his teacher and hv his capacity for enjoyment of that which is of which will be the successful one? The Editor of himself in his study. It is the welding of these two texture. In the struggle to get the means for The Etude has a wide correspondence with young sets of principles m Ins own experience that will joyment, the possibility of it is lost. men and young women teachers who are trying to afterwards furnish his own method of instruction It is well for students of the art and for F® advance themselves in their profession, and he takes At the present day, every pupil in college or uni pective teachers to recognize this possibility «'■; this opportunity of saying that the number of well versity who has begun his work in a sneoinlf, guard against it. With the musical work of «’ educated persons in the profession is increasing each required to observe, to take notes and to wn.-lJ 1S day, let there also come musical pleasure, h1 year. It is from among these young people that we those notes. Why should music teachers and Ituden? due oneself that there be some time given each W look for the leaders of the next decade, those who neglect a method that has been found useful ^ ts t0™le ,nusic in which °ne finds the most enjoying Copyright ,1905,by The©.Presser .4.R. will furnish the music, the text-books, the literature, eral education? Of course; this plan V gen~ Then the musician keeps up his ideals, ref«^ British Copyright Secured, who will supply musical journals like The Etude better in conservatories and schools nf •*' Used his tired spirit, renews his musical vigor, with fresh material on music and musical work, who regularly planned curricula. Yet the private L ^ ma advancement and keeps from that music*1 will help their fellow-teachers by giving to them the who knows that certain pupils arPP * teaeher terioration that is hound to come if the «#»•* benefit of their own thought and experience fused to¬ teach can start them in this kind of work*? •t° no renewed. One cannot continually giro 001 *L gether into authority. a topic for thought and study; every isst ot tS out taking i„. Save an hour a day for the ► music that lies at your command. 2

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Copyright 1905 by Theo.Presser^2 British Copyright secured' NQ 4«47 MENUET FELIX BOROWSKI New Edition-Revised by the Composer 19 NV5456 A FOREIGN SUBJECT 18 CODA HUNGARIAN DANCE PIERRE RENARD, Op. 5, No. 3 Allegro scherzando m.m.J=io8 f

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Ig j j :r h } i ~ h ,h „ h _h r;- ■■ \ r h * i watch, did keep/ She wan_dered by the brook_side in the cool_ ing shade, And af _ ter _ noon, And on. his, pipes a mer _ ry lay he p>layed the while, But i- (to 22 S3 m 4729 To Mr. Herbert D. Lawson REST

J.W* BISCHQPF Jeremiah vi: xvi. Matthew xi: xxviii-xxx Recitative

British Copyright secured THE ETUDE 367 24 time and money and strength, even if the money were plenty, in the pursuit of general knowledge than to aim at the sun and hit a sand bag with my voice. It is refreshing indeed to meet a man who has the OCALs courage of his convictions, who will tell the truth though it stabs. He is the true physician who cuts deep that the life may be saved. “My lifework is not to be singing. At the be¬ EPARTAVE/NT ginning of the session, 1 said to this truthful man who took me for a pupil: ‘If you think there is the possibility of a career ahead of me, I would like you (conducted by H-W-Greene to tell me of it, but not until the term is ended. I SONG WRITERS. A SEPTEMBER SOLILOQUY. wish to settle the question finally this summer; but I do not think a single lesson or a superficial voice Thibd Paper. Have I summered wisely? That is a question an examination is an adequate test upon which to base answer to which depends upon how perfectly the Pending replies to some questions to our own com¬ a decision so important to me as this.’ summer was planned and the extent to which the posers, we will betake ourselves to London and select “He quite agreed with me. My work was scales, plans were carried out. My business is to succeed. for the subject of our talk that wonderful woman repertory and general vocal development. There were My profession is singing. Let us impersonate first with the German name but unnational mode of ex¬ no vicious faults of production to make such an ex¬ the student who has been compelled during the year pression, Liza Lehmann. periment difficult. Every step was a demonstration, to divide his strength between business and vocal Here we find our ears throbbing to the echoes of both of existing powers and possible resources, and study. His review of the situation is as follows: a score of speakers who claim that the woman-com¬ the better understanding which I have gained of the poser has limitations, that she cannot write suc¬ deeper things in the musical life are almost as satis¬ cessfully in the larger forms, the only argument be¬ Soliloquy No. 1. fying as the result of the conversation with my ing that she never has done so. The claim is vain “I went about my plans for the summer with a teacher at the final lesson. Among other things he in view of the fact, for they must show that women calm but fixed determination to make it count. How said: ‘Sincerity of purpose is as much a gift as a have been sufficiently attracted by symphonic writing long I have been working and saving to make pos¬ beautiful voice, and that is yours to an unusual to attempt it seriously, and in such attempts have sible this relinquishment of everything but study! degree, and since that is almost the only other failed, and they must also prove their case by notable How carefully I have viewed the entire field in my quality absolutely necessary to insure a career, what examples, not by the class of women who rank with relation to it to find wherein I could spend, to the I am about to say to you is all the more painful men who have not become notable. It is the opinion best advantage, my time and my money, and gain to me. It is the teacher’s misfortune to face in of the present writer that training and opportunity both in knowledge and vitality! most of his pupils unfavorable conditions of one sort will demonstrate the ability of women to rank with “After reading the various attractive summer school or another, but I have never before been so pro¬ men as composers. That they have hitherto been prospectives, I decided to go to Chautauqua as the foundly in doubt as to my duty. The ability to do; denied equal privileges and encouragement along place best adapted to my needs. There I would find the purpose back of it are all that can be desired, creative lines can hardly be gainsaid. not only the ablest instructors but hear good music but your voice is lacking in a number of essentials It is not pertinent to the purpose of these papers to and improve my taste and general knowledge. I that are demanded in the art and by the public. I bring this issue into the foreground, but if there is selected a number of good works on singing, to which do not say that many years of work would not bring a woman alive today who could have achieved the I added some blank books in which to preserve the you to a high estate in music, but while the satisfac¬ distinction of fully ranking with the great com¬ notes taken on lessons and lectures, and upon the tion of being an artist is justly great, there must also posers had that been her chief aim in life the sub¬ first page of one of them actually made up a schedule be a commensurate practical return for the time, ject of tnis paper is -that woman. That that was of how I would spend my time. It ran something money and energy expended. In your case, the voice not her aim ip life, I believe to have been accidents like this: ‘Breakfast at seven, reading and study is the doubtful factor, and if you have an excellent of birth and training in quite as large a degree as until twelve, an hour of walking, dinner at one, business opportunity, I advise you to embrace it. those which governed the lives of the men who have recreation until four, then study until supper.’ The gift of sincerity to which I have alluded will be equally valuable to you there, and in such a life become notable. “I started in with my system quite enthusiastically, It will at once be claimed that if the gift were but at the second lesson met Miss Bessie Brown, you will be spared the embarrassment of criticisms, which could not be other than unjust, since they would there it would assert itself, in spite of her surround¬ from Brownville. Our teacher obligingly introduced ings, from which opinion I beg to dissent. If she us. She was a delightful little fair-haired soprano be based solely on comparisons, and not take into account the individuality of your musical or vocal in¬ had been born a male-child with precisely the same who sang beautifully. After the lesson I met her heritance. mentality, I think the trend of thought and purpose again at the grand pavilion, and we became quite “To this was added many -words of kindness, would have been so shaped that the scope of her good friends. It seems our grandfathers came from sympathy and advice, all of which tended to aid me field would have embraced the larger forms, and the same State, which fact established a bond of in yielding wholly to the decision of one who was the results would have been a notable writer. sympathy so strong that we both forgot our prac¬ able to judge far better than I, as to which was the If in her work she has stopped to analyze her mo¬ tice periods. wiser course to pursue. While I am disappointed, tives in writing, which is hardly supposable in view “It was strange how similar our tastes were! We the disappointment is more in behalf of those who of her results, the question she was called upon to liked the same music and books, and were working have so enthusiastically urged me to adopt the pro¬ decide was: “Shall my audience be the great or the under similar disadvantages, both of us ambitious. fession of music, than of myself. It is such a satis¬ Bmall one ? ” One has only to look into the heart of ‘To do or die,’ .was the motto we agreed upon. What faction to have the matter decided. a woman to read the answer to that question. One long talks and walks we had together, and how fully “I breathe more freely. I love music better. It is needs only to read the music of this woman to see she supplemented my needs. Of course, my schedule a glorious art. How much pleasure I can look for¬ that her preference is to shine in the wider field. was split into smithereens, but I gained so much from ward to in hearing it and studying it as a relief The glory is less intense but all-pervading. Who her uplifting conversation. from business cares. The summer has indeed been would have it otherwise? She has been a welcomed “To be sure, the teacher complained that the les¬ sons were not so well prepared as they might have fruitful, and I shall always cherish the memory of guest in a million homes and hearts, and not an in¬ the man who told me the truth.” stance of other than pure uplifting pleasure as the re¬ been, and that I missed more than I ought, but I felt so grateful to the Chautauqua corporation for Soliloquy No. 3, by the Editor Himself. sult. To a world satiate of frivolous, aimless songs, “If my soliloquizing were to be persisted in, I fear she has come like a benediction, parting the clouds having been instrumental in bringing Miss Brown and myself together, that I didn’t in the least begrudge the result would be a depletion of the vocal profes¬ of dullness and sensuality, letting through shafts sion, but that is hardly my object. It is a review of of warm, health-giving music, that all could under¬ the money they received for services unperformed; and anvhow it was quite impossible to concentrate actual conditions. Many good business men are stand, against which not a word could justly be said. spoiled by the error of not estimating musical gifts It is a long step from her early song examples either on my music or books. Whenever I attempted it, the demure face of the little soprano would come at their true value. So many look upon music as to the “Persian Garden,” but those who had known their passion, only to find it easily put aside when those earlier efforts intimately, knew that the “Per¬ into view and hide notes and words. “I have about decided to give up music and try other conditions of a sentimental nature are found sian Garden” must come in one form or another; to conflict with it. Such was our first soliloquist. hence it was no surprise, and there are those who hard to advance myself in my business, for, after all, music is not a money-making profession, and it Others apply the test of practicality to their music are so bold as to assert that Omar Khayyam—the and finding it weak, yield to the inevitable. To this Tent-Maker and Astronomer-Poet of Persia must costs considerable to. keep two people comfortably. I think those blank books will be convenient for class belongs our second soliloquist. needs wait almost a thousand years before a soul “If this idea of soliloquizing becomes contagious should meet his in the invisible, and receive the recipes and housekeeping accounts. I wonder if Bessie is a good cook? She says her father tells her among my readers, it may result in some desertions power to illuminate his -words. What matter it to from the vocal ranks, but not to its detriment. him that the medium were an art and language yet she can boil eggs famously, and while we might not wish to live on boiled eggs, I am certain that noth¬ “I applaud those who have found the summer an unborn, if the oriental color and deeper meanings of ing could taste better if she boiled them.” opportunity, and the work congenial and fruitful. his mystical quatrains are brought out? It is an It is well to cultivate the habit of self-study. The odd thought; but who else could have written the ability to realize one’s own needs, and mark his “Persian Garden”? Soliloquy No. 2. measure of success in meeting them, is a step in the Liza Lehmann's songs are too many to quote or “Well, home at last, and a most profitable sum¬ effort to establish a balance between the art of busi¬ catalogue, but teachers and pupils will And all in¬ mer I have spent. The doubts, as to the wisdom of ness and the business of art. Deny it who will the teresting. Those which seem less so on a superficial taking up singing as a profession, have all been unpractical musician is almost as deplorable as the reading will be the ones that will best repay a care¬ dispelled, and I see clearly that I cannot be such a business man who allows music to turn him aside ful study. A song recital with Lehmann numbers singer as my friends here had encouraged me to be¬ from the ‘main chance.’ It is better to succeed in having their appropriate place therein will to that lieve was possible. It is far better to expend the business than to fail in music! ” extent be not only artistic but satisfying. l 369 368 THE ETUDE THE ETUDE she still insisted that Die Lorelei was his only song “This unknown American must be a fascinating According to Lamperti, the hardest voice to build method of training affect bass voices as well as AN AMERICAN GIRL’S SIEGE OF PARIS. I made rather poor work of it. She stopped me at “Now, Mary,” looking up at her companion with a creature,” rejoined Madame Duchesi dryly. “In is a tenor. The scarcity of good tenors is due not so tenors? Why, then, should there not be a scarcity once and said: ‘You have a false shake, my dear BY FREDERIC S. LAW. smile, “you must give me credit for holding m,, Europe, singers do not allow their fianeds to interfere much to the scarcity of good material but beer use of good basses? The answer is that it does affect a false shake.’ with their artistic careers—nor their husbands, either III. tongue for once in my life, at least. You know I they too often enter upon an operatic career with¬ their quality to some extent, but the bass voice is a “I knew that, of course, but really it was worth .—do they, Salvatore?” turning to her husband who much stronger voice than the tenor and will bear a The militant mood in which the young singer had believe that if one really knows how to sing, it is out being sufficiently schooled and ruin their voices having a false shake for the effect on her. From that had just entered the room. much greater strain. Moreover, it is not forced left Madame Duchesi two days before had yielded to moment she was a different woman to me. She spared entirely possible to sing Wagner without injuring by overwork, forcing registers, and pernicious use The courtly old gentleman answered with a smile up like the tenor voice, the high notes being only one less confident, less assured. She was one who no pains to set me right; she seemed pleased to find the voice. Look at Lilli Lehmann—how beautifully of the falsetto. as he bowed low to the three women assembled in occasional, not frequent and continued as in tenor rose to meet obstacles; they only urged her on to re¬ me in a positive fault—the problem was solved; she she sang that tremendous death-scene from Tristan Lamperti’s studio is filled with pictures of his und Isolde, and yet the very same week I heard her council: “Assuredly not. Have not I the best reason pupils, of whom he speaks with great affection and music. Consequently, basses and baritones, although newed effort, to a larger accomplishment. Now that knew where to place me and worked with an interest in the world to know that? ” the way was smooth, she felt that she would not sing sing the ‘Letter Aria’ from, Don Giovanni as I have has some characteristic anecdote to relate, even frequently wrongly used, will stand years and years which inspired both of us. I soon saw that she was Helena Hunter was not to be shaken in her resolve, so well as she would have sung at her first meeting never heard it sung. There is a woman who can sing; though they are pupils of twenty-five years ago. of wear and tear, while tenor voices will succumb a bom teacher. She was unsparing in her criticisms; though even Mrs. Mason thought it a pity not at with Madame Duchesi under the spur of self-vindica¬ she tore me to pieces, but with it all there was an Wagner and Mozart in one week—and one as well It is as long as that since Schumann-Heink was with to ill usage in a very short time. least to consider such brilliant prospects. She sailed I repeat, then, that it is not that there is any tion. None knew better than she that her art was atmosphere of hope and encouragement that made me as the other! How I wanted to argue the question— him, and to those who have seen this great singer’s at the appointed time but returned the next year for dearth of voices of the tenor quality, but that these not faultless; she did not fear criticism—she sought feel that I had it in me to reach her ideal. I could but I held my peace. Don’t you think that I deserve latest photograph as the stout washer-woman in a longer period of study with the once stern and im¬ it for her own uplifting; but she could not escape a not but contrast her with Francis Bacon. He is un¬ to be praised for my self-restraint?” “Love’s Lottery” it is hard to credit Prof. Lamperti’s voices are trained on a false method. There is no perious singing teacher, now her firm friend and certain feeling of embarrassment at the thought of doubtedly an admirable teacher, but he absolutely “Oh, you are improving, Helena,” was the en¬ account that “she was then thin, so very thin”! lack of good material, but it is spoilt in the artistic Mentor. A happy American home, however, again encountering the cold, critical eye that had lacks all magnetism in his attitude toward his pupils. couraging reply. “Perhaps you may learn some day The name which throws the greatest halo around raaking-up. at present claims her as its mistress, her art one of measured her so dispassionately—of submitting to I never felt it so strongly as I did in one of my les¬ that a little tact and prudence—what you call worldly Prof. Lamperti’s reputation as a teacher is that of its chief charms and solaces. None of her European the severe test which she knew would be the penalty sons with him when he gave me an exercise which wisdom—helps amazingly in smoothing one’s way Marcella Sembrich, who under the name of Bosio DE RESZKE'S PERSONALITY. experiences gives her more pleasure to look back upon for the independent stand she had taken. However, embodied a certain difficult point. He watched me in through the world; so that worldly wisdom, after made her debut at Athens; Sembrich she became Jean de Reszke is the prince of present-day sing¬ she pressed on, nothing daunted. She had -faced too his usual, seemingly indifferent manner, and when 1 all, is not a bad name for it.” than Madame Duchesi’s presentation of her to a when her musical activity led her into the field of friend who one day happened in at the end of a lesson. ing teachers. An American student lately arrived many situations far more disagreeable than this to failed, dryly remarked: ‘I didn’t think you could' do “Oh, Mary,” the singer concluded, drawing a long German opera. Under the younger Lamperti she from Paris gives an interesting account of him: dream of halting for a moment. Her experience is Passing her arm around the girl’s waist and smiling it.’ ‘And that is just the reason, Mr. Bacon, that I breath, “it was simply fascinating to hear Duchesi studied the bel canto of which she is undoubtedly In the first place, it is necessary to be brought to best related in her own words, as she told it on her at her affectionately, she said: couldn’t do it,’ I retorted. talk about the great musicians she has known— the most eminent living exponent. his notice through the offices of a friend or one of his return home to Mrs. Mason, who listened eagerly to “This is Miss Hunter. When I first met Miss A true Italian standpoint is that expressed by “There is nothing of that about Madame Duchesi. from Rossini and Berlioz to Liszt and Rubinstein. pupils. He tries your voice and, if it is found satis¬ her account of all that passed: Hunter I did not like her at all—but now I like her Prof. Lamperti in his views on music in general: She is full of enthusiasm in her work, and if a pupil She showed me their autographs in her album- factory, you are put on the waiting list, as only a “This time I did not have to stand like the Peri very much.” has a spark of talent she will discover it and utilize many of them with themes from their own music “Music, or rather the art of composing, is at present limited number of pupils are taken. The time spent outside the gates of Paradise,” she began. “The man This makes her feel that though at one time sadly at a low ebb; melody is a lost art; eveiyone is try¬ it in some way. I see now the reason of the peculiar that they wrote down for her. She is the most inspir¬ in the reception room waiting for an interview is by had evidently received instructions and ushered me worsted, she did in the end win in her artistic siege ing to imitate Wagner, without realizing that a experiences some people have with her. She is a ing teacher I ever had. Do you know,” she said as no means tiresome, as one can hear from the neigh¬ directly into the studio, where I found Madame of Paris. genius like the great Bayreuth master comes only woman of tremendous force of character and has an she rose to go to her own room, “now that we have boring studio the most wonderful voices, upon some Duchesi at the piano looking over some music. The once in a century. All others are like a tallow-dip insight into the springs of action that few women had our battle-royal, I believe that we are going to of which no doubt the mantle of the great Polish old lady rose and met me graciously; it was a great possess. She studies her pupils closely; she learns trying to imitate the sun. . . . Wagner I like be good friends.” tenor will fall. change from her high-and-mighty air of only two AN INTERVIEW WITH LAMPERTI. orchestrally, but the operas with the exception of where they are strong and where they are weak, then And so it proved. At the next lesson Madame Everybody is “Jean de Reszke’s favorite pupil,” days before. I know now that a diplomat can do Lohengrin, Tannh&user and ‘Der Fliegende Hollander’ she uses her knowledge in every way to gain her end Duchesi met her new pupil with upraised finger, a a fact which does not lead to as many complications things beyond the power of ordinary folk—you may —which is to make them sing. Praise and blame for are tiresome to me. For my part I take any opera merry twinkle in her eye. as one might imagine, the pupils coming, as they do, tell Mr. Mason that, Mary, with my compliments. the intelligent, ridicule and sarcasm for the dull, re¬ as a recreation, not as a duty or in the way of “Aha 1 ” she said, taking the girl’s ear between her A conversation with the venerable singing master, from all quarters of the globe. Pupils are received “Well, after we had exchanged a few words, she proof and scorn for the indolent—anything to awaken musical edification; consequently I do not want to thumb and forefinger and playfully pretending to Prof. Giovanni Battista Lamperti, is like opening only. in the afternoon, as the great singer employs turned to the piano and said: ‘Now, let me hear perception, to quicken understanding, or to arouse the pages of a musical history and taking a cursory be required to study out the philosophical situation your voice. First, you may sing some tones for me.’ pinch it. “So you are an artist 1 Why did you not himself all the forenoon with his famous race horses, the slothful. Of course, this is bound to offend, but tell me?” glance at the musical personages and events of nearly of the long Wagnerian interludes without any action.” She took her place and I stood by her side, but she which are the envy of all horsemen. Jean de: Reszke’s little she cares—I know that from experience.” half a century. From his studio, in Dresden, have And this is probably the opinion of every true waved me back until I was at some distance from her “Oh, rnadame,” .replied Miss Hunter, coloring, “that prices for teaching are on a par with his former ex¬ “I should say you did,” retorted her listener, who was not for me to say.” gone out many of the song sovereigns of the world Italian, if he gives honest vent to his feelings, for and partly behind the piano, so that I could not see orbitant demands upon impresarios. Four, some¬ had not yet forgiven the' autocratic singing teacher and the reminiscences suggested by these names would to the Italian, melody is as much a want of his the keyboard at all. I didn’t know it then, but that The exacting singing teacher soon found that she times five, are received into one class; each of these for the mauvais quart d’heure she had given her. make interesting reading if Prof. Lamperti should nature as is the warmth and light of the sun.—Con¬ was part of my trial. She Btruck a tone and asked had a pupil worthy of her zeal. But she never for¬ pays 50 francs, so that even an afternoon of teaching “But go on, Helena,” as her friend paused; “it is got the first lesson—the faulty trill that broke down feel inclined to write his memoirs. tinental Times. me to sing it—which I did. Then she gave me a certainly most interesting. How in the world did you brings him a daily income of 1000 francs. sharp look over her glasses and said: ‘What register the barrier between the two. Whenever the young As the son of the celebrated Milanese maestro, He is a wonderful teacher, full of enthusiasm and learn so much about her in one interview ? ” THE DEARTH OF TENORS. is that in ? ’ It was a low tone, so I answered: ‘Oh, singer did anything particularly well, she was greeted Francesco Lamperti, he has had to contend with the interest in his pupils. He has his own little theatre, “Well, you see the season is so nearly over that with a meaning smile and the words: customary disadvantages which attach themselves to rnadame, I suppose you would call that a chest-tone.’ there was no one following me, so I stayed perhaps BY E. DAVIDSON PALMER. beautifully fitted up, so that those studying a certain Such a look as she gave me! But she struck another “Very well, my dear; very well, but—you have a the inheritance of a great name. Not the least of rCle have all the advantages of ensemble work and an hour after my lesson. She told me a great deal false shake! ” these has been the confusion arising from. the mis¬ [We give below a few suggestions for the treatment tone, much higher, and after I had sung it she re¬ about some of her famous pupils and showed me many mise era seine.—Continental Times. Before long Madame Duchesi began to plan for her taken identity of father and son, which, in some in¬ of the tenor voice by a prominent English teacher of peated the same question. I couldn’t see where she interesting things. She seemed to want me to stay— pupil’s future. “You must study for the opera,” she stances, has proven annoying—in others, has given singing.—Editor. ] was playing, and it flashed across me that she had in fact, urged me. I studied her and I am sure she PRACTICAL POINTS. put me where I was standing for that very reason— said to her one day. “You are fitted for it far better rise to humorous situations. The “younger Lam¬ The reason for the scarcity of good tenors is a studied me. I think she had solved the problem, but to make her test as severe as possible. However, I than most of these girls that come to me to be perti” as people have fallen into the habit of calling much simpler one than is commonly supposed. It Make the sentiments of the song a part of yourself, wanted to ‘prove’ the answer—as we used to do in trained for the stage,” speaking of these operatic him, at one time received the following amusing is not that there are few voices of the tenor quality ; for the time. knew about where the tone was, so I mustered all my arithmetic. We talked on musical subjects and I was letter from a Polish prince: it is that such voices are nearly always wrongly It is better to stand when practicing vocal exercise; sang-froid and said: ‘I suppose you would call that struck by her splendid musicianship. That appealed aspirants in a disparaging tone of voice. “You have a head-tone, rnadame.’ This time she stopped short “Dear Sir: I wish my daughter to have instruc¬ trained and misused. This is owing to the opinion, one can place the tone better, breathe better and ex¬ to me in particular. You know singers are not gen¬ voice, you have talent, you are musical, you have tion from the younger Lamperti. Please let me know everywhere prevalent, that men should use what is ecute better. and exclaimed: ‘Suppose! Don’t you know it is a erally noted for that. Mr. Lex, my old organist, used temperament, and—best of all—vou have' brains.” head-tone ? ’ I said: ‘Oh, rnadame, I don’t believe in called “chest-voice.” Thousands of good tenor voices If one has not heart enough to sing a ballad well, to try to tease me by talking about musicians ‘and’ checking off these advantages on her fingers. Helena if you are the father or the son. If you are the dividing the voice so minutely into registers. I have shook her head. are being injured, and many completely ruined, in he can sing nothing well. singers, as though the two belonged to entirely dif¬ father, will you be kind enough to give me the ad¬ always tried to make my voice even throughout, and music-schools and academies over all the country, In order to sing well before the public, much ex¬ ferent classes. But if he knew Madame Duchesi he You don’t mean to say that that ring on your dress of the son?” never gave much attention to registers.’ It was year after year, simply because teachers, almost with¬ perience is required; hence, improve every oppor¬ would be obliged to admit that a singer could be a finger will keep you from going on the stage?” Lamperti himself compares voice training to plant rather forward of me, I admit; and I know she out -exception, train men’s voices on this principle. tunity of singing publicly; remuneration is of sec¬ musician as well. She turned over a pile of music, Madame Duchesi cried, pointing with pretended scorn culture. A good horticulturist must understand the thought: ‘Is the girl trying to teach me?’ If she Pupils are told that men possess two qualities of ondary importance for the first year or two. looking for something for me to study, and as she' at the glistening stone on the girl’s finger. Her sharp nature and needs of the different plants; the one did not say so she looked it—but I said just what I voice—“chest-voice” and “falsetto,” and are taught If you find yourself in a fair voice, do not take any did so she made comments on each work and its com eyes had long since divined the signification of the must have plenty of sunshine, another thrives better think, and it was only fair to her to say it.” to believe that the former is the right voice to use medicinal preparation to improve it; a constant use poser. I had never heard so much judgment and jewel. She was not deceived by Helena’s pretended in the shade; one requires frequent watering, an¬ “That is like you, Helena; always saying what you and the latter the wrong one; that the former is of throat stimulants will weaken the vocal organs. good sense in music put in so few words and in such surprise at the question. “No man is worth giving other must be watered judiciously. The teacher who think,” interposed Mrs. Mason, with a shake of her natural, and the latter artificial. This belief is al¬ Do not be continually clearing the throat. The an epigrammatic style. She has the peculiarities of up such a career for. I believe you are too lazy to has the care of the tenderest of all plants, the human head. “Sometime, I hope, you will learn wisdom and together erroneous. more you do so the more irritated the throat will be¬ all schools at her fingers’ ends. She knows what each work for it, ’ she continued, with simulated dis- voice, must study the individual needs of his pupils not run counter to people’s opinions—that is, when When a boy’s voice changes (or “breaks,” to use come. In a great measure this is a habit. one is good for in her own particular field, as well as and their vocal material. Above all, the voice can there is no absolute need for it. What did she do 1 hate laz-v l,e°PIe! ” the more familiar though less accurate term), he Never sing in public until you have thoroughly re¬ its influence on the development of music in general ‘V1,6 popped the subject for the time but returned not be forced; there must be the gradual develop¬ then? I wonder that she didn’t order you home; feels as though he had two separate voices, the lower hearsed your song with the accompanist. Remember, “We got into a discussion on Wagner and I soon ment of the bud into the shoot, the shoot into the it would have been just like her—if all the stories pL+I m an°ther da>' ^th one of her most cel- part of his vocal compass being thick and heavy in all good players are not good accompanists. Have found out that she has no patience with the school plant and last of all the perfect flower. { have heard about her are true.” whr. e P^pila as ally- This was an American singer quality, the upper part being thin and light; the your song nearly or quite committed to memory. Do “It is impossible for any one to think of making “Well, I think I was a problem to her—a problem and W1" not teach hi* music. of ht>r .oseiVto be known on the stage by the name lower part seeming to be the beginning of the new not hold the music before your face. Do not hold the She says that though as a musician she admires it it a ddbut with less than three years of constant study,” that she was determined to solve. At all events, she tlse ofnh ‘Ve+ Strate- She j°ined her persuasions to (man’s) voice, the upper part seeming to be, as it music open. Be careful in your selection of a piece is instrumental in its nature and destructive to the continued Prof. Lamperti. “With the Italians it is dropped the question of registers and asked me what the ohH + tf'a” ®be continued with warmth, ward instead of upward) the less decided will be the teacher of vocal music is not necessarily the one who Song.’ I was obliged to say: Wes’—but how I therefore it is not surprising to hear Prof. Lamperti the student on Italian music until the W ' eonfused at “y friends’” she added I"*"* “break,” until in course of time it will disappear, is the best singer, but is one who, as in other wished it had been anything else! You know the say that it works disastrous effects upon the vocal two. “I shall firS 11 Aam”g Smile pass between the and there will be but one quality of voice through¬ branches, inspires the pupils to think and act for trill is not one of my strong points, and it was formed; then she allows greater latitude Even chords. It is not a prejudiced viewpoint, but one Liszt, she says, wrote only one sonc that \ J and concert I;6!! *“4he succesa I want as a church out the entire compass—not “falsetto,” but a pure, themselves—the correctness of the thinking, a id, con¬ doubly difficult to dash into this one without singing *hich radically minded singers the world over ac¬ —Die Lorelei I ventured to speak of his beautiful “i ET&sftf *** °n the round, flexible voice, which will never wear out while sequently, of the acting being shown by the singing something first to throw me into the spirit of it. So suade her mod * z„ thopeless task to try to per- knowledge. Once having gotten a thorough grounding 0 komm im Traum, but she would not listen to me ! bodily health and strength remain. of certain required tones, either from dictation or smiling. ’ ame’ said Helena’s countrywoman, ln the Italian method, one can sing in any language But it may be asked, would not this wrong representation.—Edward Futterer. without injury to the voice. 37° THE etude THE ETUDE 371 refused to be bribed, and the organ was set up, K. feet, their necessity, and their value to the full organ their fundamental. On an organ of important size are sounding, above the tones of diapasons, flutes, maining in esc until 1872. It contained two manuals sound, and theoretically, showing the reason-for-be- which shall answer all these requirements of being wood-wind and brass stops, higher than all, yet and sixteen stops. Another organ built by Snetzler ing of these stops. This last division of the subject we!l balanced, well voiced and perfectly tuned, we blending with and assisting all other sounds, like the was erected in St. Paul’s Church, New York, in 1802, ,rill be found to be far more extensive and, in some can make an interesting and final test of the effect snow upon the mountain peak, like the foliage of a \- most of which still remains, though it was rebuilt respects, more convincing than any of the reasons hitherto advanced by those who would disallow the of the octave and mutation stops, so as to demon¬ tall tree, or again, like the spire surmounting a bv Odell in 1870. strate th Mr use and value. lofty tower, far above foundations, yet reaching ’ Other, early builders in this country were Josiah use of mixtures on account of the bad showing which If a note be sounded in the middle of the manual downward to strengthen as well as to beautify the Leavitt and Thomas Pratt. their tones make on paper. with open diapason, and then the octave stop be tonal structure, the chorus stops do their part in S^HOIFL, William Goodrich is considered by some to have 1. Historically. drawn, the tone not only gains in brightness, out the enriching and solidifying the full organ tone. If a ' rwp been the father of organ building in New England ■ fundamental .ound is louder than before the octave mixture stop is well blended it will sound agreeable He established so great a reputation that but three In the development of the organ from the rude Edited by EVERETT E. TRUETTE. sound -was added, and if a chord be held on the when played alone, sometimes like a soft reed or foreign organs were imported during his career. beginnings represented by the Pan-pipes, and later eight feet diapason, this successive addition of the like a string-toned stop or perhaps like a Quintadena. Thomas Appleton, another noted New England by the bag-pipes, and still later, by the first con¬ The early history Swell Organ. octave stop, the fifteenth, twelfth and mixture adds The mixture may thus be tested by sounding it Great Organ. builder, began his career in the factory of William struction of a wind reservoir underneath the pipes EARLY HISTORY OF THE of the organ in this to the brilliancy of the sound, and it also strengthens alone without any other stops to see whether the re¬ Principal .... 51 pipes. St. Diapason . 27 pipes. Goodrich. His first organ was placed in Church fed at first by the breath, and later by a bellows, ORGAN IN AMERICA. country begins with the fundamental tone, so that it is stronger with all sultant is in evidence. As each key is struck this St. Diapason .51 “ Op. Diapason . 27 Green, Boston, and was still in use a few years ago it was the full organ effect which was first aimed at the “Brattle Organ,” the chorus stops sounding than it was when used test will show the merits of the stop as to its bal¬ Op. Diapason . 50 “ Flute . 27 * in the “New South Church,” Boston. He built an¬ and first secured. For whereas the earliest organs an account of which appeared in The Etude for alone. How this happens will be shown later on. ance, blending, voicing and timing. Twelfth . 50 “ Trumpet . 27 other organ for St. Paul’s Church, Boston, which with a wind box or chest had but a few pipes, so January, 1902. The organ has many moods. Its voices sound at Tierce Bass . . 25 “ Total, 13 Stops. was afterwards sent to New Orleans, and he con¬ few indeed that the pipes were silenced by the fingers 3. Theoretically. times in accents of solemnity or of sadness, of maj¬ Tierce Treble. 25 “ 498 Pipes. structed in all thirty-five organs for Boston, and of the one or two players, and the tones were released In some recent organs the builders have used the esty, or joy or of triumph. Every desirable stop Flute . 50 “ about a hundred outside of that city. He died in by removing a finger from the desired pipe, after¬ word “corroborating” in describing the mixture stops, should not only be found in the scheme of an organ, Trumpet . 38 “ ward, and as soon as sliders were invented with holes 1872. meaning by this that the mixtures are introduced in but also every stop should be so voiced and ad¬ In 1795, a builder named Loewe, an apprentice of to admit the air into the pipes when the slide was order to re-inforce the natural overtones and are justed as to be ready to do its part towards musical Robert Gray, of London, established himself in Phila¬ drawn forward, and later when valves were used A Vox Humana, or “some other useful stop” was composed according to the natural harmonics of a expression, so that the instrument as a whole may delphia, and received the contract to build an organ which could be opened by levers, it became practicable to be added in 1779, but was never added. This or¬ 16 ft., an 8 ft. or a 4 ft. tone. The Great Boston be responsive to every musical emotion, since every for St. John’s Church, New Y'ork. This organ was to multiply the number of pipes to be sounded to¬ gan was in use for one hundred and eleven years. organ had these three mixture stops on the great stop is sure, sooner or later, to be summoned to captured in its passage to New York by an English gether; thus in the ancient organ built for the In 1848, Henry Erben, of New York, reconstructed manual, Cornett, Mixture and Scharff; the tones voice the melodious thoughts that arise in the master Bishop of Winchester there were forty pipes for each the instrument, retaining the case and two stops. frigate, but was afterward redeemed by the payment composing these stops are thus founded upon the mind.—Herve D. Wilkins. Open Diapason and Flute. He agreed that the organ of $2000. Loewe died and a builder named Thomas of the ten keys. These pipes were of iron, copper and laws of acoustics, but their real value depends largely should contain two manuals and pedal, but when it Hall set up the instrument. Christ Church, Phila¬ bronze, and the keys were huge levers such as were upon another property which they have, and which was completed, one manual was missing. The other delphia, contained an organ from 1766 to 1833, which used in chime-playing. These early organs were not is apt to be overlooked, both by the opponents and stops of the organ, together with a new Open Diapa¬ was built by Phillip Seyring (?) ; St. Peter’s only played like the bells, by striking the levers with by the defenders of the chorus stops. son and Flute, the draw-stop action and keyboard, Church possessed another organ built by the same the fists, but they were also designed to rival the This property is that of resultant tones, and is, were put into a pine case for Grace Church, Brook¬ builder. This organ had three manuals, twenty- bells in the power and splendor of their tones, and in a way, the converse of the law of harmonic over¬ JUST ISSUED lyn; and in 1850 this organ was presented to St. seven stops, and sixteen hundred and seven pipes. the pitch of the various pipes sounding for each key tones. The first harmonic of an open pipe is the Mary’s Church, Portsmouth, R. I., by Miss Sarah Towards the end of the 18th century a Moravian represented, as in a powerful bell, the fundamental octave, and so if a tone is sounded with its octave Gibbs. In 1880, Messrs. Hook and Hastings took named Taneberger built an organ for the German sound with its overtones, the octaves and double there results a reinforcement of the fundamental ‘The Organist’s First the interior of the Trinity Church organ and placed Lutheran Church, Philadelphia. Another builder, octaves, the high fifths, thirds and even sevenths, through the coincidence of every second vibration it in Kay Chapel. In the original ease they placed John Rowe, was in business from 1795 to 1812. An such as concur in the clang of a ponderous bell. of the octave sound with the vibrations of the fun¬ Etude Album a new organ. What a fate for a noted instrument! organ was in use in the North Church, Salem, from These accessory sounds were determined mathemati¬ damental sound. The case with a new interior still in Trinity Church, 1808 to 1847. It was probably built by John E. cally and acoustically from the harmonic sounds A note sounded with its perfect fifth produces a gressive order with Registration, Pedalling ^ a large part of the original interior, with the action Geib, who succeeded his father Adam Geib. This which accompany the tones of pipes, strings, bells, resultant an octave below the fundamental. This draw-stops and keyboard in Brooklyn, and the Open and Fingering caref ully indicated. instrument was replaced by another constructed by rods and all bodies which produce musical sounds. phenomenon is made use of in the pedal stop called By Everett E. Truette. Diapason and Flute in Kay Chapel. Simmons and McIntyre, of Boston. These early organs had no draw-stops, and so all the Quint, which, being tuned a fifth to the 16 ft. Price $1.00 The third organ in this country was brought from In 1820, Elias and George Hook, who had studied the pipes belonging to a given key would sound diapason, gives the effect of a 32 ft. stop. Such re¬ Newport in 1736 and was placed in Christ Church, with the Goodrichs, opened an organ factory of their whenever the key or lever was pressed. It was not sultant tones are produced by the various tones of Boston. own, little realizing what an important factor in the until the 15th century that the devices were invented a mixture stop sounding together. Since the re¬ Special Introductory Offer The first organ built in this country was con¬ evolution of the instrument in this country they by which certain ranks of pipes could be silenced sultant of a perfect fifth is an octave below its structed by.John Clemm, of New York, for Trinity were establishing. They remained in business for while others were being sounded. The ranks of lower tone, of a perfect 4th, an octave below its A SAMPLE COPY of the above will be forwarded' Church, of that city, in 1737. The organ cost £520 fifty or more years, till removed by death. mixtures, the octaves, the fifths and thirds are * upper tone and of a major 6th an octave 5th below and consisted of three manuals and twenty-six stops. POSTPAID, on receipt of 50 CENTS ; provided order As this article treats of the past, instead of the found in great abundance in all old organs on the its lower tone, it follows that all the permutations is received before OCTOBER 1st, 1905. Nothing further is known of this instrument. present, no mention is made of the score or more Continent and in England. In the ancient Halber- offered by a mixture stop of IV ranks containing 8ve, In 1743, an organ built by J. Clarke, of London, builders who are now flourishing and supplying the stadt organ and some others of the same period, there 12th, 15th and 17th, would have the ground tone or was placed in St. Peter’s Church, Salem, Mass. Complete Organ Catalogue sent upon application. country with hundreds of instruments every year — were three rows of levers or keys, the upper row of its octave for their resultant. Thus the 8th sounding In 1745, Edward Bromfield was constructing an Mail orders solicited and filled promptly Everett E. Truette. keys sounded the full organ, the middle row of keys with the 12tli, the 12th with the 15th, and the 12th organ for the Old South Church, Boston, but he to all parts of the country. controlled the melody stops, and the lowest key¬ died before it was completed. with the 17th, would all have the same resultant, board was used for accompaniment. The parish rec¬ namely, the unison or its octave. In 1752, Thomas Johnston built an organ for Christ VJ.ttVJK.US ords of some English churches and cathedrals con¬ Helmholtz in his researches in regard to the ARTHUR P. SCHMIDT Church, Boston. This organ was enlarged in 1834, by Goodrich, and was in use 134 years. Not long ago vrcwucderide theuie use of Qui tain much interesting information about organ nature and effect of tones, discovered and demon¬ Boston Leipzig New York and Mixture stops in the organ, alleging that th it was rebuilt by George S. Hutchings, of Boston. schemes, especially between the years 1600 and 1650. strated that the individuality of various instru¬ 120 Boylston St. 136 Fif(h Ave. produced unbearable dissonances. Quite recent In 1754, Johnston constructed another organ for St. In these schemes mention is made of twelfths, tierces, ments and of voices depends upon the predominance Peter’s Church, Salem. The Hook and Hastings Co! other persons among organ experts and connoisseti and the larigot or octave twelfth, the fifteenth stop of certain overtones and their adjustment with each still possess a part of this instrument. have taken the same ground, and some recent orgai is called Small Principal, and the octave above the other, and with their fundamental. Thus, the clari¬ In 1756, when the Brattle organ was removed from both in England and America, have been construct fifteenth—the two and twentieth is also mentioned. net, violin, trumpet, the flute, and the human voice without the mixture stops. King’s Chapel, an organ constructed by Adrian In all these early organs the chorus stops out¬ all derive their characteristic tone and also their The second organ brought to this country is known Smith, of London, said to have been approved by There is no doubt that when the notes produc number the Diapasons, and the same is true of the individual excellence from one and the same source. ORGAN TEACHERS and as the Berkeley Organ, about which there is some Handel, was erected in its place.- This organ was by a full organ chord with mixture drawn, are wr ancient continental organs, so that historically there One instrument will have an agreeable tone, and an¬ dispute. This organ is reported to have been pre¬ in use 104 years. In 1860, it was enlarged by ten out, there appears an array of tones which cou is every justification for the use of the chorus or other a less agreeable tone, but character, individ¬ sented tQ Trinity Church, Newport, R. I., by Bishop Simmons and Wilcox. In 1889, Hook and Hastings no possibly be harmonious, but this paper demo mixture stops. uality and excellence of tone in all instruments and CHOIR DIRECTORS Berkeley, in 1773; but some persons claim that it stratum is not a true one, for it does not represe voices depend upon the same principle of the infinite placed a new organ in the original case, retaining 2. Practically. was offered to a church in Berkeley by the Bishop, a few of the old pipes. Recently the same firm en¬ the difference in pitch between all the Quint ai variety of adjustments between a tone and its har¬ A PIPE ORGAN INSTRUCTOR FOR PIANISTS in recognition of the honor bestowed on him in hav¬ larged the organ again. tierce tones of a mixture stop, and the notes The had effect of some mixture stops may be monics. It can also be easily demonstrated by ex¬ GRADED MATERIALS (or the PIPE ORGAN ing his name selected for the name of the town; but Christ Church, Cambridge, contained an orn-an corresponding name in the Diapason and Octave sto traced to various causes; to lack of balance, to periment that the composition and blending of the By James H. Posers price, $1.00 as this church refused to accept the organ it was built by Snetzler as late as 1761, but the pipes were which have the tempered scale. The sound given 1 unskilful voicing, or to defective timing; that is, mixture stops exert a determining influence upon Designed to {i*ea good working knowledge turned over to the cliurch in Newport. . converted into bullets during the Revolution. In the Twelfth stop on touching a given key would , le Mixtures may be too loud, or they may not the quality' and splendor of the full organ. The following description of this organ was written 1762. George Harrison built an organ for Trinity °n the violi"’ aad therefore nve the right quality of tone, or they may not be Since the use of the mixture stops is thus justified by Mr. J. C. Swann, who was at one time organist of . n? eoincide with the tones of any unison 'med accurately. Since these stops derive their on historical, oil practical and on acoustical grounds, the church: s destroyed by fire, in t. aIe s. °P- Thus, if the paper demonstration w ?U°m and their reason-for-being from the natural there is no reason why they should be omitted from “Its case was of English oak and of a very beau¬ --m mis country, durii mGH," ar,bl.ter in. the matter of the desirability wimonic series they must conform to nature in these any well-ordered 6Tg3Jf scheme. It remains for the tiful design, about fourteen and a half feet high, the 18th century, opposed the use of organs for divii u 6 and “station stops in an organ, there wou Particulars: They must be mellow and flute-like, artist performer’ to' decide ’whether and -when to use eight feet front, and eight feet deep. In its front service so strenuously that only Episcopal Church, room for further discussion, nor for any o S!fe tlle harmonies of all instruments have this them. In any large and well-appointed organ, there The CHEAPEST Collection of Anthems ever Publishec there were twenty-three gilded pipes, and its top contained organs, till in 1790 the old Brattle 8 whbu? argum®ut> and the mixture and mutation sto laracter whether they are reeds, strings or brasses. will be possible a great number of combinations was ornamented with a crown supported by two “MODEL ANTHEMS” Church, in Boston, abandoned its prejudice and coi Diace ; °r+l? llundred years and more have found (''s principle has long been traditional among organ without the mixtures. In some organs the great mitres. The compass of the manual was from C to Edited by H. P. DANES sented to have an organ in its church. This orga true eH : V,rgan and which are essential to tl 1 ers with regard to the twelfth stop, and in al- diapasons of 16 and 8 ft. sound grandly when used d3 (fifty-one notes). Its long keys were made of was built by Samuel Green and cost £400 Eve alone; then, with added 4 ft. stops another most Containing Anlhems, Sentences, etc., in form of Solos Jardef the M1 organ ™>uld have to be di organ of whatever age or grade the twelfth Duos, Trios, Quartels and Choruses. ebony, and the short ones of ivory, with a strip of after the organ had been ordered, the opposition wi Jud a f°Und to have a mellow and liquid tone, effective combination results. Thus, the diapasons, ebony through the middle of them; and the keys so great that an effort was made to prevent tl The music of “Model Anthema” is of easy and mediun be™1?,o5ilC-t mixture and chorus stops ha ton • ^ dl’s afandard the mixture stop of string flutes, reeds, covered stops and brass stops can be grades, Melodious, Strong and Telling, of the Swell Organ were placed below those of the landing of the instrument. One wealthy member to be “ °rgans for centuries and have been foui inen* '!!hamis organ would be found to be combined in endless variety to produce desired artistic ho, r1hew”rkconti’mBsixty-tour rages of music. Neatly Great Organ, beginning with middle C. Between the the parish offered to pay the whole cost of the ii determininff'+vT an should have weight effects. But when a climax is desired, and the organ the foUoUg7nV™rdSw°S ?"* * ‘° be keyboards was the maker’s name—Richardus Bridge, strument into the treasury of the church for tl harm - Sinee bas been determined that all the ment udo/iv6 value of these stops, and in an arg „ti '0mcs of all instruments, stringed as well as is required to sound with the utmost possible inten¬ London fecit, MDCCLXXIII." benefit of the poor if the instrument should be throw Siniiie Copy, postpaid. 23c.; PER DOZEN. $1.80 net. not postpaid these stons question 5t is necessary to consid tl ',8’ are °f flute-like quality, and are softer than sity, to peal forth most gloriously, and to assert Send for SDecimen Paans Appended is the list of stops: overboard in the harbor. The minister of the churc wide accent Istorically> showing that they have hi undamental; lastly, the mixture ranks must once more its right to be called the king of instru¬ Theo. Presser, C] wide acceptance; practically, showing their actual v Perfectly timed so as to blend completely with ments, then when all the other voices of the organ Philadelphia. THE ETUDE 373 372 THE etude good-natured leader submits and the familiar airs they will have the knowledge and the strength suc¬ thoughts were many on my way to the trolley, and “temperament” means tuning. The old timing, called cessfully to combat every attempt to destroy their are caught up. I was just as well pleased that my musical friends unequal temperament, made a few keys right, the individuality. To show the rise in these school orchestras, I will were miles away at that time. rest unbearably wrong. The modern tuning, called speak of one in its infancy where I had the misfor¬ That night was my last experience among country equal temperament, makes all keys equally, and just tune to be stationed in my early period of teaching musicians. Occasionally I have learned that this bearably, wrong—an artful compromise, half lie, half It was an old, old violin, and it lay the violin. The school was quite a distance in the A MEMORY, on the dusty shelf of a jeweler’s store. village, if a place with one store can be called a truth. Perfect tuning, or just intonation, is in music country, and knowledge of music among the natives village, has grown to quite a summer resort. The what being “in tune with the Infinite” is in ethics. The beautiful curved front and the was decidedly wanting. In the building were pupils graceful back were covered with deep cracks, the neck school orchestra has gradually improved and it has Both are theoretically possible, but practically im¬ from the first to the ninth grade and poorer specimens been stated that I may be glad of the opportunity to possible. And as in music the ear becomes habituated was bent back and the varnish was dull; yet there of humanity could not be found outside of an insti¬ was something in its whole aspect which seemed to return some day and impart my knowledge to the to the piano’s defects, so by conscious effort wise tution for tbe feeble-minded. Finally a principal clever pupils. Thoughts of former days, however, men learn to tolerate others’ fault and fools their .TJMENT say to the violinist, looking in at the store window: was cbosen for this pitiful flock, who had been out in rather dull the bright prospect and I prefer my own own faults. Philosophy assumes, and aspires to, per¬ “I am better than I look; try me! ” the world as far as New York City and vicinity and He entered the store and bought the violin for a interesting classes to a school in the wilderness.— fection however remote, and ideals however unat¬ Conducted by GEORGE LEHMANN. had, in his travels, observed many things which F. Isabel Winn. song. “I am tired of having the old thing here; a tainable. Both in music and morals every evil has its would be of great help in his work. compensation. Consequently, in art and life alike, quainted with his heart can ever suspect But it is mechanic brought it for me to sell for him, and yes¬ In spite of till that It was long after his duties commenced that he It is very difficult to keep mere executive showiness often covers a multitude of too late for repentance. His fate is the *; ® terday I heard that he was dead,” was the jeweler’s THE OLD WORLD AND has been said and writ- suggested, before a chosen committee, that a school SUGGESTIONS children interested. There are sins by cleverly concealing shallowness, ignorance and countless others who have failed as he has ai e , remark. And so the violinist took it home. ITS FASCINATIONS. ten against the pedago¬ orchestra be organized with himself as leader. He TO TEACHERS, kindergarten devices for children insincerity. through exactly the same causes and conditions. “I think,” said he, to the one who understood him, gic methods of the Old made his description of its rapid progress so vivid who are studying the piano. It must not be supposed, from this, that we regard “it will have a good tone. I am going to repair it World; in spite of the proofs that come under our that these gentle folk thought well of the suggestion. Why should there not be more such devices for those In 1838, Wagner went to Riga as director of the notice every year of the evils and dangers of these the fascinating life of the Old World as a bar to myself.” It took a long time to repair that old Straightway a teacher of stringed instruments was who study the violin? I have found that children city theatre. As can readily be surmised, the im¬ methods; in spite of the personal and individual progress and high achievement. Quite the contrary. violin. The wood was very thin, in some places al¬ found; namely myself, and the cornets and drums Of five years are not too young to begin study. I petuous Wagner soon came into conflict with the efforts of our best artists to enlighten the student- The life and atmosphere of a city like Berlin should, most like paper, but by a skilful arrangement of tiny were taught by the principal. The lessons were to usually teach them singly to hold the violin and draw manager of the theatre, and a warm interchange of world on this ever-familiar yet ever-misapprehended if anything, prove helpful and stimulating rather blocks inside, the violinist drew together the cracked be given at the building and the time to be taken the bow correctly. When they can produce a good words took place. “Never forget, I pray you,” said subject; in spite of all this and the recognized than pernicious and demoralizing. Indeed, the artis¬ parts. He was so tender and gentle in his manipula¬ out of the school hours. My first experience was tone on the A string I teach them the rhythmical the manager, “that I am your superior.” “That you dangers of their experiment, our students continue to tic nature and temperament crave, even demand, this tions. His touch lingered lovingly upon the grace¬ unique, to say the least. Of all the odd instruments very atmosphere which distinguishes Continental life idea and give them open string melodies which they are not,” shouted the hot-headed Wagner. “What’s flock to Europe in quest of the traditionally superior ful curves. “I shall make it beautiful,” he said to ever known, I saw the strangest variety that first and is so conspicuously absent in our own land. play in unison and also together. that you say? ” stormed the manager. “I say again,” training obtainable under Old World instructors. the one who understood him. day that had even been seen in a collection before. This atmosphere, then, it will readily be seen, is Among such works one finds the “Happy Jack returned Wagner, “that you are not my superior. True, the traditions have been'fiercely and frequently It was almost a year before the violin was ready Some which were heirlooms gave signs of many ex¬ not the primary cause of the downfall of so many Tunes” of Miss Harriet Sawyer very useful. Some¬ You are only the employer of my talent which I can assailed in recent years, with the result that it al¬ for the strings. The violinist’s thne was much oc¬ citing games of horse around the old kitchen floor; students; but it assuredly is, and always has been, . times I improvise at the piano, the children playing take away at any time I please.” most seemed, at one time, as though facts and proofs cupied, and only odd moments could be given to the while other rare old instruments were handled with the secondary cause. And this phase of the ques¬ on the open strings and I teach them "the idea of were mightier, after all, than long-digested beliefs work. But one day, the strings were adjusted and great care because Uncle Henry or some other clever tion is as easily understood as it is explained. march time, waltz time and the boat song (% tempo). in European superiority. But if we hoped that facts the bow drawn across them. It was not yet satis¬ relative had made them when only a boy. From would prove sufficient to stem the tide of this whole¬ The primary cause of failure, in the majority of Of course, I play the theme on the piano. factory. The sound-post had to lie altered many a every five or six pupils I would find one into whose sale and fruitless exodus, our hope has grown so cases, is directly traceable to pedagogic conditions. Descriptive music is always very interesting to a JUST ISSUED time—but at last the strains of Raff’s “Cavatina” brain I could occasionally instil a few thoughts; but, feeble that it threatens to settle down to despair. (We have in mind, in this discussion, the talented, child. 1 have named a march that I play “Little rang out with impassioned power, exquisitely clear. oh, the miseries I underwent during the other les¬ Nevertheless, we return to our yearly theme with not the talentless, students whose lives and careers Drummer,” in which the pianist plays a theme which BOHM, CARL How the chords thrilled with human tenderness! sons and the tears that I caused to flow when I raised imitates a drum, the child playing on his D string. something resembling old-time ardor, for we have not are blighted in Europe.) By pedagogic conditions Op. 366. Six Recreation Pieces for Violin Was it beautiful? Were the chords such as will my voice to a roar! Another tune “The Song of the Mill” is very helpful yet quite despaired of achieving something in a we mean chiefly the singular educational methods in be heard but once? and Piano Once I was teaching a seven-year-old to slur two to the child who is learning to play on his G string. worthy cause. vogue in Europe, and the amazing incompetence of They were magnificent. They throbbed and grew No. 1. Adagio religioso.$0.50 It is at this time of year, more especially, tha£ we the average European teacher. Unskilled in their notes on the violin. After thirty minutes of strug¬ Beazley’s “Eighteen Melodies” and “Melodious Pas¬ No. 2. Rococco. Gavotte gracieuse . . .50 through space, nay, they were the sobs of the last gle, and no sign of comprehension on the youngster’s times” are useful in a little more advanced work. are reminded of the complacent pedagogue of the Old art; lacking common sense and discernment; in¬ owners of the old violin. For many days the violinist No. 3. Slavonian Dance.50 part, and as I was just on the verge of running far Some of my pupils of the first grade like to play No. 4. Espagnola. Spanish Dance . . . .50 World—that curiously complacent individual who capable of recognizing individuality or arrogantly played upon it. Once, on Easter Day, in church, when refusing to recognize its worth; doggedly insistent out into the woods which surrounded us, for fear of the good quartets of Julius Eichberg, and some fa¬ No. 5. Scene de Ballet. Mazurka elegante .50 walks in the footsteps of his forefathers, never dream¬ the tones of Handel’s “Largo” floated and rose to ing, never suspecting that the musical world, as well upon the acceptance of their own narrow views and doing evil, the said pupil stopped in the midst of a mous German marches for four violins, “Torgauer No. 6. At the Spinning Wheel.50 heaven, the great congregation listened with breath¬ as the more material, is restlessly searching for all the eradication of everything resembling freedom of particularly severe groan from the instrument and March,” etc. Once a week the first grade pupils, less intensity until the last chord swelled and died those elements and principles and truths that make principle and thought: these men, who are here sup¬ said in an unconcerned way: who are able after perhaps a year of study, play SOCHTING, EMIL away in the most exquisite pianissimo. for progress and development. No, his complacency posed to be exceptionally able preceptors, are in “Say, did you hear about Jim Smith?. Well, now, in the Gebauer and Wohlfahrt duos. We use the Op. 54. Three Easy Quartettes for 3 “Some chord in unison with what we hear Violins and Violoncello .... each $1.00 is supreme. truth unfit to guide the gifted students entrusted to he fell off the water cart yesterday and he cut his- ’cello and piano with the former works. Is touched within us, and the heart replies.” No. linG major, No. 2 in C major, As of yore, it remains unaffected by the determined their care. It is these men, as a rule, and their self awful here and here” (illustrating by drawing The question may be asked: “Shall we teach the No. 3 in G major attacks of the comparatively small number of men incredible educational methods, that are primarily " It was the last time that violin was heard, for he his dirty fingers over his still dirtier face). It was classics to children? ” We play famous old dance whose touch had brought forth its latent beauties, Op. 58. Suite for 4 Violins. Complete 1.50 who strive to promulgate the truths which ex¬ responsible for so much of the misery that has been no use—I couldn’t pound anything into his head. forms like the “Loure” by Bach (two violins and No. 1. Allegro. No. 3. Lento Espressivo went to join the noble army of martyrs. The old perience has revealed to them. Assailed and re¬ wrought in the past. The really gifted student can¬ I dismissed him aand tried the next, who greeted me piano) and the “Bourreg” by Handel. Recently I No. 2. Adagio. No. 4. Intermezzo violin has fallen to pieces again. Who shall repair assailed, year after year, the European pedagogue not long endure his disappointments. Rarely bold with the remark that he had an awful toothache; used the Purcell “Golden Sonata” for two violins and No. 5. Rondo Polacca it? —Amy F. Griffith. still smiles at the thought of dethronement. He sees and strong enough to take the one profitable course piano and ’cello (last two movements). It was Selections for Teachers and Schools made a that the tooth was “all decaded.” Specialty no danger ahead; he feels sure of himself and his that is open to him, viz.: the return to his native For one year I labored with these would-be musi¬ played by boys of seven and nine years, with a ’cellist SENT FREE! Complete Violin Catalogue containing position. He preaches the old gospel, in the same land, he easily passes from despair to idleness, from cians and at the end of that time there was to be a and pianist. The children played the work with en¬ Portraits of American and Foreign Composers old house of worship; for the old gospel is still MAIL ORDERS Solicited and Filled Promptly to ALL idleness to pleasures far from innocent and up¬ SCHOOL ORCHESTRAS. the rapidly increasing concert. Can I ever forget that night? It comes thusiasm and it was a creditable performance. The Parts of the Country accepted by unthinking thousands, and the old house lifting. Hours, days, weeks and months are thought¬ gifted may play the classics. One has to suit a interest taken in organ¬ up now before me like a nightmare! Ten of my PUBLISHED BY of worship still attracts thousands of bigoted wor- lessly devoted to the cafes and the numerous en¬ izing orchestras in our public schools. Many of the pupils were to perform just to show the parents the teaching repertoire to a child’s capacity, training, ticements of Continental life. Truly a mad existence pupils previous to the introduction of the orchestra progress they had made in a year’s time. I think home environment, etc. In the case referred to, the ARTHUR P. SCHMIDT This is the secret of the European pedagogue’s which, happily, must come to an end. But this end had never given a thought to music; but now it 1 could have pulled through that part, since a num¬ father of these children was an excellent ’cellist. BOSTON LEIPZIG NEW YORK self-complacency. It is not for him to question the —what is it in the majority of cases? Despair, and seems as if the height of their ambition would be ber of the selections only required the use of two If the child is slow in the rhythmical sense, I teach 120 Boylston St. 136 Fifth Avenue righteousness of his teachings so long as his precepts a repentance that comes too late. realized if only they could sit on the platform and be strings, some only one; but the principal insisted on him rhythmical melodies. If he is inclined to produce are eagerly listened to and digested by the multitude. How many such unhappy souls does Europe re¬ one of the orchestra. their playing the popular music in orchestra and de¬ a poor tone, I usually give him flowing melodies. One But why, it is asked, is this multitude so eager turn to us every year? Their number has never been, I have in mind a certain public school in which pended on me to help out. The children, of course, should always strive as early as possible to get the to listen and believe? Are its beliefs founded on and never will be, known. But each of us knows there is an orchestra of about thirty pieces and surely had been trained as far as possible in the music, children together in ensemble Work. It is very brilliant demonstrations of truth? Does it cling to but too well the truth of what has here been said; the town ought to be proud of its talent. A leader hut little could be expected after a year’s work. 1 stimulating; again, one should have frequent studio old-time traditions because these traditions continue and each of us has witnessed some of the misery that is furnished who has a thorough masterv of the posi¬ can see the leader yet, towering above my head, recitals and bring out the average, as well as the to be substantiated by achievement? Does it still has been wrought by this mad ambition for a tion and through his skill the reputation of the or¬ madly waving his baton in the air. His long, light unusual, pupils. listen to the gospel of the Old World pedagogue be¬ European musical education. I would suggest the following works for average cause it has been proven that no righteous pedagogues chestra is fast rising. Each morning the members hair almost stood on end with excitement, and his “But surely,” it will be said, “there are capable teaching: “Mazurka,” Mlnarski; “Suite,” I exist in the New World? play for chapel exercises and one evening a week tiny blue eyes gleamed under their shaggy brows. even fine, teachers in Europe!” This we do not George; “Berceuse,” Heitsch; “Souvenir de Wii To the student of music on this side of the Atlantic is devoted to a two-hour rehearsal at which every Nobody in the orchestra seemed to mind him much, question. We know, better than the general reading awski,” Haesche; “Concertino,” Seybold; Sitt Al the fascinations of the Old World continue irresistible. member must be present, for that is the weekly lesson. for each had his own work to occupy him. Two cor¬ public can know, that there are honorable exceptions bum ; concertos, Seitz, No. 2, No. 4; “Gonzonetti,’ It is the dream of his life to spend several years in The leader starts off with a few popular selec¬ nets were on my right, the bass drum at my back, to the long and painful list of European “celebri¬ D’Ambrosio; “Humoreske,” Dvorak; “Sonatina,’ Leipzig or Berlin. The question of superior tuition ties.” But these exceptions only serve to accentuate tions and then introduces a light symphony or some¬ the flute on my left and our leader facing me. No never enters into his calculations. He assumes that the miserable rule. H V 1 thing of that nature. In this he displays great tact. possible escape and so I played on with all my Dvorfik; “BourreS and Gigue,” German; “Four Eng superiority exists there because thousands have gone Sometimes before commencing the number, he speaks might. The swarms of simple faces before me were lish Dances,” Cowen; “Strimpellato,” D’Ambrosio Every gifted and earnest ntudeiit can acquire, in “Perpetual Motion,” Bohm; “Four Hungarian before him. He asks for no proofs, he acquaints him¬ this country, fine musical knowledge and a hi»h of the composer and brings up some interesting little proudly smiling at their talented children, and at Poems,” Hubay; “Romance,” Gabriel-Marie. There self with none of the conditions. Results, recorded degree of instrumental skilk And'common sense tells anecdote; possibly in connection with this very same the conclusion of each number a vigorous applause are many other works of modem nature suitable and unrecorded, have no interest for him. He is bent us that it is here, in the United States, that the composition. When he has finished his talk, all minds “■rose from the depths, helped on by the heavy boots for study and for concert use.—Edith L. Winn. on going the way of countless other sthdents—that major part of the work should be done. Those stu are anxious to start the interpretation of the new of the farmers and an occasional whistle from the is all. But it is enough. The profitless years he dents who, under our best masters have accomplished composition. Again he shows his tact by taking only younger people. spends abroad seem compensated for by the delights something worthy of their art, themselves and their vne first phrase and repeating it again and again. ^ 1 g° through it all again, I wonder how I ever TEMPERAMENT. of Continental life. At least he gives no serious preceptors those, and only those, are properly and e insists on the light and shade and remains on the pulled through the evening. Even after the last BY W. H. GILL. thought to the upshot of his follies; and it is only rationally equipped for further development under passage until l,e hears his own interpretation of the number I could not get away. I was rushed at by when he is about to return to his native land, to European masters and European conditions For movement. Then he continues in the same way, a ®oek °f parents who had the grip of a bear, and his proud parents, to his expectant friends, that he such a residence of several years in Berlin will nrorl camng attention beforehand to the shading, until the mf P°°r hand was almost shapeless when the last The pianoforte keyboard presents a picture in fully realizes the enormity of the sin he has com¬ o. rt profit Cp.bl.of di.lfngMirE.Cn mposition has been studied to quite an extent and re ative had departed. And how my face ached from black and white of the soul’s inner instrument, a well regulated mind. In both instruments the ele¬ mitted against himself, his family and everyone whose right and wrong, good and bad, mentally and artis the minds of the players grow weary. Then we hear perpetual smile! interest and sympathies his gifts and personality had ments of harmony are arranged in orderly succes¬ tically sensitive and developed, they will accent Jw y departure was more unique to me than the enlisted. Then the self-reproaches are bitter indeed Iw. >> TvThenSay: there “WelK ig achildren, stjr> for what the shallwork wejs have0Ter is profitable and reject what is worthless Tty tfl 7 ® e evening. I was gallantly offered a seat in the sion, so that soul, mind and hand may find a definite —bitterer by far than even those who are best ac¬ place for everything and everything in its place. be slaves to neither an individual nor a system, and groetcd bT cries of: “Oh, do let's play ack of a wagon where hay had been plentifully Both instruments must be kept well-tuned, good- Jersey Shore,” “No, I want Uncle Sammy! ” The *rewn. I would not offend the good people by re- tempered—synonymouss tterms these, for in.* acoustics!“- Smg thdr hospitality, and so I climbed in. My THE ETUDE 375 374 THE ETUDE the RECENT SESSION OE THE OHIO MUSIC returned home with any less than a glowing inspira¬ minor. But there is only one very brief excursion TEACHERS’ ASSOCIATION. tion. The very highest forms of music were exem¬ into A minor. On looking over the pages, he will plified, and since at this time of year an orchestra most likely remark that the composer seems to have is out of the question, there were two string and spilled the box of accidentals, so profusely are thev BY J. S. VAN CLEVE. piano trios given. These were Beethoven’s wonderful spotted with sharps, flats, double fiats and naturals. and supremely poetic Trio in B-flat major, Op. 97, There are almost as many of them as notes. The and the marvelous symphonic, dramatic trio in A first phrase is as follows: Tiie raison d’etre, the raison d’s etre, that is the Minor, Op. 50, by Tchaikovsky. This latter trio al¬ IMWlOTES question. Many a time haye I heard the question most passes the bounds of the form allowable to debated, not without heat, and even acerbity, among chamber-music, yet its recondite beauties are so mas¬ We are glad to advise our patrons that our stock professional musicians of the highest rank, whether terly that one forgives its length (fifty-five minutes) ; of Reward Cards is replenished, and we are now in there is a real vocation for State and national music indeed, one does not know that it is so protracted ^djas^d'pble position to fill all orders for them promptly ancf teachers’ associations, as constituted at present. until it is finished and he consults his watch. The without duplications. Last November our supply ran Having always been favorable to such assemblies, and work was composed by the greatest of Russian com¬ low, and it was necessary for us to put in a few cards having served both associations in various capacities, posers to be a monument of the most imposing and that were alike, in order to complete the "set of Conducted by n. j. COREY. 1 wish to put on record my hearty approval of such fitting sort for his life-long friend and able exponent, thirteen. We have added one more composer—Schu¬ co-operation, with a word of criticism as to some of Nicolaus Rubinstein. correct spellings are not infrequent in the composi¬ mann, making four different cards to the set, and What is the Key? the methods in use at present. Another feature of much interest was a program I have received a number of communications in tions of the best writers. Sometimes they are so During the past year I had the rather onerous the price is the same, fifty cents. This presents a stumbling-block which students of compositions by Ohio composers, which displayed regard to modulation, and which I will take up for made in order to indicate enharmonic changes to honor of the presidency of the Ohio Music Teachers’ We would suggest that any of our readers who often bring to me to explain, but it is not so unusual the fact that the resident artists and pedagogues of our talk around the Round Table this month. One other keys, but such is not the case in this example, Association and have therefore an inside as well as are not familiar with the cards, send us five cents as it may look at first glance. The question is: Now, the State are inferior to none as to their learning and subscriber writes as follows: as the measure that follows the second is harmon¬ a long-standing outside acquaintance with this body. for a sample. Aside from the fact that they are ically entirely irrelevant. It is the dominant in B, can there be a G-sharp and an A-flat in the same their genial gifts. A banquet in the evening of “Please give us some instruction on modulation. It is one of the oldest and most energetic State as¬ beautifully colored, unique and especially attractive but even then does not assert the key definitely, as chord, as in this example. It does look to be some¬ Thursday also was a unique feature of the session. It is a subject that is not well understood. I cannot sociations in existence. Many of the meetings have to the musical young, the brief biographical sketch it is immediately followed by an unrelated chord. It thing of a puzzle in key location. On examining the There are undoubtedly certain imperfections in all tell when a modulation takes place. Can you tell been remarkable for their enthusiasm and the ample of a composer’s life printed on each card makes is not until he arrives at the second four measure first chord it is plainly the tonic triad of F minor. these associations which no one sees so clearly as the us so that we can be certain when a modulation takes measure of success, artistic and financial; others helpful and instructive reading matter. phrase that the composer relieves the tension from Why not write the G-sharp as A-flat, then ? It would warmest friends of the movement. I will content place, and into what key it progresses, when acci¬ again have been of artistic moment but financially this vague tonality, and allows one to settle down be the correct note for' the F minor triad. If we myself with merely naming three. First, the head dental sharps; flats and naturals occur? Sometimes small; while still others have been rather meagre comfortably in the key which he promised in the look at the melody alone, divested of its harmonic professionals themselves are the worst enemies of The special offer price on the Histoby of Music, the accidental seems to cause a modulation and some¬ as to both elements; yet the Association has sur¬ signature. accompaniment, we will observe that it is in B major, . their own Association. Those who have the principal edited by W. J. Baltzell, is still open to all who are times it does not. Are there any definite rules for vived. It was established in 1880 and has just cele¬ functions often, though not always, treat the whole determining these points ? ” I hear our questioner ask: “Is not this very un¬ and written diatonically correct. Diatonically con¬ interested. We hope to have the book through the brated its twenty-third meeting, at Columbus, on the affair as if it were a mere concert engagement and In a certain sense this question might b» termed usual?” I can only answer—not at all in modem sidered, it would be wrong to write A-flat followed printer’s hands by the end of the present month, 21st, 22nd and 23d of June last. nothing else. They are inclined to come on the very a poser. To give any sort of a satisfactory answer music. It is this vagueness of tonality that makes by A-sharp. Theoretically it would not produce a which will be in time for use in the fall terms of The keynote of the meeting was art—not art-ped- latest train which will bring them puffing and red would involve a large treatise. The only answer I so much of modern music seem repellent to the aver¬ diatonic progression. The laws of scale construction schools and colleges. The work is divided into sixty agogy, not art-business, but the heavenly art itself. upon the stage to do their little turn, and then with can think of is that those who are troubled should age listener. He is not sufficiently trained to be demand that letters of the staff nomenclature should lessons which, with time for reviews, will take up the Of course, all such assemblies must deal with the breathless haste rush for the train to take them study theory. To determine the progress of modula¬ able to quickly adjust his ear to the rapid changes, be followed in their regular order, and none of them entire school year. The arrangement of the lesson questions of how best to impart musical learning, away; or if they must stay over night they only tions is sometimes a puzzling problem to experts, cannot feel any connection between the various repeated. You can see the reason for this if you material is such as to greatly aid the pupil in pre¬ and how to secure out of the practice of the art the remain long enough to gulp a cup of coffee at break¬ and even they do not always agree as to the correct chords, and can discover no tune, and therefore turns will write the scale of B major as follows: paring for recitation; paragraph headings, with the identification of chords and their progressions. Not from it in disgust. But what is impossible to the best possible livelihood; but this time, while not fast time, read the line or paragraph about them in use of italics and heavy faced letters for important only this, but the systems of chord nomenclature untrained ear is often perfectly clear to the accus¬ ignoring these other matters of primary importance, the morning paper and back again instanter to their words and ideas will be found a great help. Other vary in their manner of naming and identifying tomed listener. Music has been an evolution in which the effort was made to fix the eyes of all upon field of home-rule with a huge sense of having put the advantages are review outlines, suggestions for col¬ chords, so that what is a modulation in accordance the ear has had to accustom itself to almost every music itself, and upon some of its greatest treasures. whole body of the Association, and in especial the lateral reading, topics for essays, a pronouncing index, with one system, is not with another. Some of the new chord and effect. The foregoing example seems The program was packed to the utmost with ad¬ President and Program Committee, under lasting ob¬ the value of which is readily apparent to teachers and English theorists have a way of identifying certain intensely discordant, and disagreeable to many mu¬ This curious product will play correctly on th dresses and musical performances, there being up¬ ligation. pupils. The book is well-suited to class work or to chords as elevenths and thirteenths with most of sical people, on first hearing. This is explained by keyboard as B major, although it uses only four let wards of sixty professional and amateur musicians This is a -flagrant abuse of the privilege of appear¬ private reading. It is fully illustrated and makes notes of the chords missing. A chord of the thir¬ the distribution of the notes in the first chord. Strike ters instead of the required seven. The scale letter concerned with it. After the initial exercises on ing before one’s professional brethren on an occasion reference to music to be studied in connection with teenth, for example, with the root, third, fifth, and the chard on the keyboard with the notes in their then read, B, D, D, D, F, A, A, B, which does no Wednesday morning, the first music heard was the so signal, and no one who thus treats the Association the lessons. * seventh missing. With this system some of the an¬ natural order; that is, A, C, E-flat and G, and the represent the scale diatonically. Even though w great C Major Sonata, Op. 1, by Brahms, and the should receive a second invitation. One of the prin¬ We urge all teachers to get their pupils together alyses seem very far-fetched; the following passage. chord does not sound so dissonant. But as written, assumed such representation to be arbitrarily cor last notes of the meeting were the sublime closing cipal things to be sought for in these State and once a week or twice a month and read and study to¬ its first impression is rather startling, particularly rect, it would be bungling in the extreme. Pupil clangors of the great Dante Sonata in D Minor, of national associations is the breaking down of thorny gether this history. It is so carefully planned that in its relationship to the following chord. often become very impatient over the double flat Franz Liszt. hedges of self-importance, and the cultivation of a any teacher can use the book successfully with a class 1 think, then, that it will be evident from this and double sharps, and are resentful of the fact tha Various short recitals and addresses filled part of feeling of mutual good-will and comradeship. of pupils. It is recognized that persons who are / U J—-j—J--J .Jzz that it is not always so easy to determine the key F double sharp is written, when (in their eyes) < the first day, and in the evening a feature entirely Another annoyance is the piano politics of the ar¬ studying music should have a comprehensive knowl¬ in which a particular passage may be written. Taken would do just as well. But the same explanatio tr “ -3- new, a complete religious service of the Episcopal tists. It is necessary, of course, that the pianists edge of the history of the subject and this book has P • as a whole, it may be perfectly apparent that a pas¬ often applies in these cases. Diatonically two letter form was given, its various elements and their sig¬ should each be allowed the piano to which he is ac¬ been prepared to meet this demand. sage is in a certain definite key, but the temporary must be written, and not the same letter in two dil nificance being interpreted by the Rector of St. Paul’s customed; hut sometimes the piano-makers are so Special Introductory Offer.—We will send the excursions to other keys are not always so easy to ferent ways. Occasionally they appear harmonicall; narrow-minded that their mutual jealousies will not, Egfrl p--— "*-“ ",-: Church, Columbus, the Rev. Doctor Hewitt. The book as soon as it is published, postage paid, to any •define. The key that very often unlocks the difficulty when they indicate the chromatic alteration of choir of this church is famous throughout the State permit really desirable artists to be engaged. We address on receipt of 65 cents. If a charge is to be is the dominant harmony. If you understand theory chord. must some day manage to have the annoyance of the In accordance with an English text-book, the first and its work was admirable. Presentation of the made on our books, postage (about 16 cents) will be well enough to quickly discover the dominant har¬ Diatonically, the foregoing melody, then, is in th piano rivalries eliminated by having each year one chord in the second measure is identified as the higher forms of religious music was designed to show additional. mony, and follow its resolution, you will in many key of B major and must be so written. Harmon: piano allowed to monopolize the session, and in re¬ dominant major thirteenth. Others would identify it historically and pedagogically the connection of the cases find the desired key. In the case I have just cully, the first chord is in F minor, and therefor turn pay a bonus into the coffers of the Association as the dominant of the relative minor of P major, present art of music with the Christian religion, We will continue during the present month the given, however, the dominant harmony is easily demards the A-flat. Possibly the composer rnigh being a passing modulation through D minor. Others which by adding infinite weight and momentous mean¬ that it may have the sinews of war. special offer on Carl W. Grimm’s game, entitled: enough found in the first chord. But it resolves into have considered it as E-sharp minor, in which cas But the third and worst failure of associations, as a temporary excursion into the key of A major. ing to the moods and acts of the mind of man, deep¬ “Musical Euchre.” We anticipate for this game a another dominant harmony, and then simply returns G-sharp could have been written in both places. 0 both State and national, is in not attracting a great Evidently the determinations of keys are not always to first again, and repeats the process without final ened the scope of music infinitely beyond the views success equal to that of Mr. Grimm’s well-known the simplest of problems. Here is an example from examining the last two pages of the piece, we find i and practices of all the ancient Greeks, Hebrews, number of teachers to their meetings and concerts. game: “Musical Dominoes.” resolution. When you get into trouble in this man¬ almost entirely and consistently in the kev of Dvorak, the opening measures of a Humoresque: Egyptians and all the nations of the East. Religious There are teachers by the ten thousands who ought The game is played in a manner similar to the ner, you will simply have to leave your definite key minor. It is probable, then, that he wished to sue bearing of thought upon music was further treated to come at least occasionally. The members of the ordinary game of euchre, with the exception that a undetermined. You cannot do more than your com¬ gest this key in the first chord. There was no reaso during the session by Dr, N. -J. Elsenheimer, from musical profession are often accused of a timorous special deck of cards has been prepared, in which the poser has intended you should. Passing modulations for writing the signature of F minor, for the piece i sensitiveness and a tremulous mutual jealousy which do not interfere with the main tonal scheme. Some the standpoint of Roman Catholic usages, and by various suits instead of being represented by clubs, only an uninterrupted chain of modulations, neve make them like so many, shrinking mimosas, but a of them are so brief as to exercise almost no disturb¬ Rabbi Grossman, who spoke of the Jewish music in spades, etc., are named after orchestral instruments, continuing a key beyond four measures. It is reall fault far more serious, in‘my opinion, is what I will religious forms. a Prima Donna being used instead of the Joker, and ance of the defined tonality. They are like the in no definite key until near the end, and therefor label “ultra-bread-and-butterism,” or I should be delicate shadings of a painting. Of the utmost im¬ There were papers of a pedagogic and scientific the sequence of the cards is represented by the circle needs no signature, although he has placed such be more accurate if I said “ultra-bread-butter-and-honey- portance in the general expressiveness of the picture, character, such as the treatise upon the piano pedals, of fifths. fore the middle part. He does not thereby adhere t ism ” for the average music worker is inclined to they do not disturb the main outlines. Much of the by Miss Mary Venable, of Cincinnati; the American The game will prove most interesting and mu¬ the definitely indicated key any more closely. Sue think that all is done when a living is secured, and charm of modern music is due to the constantlv orchestra, by Prof. Carl Sommer, of Cleveland; the sically instructive. The cards are gotten out in apparently incorrect writing as that shown in tli a little personal glory added, and remains totally ’ shifting, kaleidoscopic tonality. Harmonies demand¬ handsome style and are substantially made. first measure of this piece is more often encounterc opera situation, by Mr. Gehring, of that city; Edu¬ What key is it in? The signature, calls for B ing resolution resolve into others of the same char¬ oblivious to the far higher and more lasting happi¬ The special offer price for this month is 30 cents, m vocal music, when a theoretically incorrect not." cation of Blind, by James McCombs, of Columbus; major, and later developments show that that is the acter, and the feelings are kept in a state of suspense ness to be found in the knowledge of Art for its own postpaid, if cash accompanies the order; if a charge ion may be used for convenience in sight reading Public School Music, by Mrs. Parr, of Cleveland, and key. But examination of the foregoing passage shows while waiting for the definite point of repose, and Mr. Glover, of Akron; The Welsh as Singers, by dear sake. is to be made on our books, postage is additional. that it is not in B. On further examination it does 1 he same is sometimes done in the copying of oi in a manner that would have been shocking to the l’rof. David Davis, of Cincinnati; Choral Music, by not seem to be in any definite key, but vaguely hover¬ chestral parts. w ° The late Professor Ella gave it as his opinion that ears of our forefathers. Prof. E. W. Clover, of Cincinnati, chorus-master of ing about in mid-air, like a bird seeking for a place This brings me around to a dfrect answer to ou if Tom Moore had received a thoroughly sound mu¬ Loeschhorn’s “Sixty Melodious Easy Studies,” Another very instructive illustration of the points the renowned May Festival; a brilliant discussion to alight. Tile first chord is the incomplete dominant under consideration may be found in the opening correspondent’s question. I know of no way in whic sical education he might have produced “some great Op. 84, have been added to our well-known “Presser ninth in B-flat, identified by many systems as the you can learn to know the progress of modulation of musical criticism, by Wilson G. Smith, of Cleve¬ compositions as gorgeous in melody and harmony as Edition.” They are published in three books, gotten measures of Dvorak’s “Am Heldengrabe.” If you land, and Josiah Smith, of Columbus, with many seventh on the leading tone. The second chord is except by musicianship. Make a thorough study c the eastern imagery of his ‘Lalla Rookh.’” Moore up in the handsome and substantial form which should place the composition before almost any music others. the incomplete dominant ninth in D-flat. In the student, however advanced, and should ask what key harmony first—by yourself if you are not so situate had a delicate voice, and preferred to sing in draw¬ characterizes the collection. These little pieces are Eroiu this bird’s-eye view a notion may be gath¬ second measure we find the same condition of affairs it was in, he would probably answer: “In the key ing-rooms to a mixed company. Men’s supper parties valuable either for study or recreation and have WWU r? aVaU y°UrSelf of the assistance of ered as to the breadth and comprehensiveness of the continued. We have therefore in single chords in of C.” There is no signature affixed to the piece, and ' Write the exercises on paper, and also prn< he avoided because the singing there was of the proved immensely popular with many teachers and scheme laid out for presentation. No teacher who alternation, the dominant harmony of two keys. No have not all students been taught that when there afldUOUS,y at the keyboard. Keytar roystering kind, everybody joining in the chorus and students. We are offering them this month at the tame there from the smaller towns or even the country tonic chords appearing, no definite tonality is estab¬ is no signature, the key is either C major or A snrv ee used from the beginning o: special offer on the “100 Progressive Studies, Op. 39” -THE WISCO Sii\ CONSERVATORY OF MUSIC, 558 graduation with certificate or diploma. It has al¬ trial. Our stock is second to none; our own pub¬ —j----— buying ou cream is inns remove,,. by Czerny, and on Bertini’s “25 Studies for the Piano, ready been adopted by schools and conservatories. Jefferson St., Milwaukee, Wis., whose advertisement ap¬ lications are made expressly for educational use, pears on another page of this issue, in an up-to-date in¬ t '*^g'Ca™*ed**“ond0setf>?n°monntffig*lllkeei?tad- Op. 29.” After this month, these offers willl be tration or in ANY STANDARD 14-Kt. solid gold We shall be pleased to send the work for examina¬ and we feel sure we can guarantee satisfaction, not stitution for the teaching of music in all its branches. positively withdrawn. The special advance price for tion. It is intended for the medium part of the It has an able and experienced corps of teachers. There Springtime each work will be 15 cents, postpaid, if cash accom¬ only with our service, but with our catalogue as well. are many free advantages to be obtained by a course in rerpHtere(?°mIuy0U Urefer1*;bat goodaPbe sent by voice and can therefore be used by sopranos, mezzo- this conservatory. Anyone contemplating a course in Be?..d flrst Payment WITH order. panies the order. If the books are to be charged, sopranos, tenors and high baritones. Many of the music will do well to send for their catalogue. forlhone“yyisb^Rdae”u0rnityy- YOUK repntatl very popular this coming Stults, is a dainty and effective caprice by a well- deductions for a certain number of subscriptions I’m a Pilgrim. High, Medium, and Low Voice . . .60 sent to us. We have all this, of course, worked out Rock of Ages. High, Medium, and Low Voice . . .60 known American composer. “Istar,” by Ephraim, is A complete settlement onoe a year is the only on a very precise business basis, and we give as much The Eternal Goodness. High, Medium, and Low Voice, .60 JOHN J. EBERHARDT a new and clever example of the popular intermezzo positive rule that we make on that subject. Those The New World. High, Medium, and Low Voice . ,70 for the work of the teacher in this regard as we can style. “Papillonette,” by Michel, is a neat drawing¬ persons who have not made the returns from their The Endless Day. High, Medium, and Low Voice . .60 Complete, $1.00. Five Parts, Each, 25c. room piece by a modern French composer. Seeboeck’s "On Sale” music, and who have not settled their reg¬ possibly afford. Of course, the greater number of The Broken Pinion, or the Bird with a Broken Wing. “Hungarian Gypsy” is a very artistic little second- ular account, will kindly do so at their earliest con¬ our premiums are musical. They are the ones most High. Medium, and Low Voice.70 grade teaching piece in the style of a miniature Hun¬ venience. It is, of course, imperative that some dis¬ worked for and the most valuable, not only because O May My Walk be Close With God. High, Medium, ruments. The l all our patrons are musical, but because it is possible and Low Voice.60 the work of a master hand, practical and effect garian rhapsodie. “A Foreign Subject,” by Pierre position of the past season’s account be made before are all gems of the popular order. Included In tl llectlon are. Eenard, is a very easy and pretty number, one of a for us, being publishers of music, to give better value Shall I Be Forgotfen. High, Medium, and Low Voice, .60 the account for the new season is opened. My Jacqueminot. High, Medium, and Low Voice . .60 “ Alice, Where Art Thou ?” - - - - Ascher set of pieces having both hands in the treble clef and in musical things than otherwise. All our premiums “ Belle of New York,”. The above, of course, does not refer to those per¬ ..-a to express my entire satisfaction with the - Clark bearing the collective title: “First School Days.” sons who take advantage of the only exception which are based on their actual cost to us, whether we buy Wompt attention my every order has received during “The Palms,”. - Faure Teachers of elementary pupils will be glad to know of we do make to the above rule; that is, if a complete an article or whether we manufacture it ourselves. the past year and assure you your house shall have my On Sale by . WALDO MUSIC CO. “ Right-Left March,”. ■ Sousa continued patronage.—Miss Clara C. Pettit. “ Mexican Butterfly Dance,” - - - this set. The four-hand number is an arrangement of settlement of the regular account is made and an Our premium list is full of choice and valuable l have always been pleased with your prompt atten- THEO. PRESSER Publishers - Clark Paul Wach’s: “From the Olden Time.” It is a amount paid us equal to the value of what has been articles in music and outside of music. We have «on to my orders and your kindness in advising me from and all Music Dealers BOSTON gavotte in the Watteau style and very effective in the time to time as to the change in prices, etc. Am always used from the “On Sale,” the “On Sale” of the past selected those articles which we think have lasting jeady to recommend vour house to all persons interested duet arrangement. Church singers will be pleased season can be kept for another year. value to the teacher. We will give below a short list in music.—Carrie A. Opie. IN PRESS: with Bischoff’s new sacred song, entitled: “Best,” a of those articles which we have found to be the most We are doing what we can to extend the constituency popular: »t The Etude which we regard as a first-class musical splendid setting of the text beginning: “Come Unto This issue of The Etude will reach our subscrib ma,«f A. Wriston. J , MUSIC for PUBLIC SCHOOLS HISTORY OF MUSIC. Edited by W. J. Baltzell. Me.” “Pastorale,” by Mathe, is a clever little encore niiam ^Bghted with your plan of selling music and take ers just at the opening of the new teaching season "T? °pera Glasses, wl>ite mother of pearl, price, p easure in recommending you to my friends. You have more8®"®^ Th°o^“ ÛtawS STANDARD GRADED SONGS. Vol. II. song, with text by Wm. H. Gardner. those teachers and schools who have not yet sent $5.00, for 6 subscriptions. i ^yI,glTe5 entll'e satisfaction in every way to me.— exeroiêa^ndôngViÛie^book^ in their order for their fall supplies, would confer Ladies’ Watch, gun metal case, open face, diameter Utss Flora Doale. MUSICAL EUCHRE. By Carl W. Grimm. “Standard Graded Songs,” Book I, has been in the f.,i „,Lve..nevcr dealt With a house that gave such care- the^^liildren'eveT'heard.^ S'L'IIOOI. SlNG'KR^Nn1.1 8 will make a favor and do themselves considerable benefit bv 11 ’ priCe’ $5-°°> to 6 subscriptions. . attention to orders, and filled them with such prompt- A NEW FOUR-HAND COLLECTION. Price, market for a short time and has won marked favor sending in their orders at the earliest possible mo- Metronome, with bell, price, $3.00 net, for 7 sub¬ as yours.—Miss EUs. A. Stewart. with teachers and singers. One teacher says: “It is scriptions. in p, at mdeed very much pleased with your “First Steps 50 cents. a most helpful selection in the choice of songs,” an¬ “e“*‘ ,,We ealled uP°n during September to tady” Please mail another copy at once. start thousands of schools and teachers, and the wid+bTn Cab1inet> mahogany finish, height 39 inches, FRIENDSHIP SONGS. By Tod B. Galloway. other, “deserves immediate and large recognition”; earlier start we get, the better the attention and satis¬ width 19 inches, price, $13.00, for 14 subscriptions. y°u for the prompt attention you have given another finds it “a collection of useful, pleasing and hoiZ h. P1,sent t0 you- You certainly are the promptest faction we can give to all. Give us as much time . , U«iarn Pcn’ P,ain or chased rubber, gold point, it™ the country.—Mrs. Clara Keifer. ' , , high-class songs”; still another finds it “full of songs possible; mention the date on which you desire the prme, $1.50, for 3 -subscriptions. and Tei7 much Pleased with your music and prices, for eduactional as well as recital use.” Book II is af> attention. I will certainly recommend you NODDING VIOLETS Ernest H. Cosby selection, and we will do our best to have it there I twi,1 can'—Rev- Amthony. THEODORE PRESSER about ready for issue but we shall accept advance script^001’ ha,d W°°d With mCtal feet’ f0r 5 SUb' mv I?. y01! for the prompt and careful responses to orders for this volume during the month of October torLIDto w1!? luQuiries. I am using the “Merry Songs Within a short time after this issue reaches our Peonle»t/Olks and fl“d it just the thing for my little jjr sssvar ‘Sks® at 40 cents, postage paid, if cash is with the order; subscribers, we will have published a new “ subscriptions^ ^ Camera’ 3%X4% inche8’ fOT 7 ■•^. aud a splendid source of fun in recitals. The ERNEST H. COSBY PHILADELPHIA, PA. if a charge is to be made on our books, postage is ad- of all of the sheet music published by this house6 and ™°?d Days” duets are just the thing for little ones 1403 Grove Avenue, Richmond, Va._ • 1 Premo Folding Film Camera, 3 % x4 V* ri*«ePCo»U„Canaonslderable lnterest ln their work.—Har- for 10 subscriptions. xtion THE ETUDE w 1

378 THE etude THE ETUDE 379

A HISTORY OF MUSIC FOR CHILDREN Beautiful Pictures Free! FIRST STUDIES IN To introduce our famous Letter-Carrier Ballads to you, we will give free with every MUSIC BIOGRAPHY copy of “Where The Silv’ry Colorado Wends Its Way ” a reproduction in twelve colors of Robertson’s famous painting,-The By THOMAS TAPPER Mount of The Holy Cross; with “ The Girl I Loved Out In The Golden West ” we will FULLY ILLUSTRATED PRICE, $1.50 give free a photogravure of the celebrated For Self or Class Study Cow-Boy Girl picture which is one of the fads of the day, and with “ Back Among The Clover And The Bees” we will present a reproduction in twelve colors o f Smith s painting entitled A New England Landscape. You will like these ballads. Their success has Each biography is the result of ca t is dire been remarkable. _! ..re deftly PRICE, SS CENTS PER COPY . woven in.Tn/th^reader^ets an"historic 1 picture from biographical s»ludy. Address, A full and complete sketch of ever; composer js life is given, The Tolbert R. Ingram Music Co. posers. L value lies in the interest it s DENVER, COLORADO Illustrated Catalogue of popular Vocal, Instrumental, charactered^ msic-histc and Teaching Music Free. world-history. The preface, directed to the teacher, expk suggestions for further study. PALMER’S PIANO PRIMER PROMINENT Piano Players Prefer Palmer’s Piano r It is Progressively Plan'd. Practical Pianists Pron 1 " ' " ' ' " " ' with Pleasure and

FIRST STEPS ie Promptly.

IN PIANOFORTE STUDY Palmer’s Pronouncing Pocket Dictionary of 3,150 Compiled by Theo. Presser Musical Terms and Abbreviations PRICE. $1.00 to which is added i Palmer’s Biographical Dictionary A concise, practical, and melodious intro¬ alities, specialties, dates of birth, etc. T^e two dictionaries in duction to the study of PIANO PLAYING one neat pocket volume. 30c. If your music dealer does not keep them menu to SOME POINTS OF INTEREST: H. R. PALMER, - Lock Box 1841, New York City

THE MUSICAL STANDARD rat made you think that? ” this work during three (Incorporating- The Violinist”) appears in September—a Graded so carefully and begir National Monthly—high graue—music in every number. kindergarten method. Edited by Ray Q. Edward., with staff of contributors. KUkioReSQUeS. time’’-S<2eTTe itjSdg°in8, g°ing’ g°ing’ 8 a child through tt *1.00 A YEAR. SAMPLE COPY 10 CENTS The September issue will contain a new and brilliant He' fgr Mazurka for Violin, with piano accompaniment, by Ruthyn Turney. Send 10 cent* and get acquainted. gives breadth to one’s knowledge, and certainly lightens the ADDRESS, 2155 GLADYS AVE , - CHICAGO drudgery. So give this new book a trial. We fain would clear the air. hmggs: Don t you get tired of hearing I Let us send it to you *'ON SALE/’ Subject to Return sseS

THEO. PRESSER, Publisher Department. Diplomat -h Sl- Phil‘>- 17 East 16th St., Yew York Mistake.—Mr. Dobbs, Ethel ^ 1712 Chestnut Street Philadelphia, Pa. Conservatory 11 £hree Half scholarships What is time? Time is money. * ^Mr^ Dobb" D“No^thTt fsnTEth 11 of Music" KURT MUELLER, Director For Year Book andpar- (T? “ROOT VIOLINS” Hlgh-CSass SE^PLce5r< ATLANTA, GEORGIA culars address Dept. I. ; is an organist ? It i

MUSI logue 4000 pieces with The Clark-Steiniger System of Unified Pianism promoting8discord inthe church orSanizati°n for Perhaps Plam Old Meat, Potatoes and Bread special prices free. E. F. MARKS Below Cosd 6 West 901 h SI., New York covering mistakes. A change to the right kind of food can lift one What is accent? A matter of method. There are from a sick bed. A lady in Welden, Ill., says- ^WhatT a nmlodeon?4 AmusicaftreaTmilT ^ t Sp™g 1 ^d-fast with severe stomach New Improved Metronome MRS. FREDERIC HORACE CLARK, SUITE 72, AUDITORIUM, CHICAGO. ft click. To introduce we offer a sample score?: Mouthlde^Hve Xere?” " “£ any^foât 'allâUhough' 1 trkd e'verekind with bell, f2.60; without I ell, #2.25. Musician (looking down tlirough clouds of inspira- I had become completely discouraged, had gLn up ^^toPANOEL^CIO.*°r^ Musi Money refunded if not satisfactory. Gibbon’s tion) : ^“Oneôctave higher.” ^ ^ ^ ^ ah hope and thought I was doomed to stare fo death! CARLIN & LENNOX Box 513 Indianapolis, Ind. By GIBBON Catechism tlme ta t?dt a SqUare 1 CHAMBERS KILLOUGH of Music MUSIC mous.” every day, and7 in a veryPfew ^ve^'l^g^toedÔ THE subject-matter of this work is arranged in the style “I don’t see why anyone should worry over scales,” pounds in weight. I liked Grape-Nuts so well that of Questions and Answers, 499 in all, covering the NIST said the fish. for 4 months I ate no other food, and always felt as I'/aOFF necessary ground of elementary instruction in notation, Ch.EdffinVeon L'-; “For my part, I don’t see what anybody wants well satisfied after eating as if I had sat down to a time values, intervals, scales, keys, chord construction! with them,” said the goose, with a sigh that was al- fine banquet. music I Oc-sHwas TEE NORTHWESTERS HHSIC CO., Suite 309-225 1 SressT Pennsylvania their being committed to memory. The Piano School Hugh A. Clarke 223 The Denver Music and Fine Arts College mus. doc. South 38th Street questions. Age? Doubtful. Price, 50 Cents LESSONS Philadelphia Married? Not at BY MAIL IN HARMONY.COUNTERPOINT AND THEO. PRESSER ESCHKHZKY METHOD TAUGHT e 1712 Chestnut Street Philadelphia, Pa. SUSw Logan Avef^Denver, Colo. Please mention THE ETUDE when addressing our advertisers.

t 381 380 THE etud e THE ETUDE

recital programs. prfMTtldlKirifl Goerdeier ; The Song of th ‘ Katydid, Op. 19, No. : Pupils of Miss Gertrude Black. „... Spanish Fantaisie Madrilena (4 hds.), Wachs; Joyous HERE’S A RICH FIELD Entree, Van Gael ; Nocturne Heins; The Violet (4 hds.) as » set INSTITUTE OF MUSICAL ART Streabbog: Hunter’s Life, Heins; Tone Picture, Op 21 Be Independent a.nd Your Own Employer Bohm-’ Tmni-e, Rose Garden, Geibel; Lqve’s Oracle, Espen; The Fountain, Bohm; Dance Theme (4 hds .’ hard™’ >‘at Guards March, Op. 200 (4 hds.), Egg- OF THE CITY OF NEW YORK Spindler: Morning Prayer, Streabbog; Spring Song' YÊj^ successfully teach ldavl ’8l°na.ta' % 27> No- 2. Beethoven ; A Twilight Mendelssohn; The Butterfly, Merkel; Hunting Son! Dromn?nhi5r1,Cker,; butterfly, Op. 81. No. 4. Merkel; Im- 53 Fifth Avenue, New York FRANK DAMROSCH, Director Munro; Mazurka (4 hds.), Massenet; Song Without Piano Tumng° ession °f ^rePtS“nazUrka’ 0y- 302’ No- 4- Bohm ; Isabelle Grande Words, Op. 97, Streabbog; Twilight, Nevin ; Balletto Dying_,i ; ^Sunset on the Alps, Op. 193, Oesten ; Op. 54, Silas; Hunting Song, Bohm; The Gypsy, Bohm A,.e ,Dyi?S .r oet, Gottschalk; Valse Brilliante, Op. 34, Established and endowed for the education of serious students of music. Melody, Op. 48, Thoma; The Hunter's Horn, Wachs: by mail bine iViVww’’r\Second ma.iuaa, UJI. 1, u. Lt'l' . c-o.uui- . ___“neither” lounced with a Narcissus, Nevin ; Valse Arabesque, Lack. by a new scientific method. The TroA ’rPelôay?T:,The Two Skylarks, Leschetzky; a long i in singing accord the preference Offers all advantages of a European musical education. Faculty composed of the The course includes a *’ NnersTl<4i^!i- °p' ,'1; Heller; Voices ot Spring, Op. 34, 3 singer or leader. There is Pupils of Miss Emma Finch. regulating, voicino- JNo. 3, Smdlng; Polacca Brilliante, Op. 72, Welter. led, many singers prefer the more most eminent teachers of Europe and America. md is t Gaily Chanting Waltz (4 hds.), Behr; Flutterlne Pupiu of Miss Katherine Glass. Leaves, Spindler; Two Juveniles (4 hds.), Burty; The sXirinfttent9'’ Wi‘d _. .1 book of guitar solos to be taken up after finish¬ Prospectus on application to the Registrar, Serpentine Dancer (4 hds.), Horvath; Rondo Villaeeois £udeX“weare the origi- MemtewlS161' Dream. Overture (2 pianos, 8 hds.), ing- a first hook is the “Guitar Soloist,” $1.50, retail. Dennee; Chase of the Butterflies, Dennee; The Steeple Mendelssohn ; Vk>la Polltetta, Orth ; Starlight Waltz (4 An easier book is “24 Guitar Solos,” 50 cents, retail. MR. L. E. BERGER, 53 Fifth Avenue, New York Chase, Fink ; La Gracieuse "Mazurka,’’ Malkoff; Chimnev Tnning by mail, and inventors of the TUNE-A^PHONeJ1 an Elsa’s Dream, Wagner-Liszt; Htude, Op. 3. A suitable name for a ladies’ chorus is the Cecilia Sweep's Call (4 hds.), Rlchgood; Orfa Grande Polka in-tmment by which any one who can hear can set the eaual iP „7.' 12 (Revolutionary), Chopin; I-a Dame Blanche or. Saint Cecilia. Sacred Music, Palestrina, Motet, Anti¬ Gottschalk; La Baladine (4 hds.), Lysberg; Valse Mrs mnerament. We have the indorsements of Ministers Public ■•r i “ ' § bcJs-)- Boieldieu-Alberti; Swan Song from phon, to which the name club or chorus may be added. Ringuet; Leiehte Cavallerie (2 pianos, 8 ’ ' SSTuperintendents Universities, Colleges, Piano Manufic° Wagner-Krug; Pas des Amphores, Cham- 4. Music for a boy-choir is written the same as for a Valse rw.Op. 64,at Chopin; Simple rConfession,—. , (4 mere and hundreds of successful graduates. In these days of No S: «Nn°CiUr?e ? p- Schumann; Impromptu, Op. 90, choir of mixed voices. Any good anthem collection will M..C, .Slumber Song (4 hds.), Schumann; Cuiim hnff rin™hubert;c!Sec.ond Valse Brilliant (4 hds.), Schul- suit. Wc suggest “Model Anthems" or “Anthem Reper¬ Stabat Mater), Kuhe : Poet am) .rofession which can be m ^by m . -?, oy ’ Soaring, Schumann ; Arabesque, Cham- toire,” which can be had from the publisher of Th* pianos, 8 hds.), Suppe; - any place ii “eywTr4r e’ 'I y Pehse, Meyer-IJelmund : To the Evening Star, Etude. The Standard Graded Course of Singing ing Wheel, Spindler; Tournamen. „ .„ for our lllui trated prospectus. wagner-Liszt: Valse Caprice, Newland; Stabat Mater A. S.—We always advise against having a first com¬ T—the Valse (4 hds.), Weber; Polka de Con- (4 hds.), Rossini-Lahee. position published. It would be a most exceptional case By H. W. 1 Polacca ( NILES BRYANT SCHOOL OF PIANO TVNING if such a piece would have value to a publisher. If you Sehultz. Pupils of Rosa Futrelle Gideon. bring the piece out yourself, you will have to put in a 203 Music Hail _Ba-ttle Creek. Mich. March, Esipoff; Doll's Dance, Wolff; March in F sum of money varying from $25 to $50 with no cer¬ Four Books= Pupils of Wm. A. Wolff. K1?!‘,er; ‘;cho waltz, Streabbog; A May Day, tainty of getting any returns. If you are convinced that Overture, Egmont (6 hds.), Beethoven; Sonata Op 7 Rathbun . Clover Blossons, Kleber ; At Evening, Sartorio; your piece will sell, then submit it to a publisher, in Beethoven; Love Valse Op. 57, No. 5, Moszkowski nf£tlnr?L KAel? ; ^Silyei' Bells- Weyts ; Mazurka, Sapelni- manuscript, for his examination. He will Inform you as VOCSL INSTRUCTION MADE SYSTEMATIC AND PRACTICAL Gavotte D Major (from 6th 'Cello Sonata), Bach; Spring D°?’ 1 Bo.Butterfly, Bohm; Cheerful and Serene (Rondo), to the conditions under which he will publish it If he Song, Mendelssohn ; Sonata, Op. 26 (2 movements) Bee¬ Bohm ; The Wayside Brook (Idyl), Smith; Dance of the should see fit to accept the piece for his catalogue. thoven ; Impromptu, Op. 90, No. 3. Schubert; Invitation Snow Flakes, Engelmann; Valse, Op. 15, Den ride; Faust " ~ ~ the worJ - -*"J THE great need of vocal instruction to-day is for a work that contains a selection of studies, carefully to the Dance, Op. 65, Weber-Tausig; A la bien Aimefr— Fantaisie (4 hds.), Gounod; Rakoczy March (6 hds.), rding t_-- graded, each one chosen for a specific technical purpose, including every phase of study. Valse, Op. 59, No. 2, Schiitt; Mazurka, No. 2, C Minor Liszt; First Waltz, Op. 33, No. 7, Jensen ; Elfin Dance, _____ ... The word “hasten" . __ “The Standard Graded Course oe Singing” is the work of a teacher of many years’ Op. 33, No. 5, Jensen; To a Wild Rose, MacDowell; sung with two syllables just as It is pronounced. experience, and represents the cream of the entire literature of vocal exercises. It is progressively Marche Militaire, Schubert; Lad and Lassie (vocal), 2. There is a setting of the text “Vital Spark of Pupils of Mrs. A. It. Strang. Oehmler; La Lisonjera, Chaminade; Fur Elise, Bee- Heavenly Flame" for quartet of mixed voices, by A. H. arranged, each book containing the work that can be done in one year by a pupil of average ability, LeCarillon, Op. 19 (4 hds.), Ringuet; Song thoven ; Bergers et Bergeres, Godard ; Dedication, Op. Pease. This may be the one you wish. and affords a basis for examination and graduation. It covers all keys and forms of vocal writing, Katydid, Kern—1 * gnfflvSoftly SsincraSings tha RrnnlrlotBrooklet. AnOp. »'t„, o5, No. 3, J. Raff; Valse Arabesque, Lack ; Menuet, Op. W. E. S.—1. In rapid scale playing the fingers must intervals, groups, and embellishments. Every study has metronome and breathing marks. Promenade, “ Taylor: Doll’s 136, No. 1, Meyer-Helmund; Fifth Symphony, Op. 67 leave the keys even in executing the “finger legato.” In Dance, Wo u'ing's Awakening, athbun; Polka (Allegro con brio) (4 hds.J, Beethoven. all but the “pressure-touch,” or the “clinging-legato,” Rondo, Marks : •verie D’Amour, Geleibel; A Woodland the finger playing will be raised to “stroke” position. Ramble, Op. 195, Giese: Fantasia, I_, . Pupils of Daisy RoVbins. 2. As the “up-arm touch” depends for its success en¬ dents, Bebr; Nympbentanz, Fischer; LaFontaine On Morning Song, Reade; Butterfly Chase, Hirsch; Third tirely upon a relaxed condition, the wrist at the be¬ 221, Bohm; Shower of Stars, Wachs; Flight of the But¬ Valse (6 hds.), Streabbog; My Lady Dances, Brackett; ginning of this touch will be naturally depressed. terflies, Miesse; Air de Ballet. Thomas; Idvlle Lane- Twilight and BeUs, Goerdeier; The Merry Skater (4 3. In playing Var. 2 of the first movement in Bee¬ Minuet a L’Antique, Paderewski. thoven's Sonata, Op. 26, the “down-arm” and “up-arm” Technic and Art of Singing hds.), Zitterbart; The Mountain Stream, S. Smith; touches will be employed in the left-hand part, the “up- Pupils of Mrs. Charles H. Castle. Dancing Spirits, Blum; Majestic March (4 hds.), Goerd¬ eier ; The Song of the Heart, Lichner; Galop de Concert, arm” touch in the right. How Bright the Might, Bertha Metzler; Doll’s Lulla- S. Smith; Sunshine Days, Franklin; A Starry Night, 4. The three measures previous to the final one in A Complete System of Education in Singing on Scientific bye (4 hds), Gottschalk; Spinning Song, Eilmenreich; "AROUND THE WORLD AND NEVER OUT OF INK’’ Smith; Trio. Flatterroschen (6 hds.), Kramer; Bird’s Mendelssohn's “Spring Song” will be executed with the Cradle Song, Gaynor; Rag Time Cadets, Martin; Pink Nest, Schmoll; Sunflower Dance (4 hds.), MacClymont; Methods for Use in Private Instruction and in Classes Dominoe, Op. 2, Uenard : The Merry Mill, Op. 203, Hitz; Silver Stars, Bohm; Second Valse, Godard; Qui Vive'i Violets, Three Step, Claire: Arm in Arm, Carter1 Hay¬ (4 hds.), Ganz; Love’s Greeting, Bohm; The Dancing Our pupils, in themselves, and in' their active in¬ makers’ March (4 hds.), Zimmerman; Alpine Flower. Maiden (4 hds.), Baltzell; Twitting of the Birds, By FREDERIC W. ROOT “-* Moonlight Sleeps, Decevee; Fes- Bilemma. fluence upon others, will make the public of the 1 Marei v'"'.. Reverie, Star of Hope, future. Hence, the necessity of making clear to Kennedy; Crimson Blushes, Op. 2.0 rLester ' Pizzicati, pen’s superiority. A series of text-books by an author who knows all the celebrated European Schools of voice e.™ ..6„i„.«.i / - hds.) DeMbes; March of Pupils of Mrs. Seth Lockwood. them, and through their growing power of interpre¬ Fiowei Waltz Serioso, No. 4, Fradel; Nocturne, Paderewski; culture, and who in these works gives the foundations without which none'of these schools or sens; Doves— TLonging,1-ringing, - 1 Op."up. 118.• 3( Queckenberg;Queckenbei ; The tation, to their friends, the truth that in that much- ,,, e Tigerj igei ±jnyLily,t Sargent; GirardGin Gavotte (6 hds.).h Waltz of the Nightingales, Holt; A Starry Night, Cloy; “methods” of vocalization can be developed satisfactorily. Fondey. Marche Turque, Op. 165, Eilenberg; Salut D’Amour, dreaded “classical music” there is a beauty which Elgar ; Spanish Mazurka, Bohm ; On the Lake, Williams; These works by Mr. Root constitute the only system in print covering this ground. Pupils of Miss Lehmann. LePAGE’S mucilage Au Matin, Godard; Hark, Hark the Lark, Sehubert- they cannot help loving, a fascination to which they March Milltaire (8 hds.), Schubert; Frolic of the But¬ No gumming to clog necl —No sedim Liszt; Friihlingsreigen, Op. 174, Fink; The Serpentine cannot fail to respond. Said Rubinstein: “I hold I. Methodical Sight-Singing. Op. 21. IV. Thir(y-two Elementary Song-Studies. terflies. Bohm: Joyous Farmer, Schumann-Ha rtel; Wed¬ Dancer (4 hds.), Horvath; Primroses (4 hds.), Strelezki; ding March (8 lids.), Mendelssohn; March, from "Tann- Summer Zephyr Idyll, (6 hds.), Flolst; Return of the music to be a language—of hieroglyphic form, it is Grade I. The Beginning, . - 50 cts. For high compass. Op. 24, . . 50 cts. hauser,' Wagner-Lange: Tarantelle, Heller; Reconnais¬ ilso half pints, pints, and quarts. Heroes (6 hds.), Keller; Le Secret (6 hds.), Gautier; true, image, character. One must first have deci¬ Grade 2. The first time through the keys, 50 cts. sance, Schumann: Prelude, Op. 28. No. 17. Chopin: Parade Review (8 hds.), Engelmann; Over Hill, Over For medium compass. Op. 25, . . 50 cts. Hunting Song (6 hds.), Mendelssohn: Prelude. Op. 28. LePAGE’S photo paste Dale (8 hds.), Engelmann. phered the hieroglyphics, and then one may read all Grade 3. The second time through the keys’. For lower compass. Op. 26, . . 50 cts. ir ,,°!,lln : Sparks, Moszkowski: Overture, “William 2-oz. size retails 5c.; by mail, 10c. that the composer intends to say.” We must inefface- Grade 4. The third time through the keys, Tell” (4 hds.), Uossini-Gottschalk. Pupils of Newell L. Wilbur. These are along the lines of Sieber’s Vocal Studies, so uni- LePAGE’S GLUE Strongest in the w, March Militaire (8 hds.), Schubert; Barcarolle, Sar¬ ably engfrave on the tablets of our pupils’ minds the A method for the first and fundamental requirements of music, Pupils of L. E. Booh. J,12o. torio ; March Rondo, Blum; March “Victor's Return,” truth that the deciphering of these hieroglyphics, the rcssiA CEMENT COMPANY, 1 Sartorio ; Love’s Reverie, Sartorio ; The Reveille, Behr; including the Science of Music Reading, so arranged that Festival March (4 hds.). Tollman ; Little Fairy Waltz. expression of the composer’s thought, is the sole aim pupils can practice alone ; to be used in connection with instru¬ xercise witl/vowels and the° They at Streabbog; Pure as Snow (Edelweiss), Lange; How Daisies and Buttercups (4 hds.), Sartorio; Always Gay, lesigned to carry on in more Sweet the Moonlight Sleeps, Decevee; March of the Handrock; It was a Dream, Krimling; Trout Dance, of all genuine music study. Were there fewer ma¬ mental work as well as with Lessons in Voice Culture. building an Ganschals ; Spinning Song, Ziegler ; Gipsy Rondo, Hay¬ rtroductory Lessons, as wel Flower Girls Wachs: The Chapel in the Mountains. chines, and more interpreters among the music stu¬ s to take th Wilson ; Chiiperic Fantasie, Sydney Smith ; Thoughts of den ; Butterfly, Merkel; Mazeppa—Galop de Concert II. Scales and Various Exercises for the caiuci steps m siyic,and expression. (4 hds.), Wollenhaupt; Twilight Reverie. Guy; String of dents of today, the public of the present would not ButterfliesZeHeins°-rniSg Prayer’ Stl’eabb°B : Frolic of the The Thomas Pearls. Chwatal; Titania, Lefehure-Wely; Song of the hold. such a false idea concerning the interesting Voice. Op. 27, - 60 cts. V. Twelve Analytical Studies. £P‘ b5’ No. 3, Kuhlau; Evening Nocturne. M. Read; Woodlands. Lynes; Tarantelle, Dennee ; Song and Mirth, For High and Low Voice. °J.,ithe Uhlans, Bohm: Evening by the Sea. Bohm; Tarantelle, Whitney; Witches’ Dance, Mac- power of the music called classical. Op. 20, - - Village Gossips, Georges Bull: Menuet, Op. 14. Normal Training School Dowell; -— 0 Zampa-- (8 hds.), Her Designed to aid in mastering Modes, Intervals, and Musical $1.00 Phrase; in developing the Voice and acquiring control of it for r should establish correctly and OceanTiakip (dTds.1 WaveS °f DETROIT, MICHIGAN Pupils of Mrs. Horton. A SPOON SHAKER finished execution These studies may be used both as The Whirlwind (2 pianos, 4 hds.), Gutmann; En Straight From Coffeedom. he separate items, and as a con- Pupils of Miss Blackmer. —Public School— Courant Godard; Nocturne, Favarger; Saltarelle, daily practice which will touch all TTn,?,YCc d,e. Pf,te <4 h(Js-> • E. A. Bari'eil; Old Folks at I.vnes ; Forest Elves, Schytte; Melody in F, Rubinstein; III. Introductory Lessons in Voice Ts- c. Foster; Allegro Vivo, Op. 51. No. 11 (4 Music, Drawing, Penmanship, Bubbling Spring, Rivd-King; Southern Beauties (8 hds.), Coffee can marshall a good squadron of enemies nds. j, Izoeschhorn ; Sweet Flattery, Schnecker: Rough Schneider; April Showers, Fink; Polonaise, Bache; Culture. Op. 22, - $1.00 Riders (Military March) (4 hds.), Engelmann: Love's Physical Training, Novellette, Op. 21, No. 7, Schumann; Waltz, Op. 70, No. and some very hard ones to overcome. A lady in The book of the course which is intendi !?,vf n.g’ A?,1’’ A?; Queckenlmrg; Two Juveniles (4 lids.). Domestic Science and Art, 1, Chopin ; Second Mazurka, Godard; Waltz in E Major, Florida writes: pupil for any line of vocalization by giving coni \eThe AillaKe Blacksmith, Op. 241, Heins: Piz- Op. 34, Moszkowski; Etude Caprice, Mason ; Last Hope, Sylvia) (4 hds.), Delibes; March of the Manual Training Gottschalk ; Spanish Caprice (2 pianos, 8 hds.), Lack. “I have always been very fond of good coffee, and Fiowei' Girls, Wachs;; Sextette ffrom “Lucia d' ' 4 hds.). (Knife, Bench and Lathe Work). for years drank it at least three times a day. At Jessie L. Gaynor and Emil Liebling Pupils of Edwin Gerrard. last, however, I found that it was injuring me. We shall be pleased to send any or all of these buorKs on examination thoughts of Thee, Op. La Polka Glissante, Op. 170, Raff; The Fountain, Teilman. Piano Systems. Rohm- Poet and Peasant, Overture (4 hds.), Suppe; On “I became bilious, subject to frequent and violent Ahiine MeightsT Mazurka, Op. 279, Lange; Sounds from Pupils of Arthur Allen. Write for full information regarding Summer and Fall headaches, and so very nervous, that X could not lift Spring Song, Gurlltt' In the the South 8Op. 148, Spindler; Sunbeams and Shadows THEO, PRESSER , Publisher, 1712 Chestnut Si„ Philadelphia, Pa. The Courses to (Tone°Poem),PKeiser; Rhapsodie Hongroise, No 13 Liszt; a spoon to my mouth without spilling a part of its SaCun“g US' Baumbach; Song one...... Joy of Life (Valse-Gracieuse) Morrill; Polonaise, Op. 40, contents; my heart got ‘rickety’ and beat so fast Kpptitvi;- n i 1 lay,\, ’ Army and Navy Marcu, Chopin; Summer Showers, Schneider; Dream of the wfnoT? ’ Webb: Barcarolle, Behr; Vesper LOUIS A. THOMAS, Secretary Flowers (Waltz), Op. 170, Losey; Rita (Italian Dance), and so hard that I could scarcely breathe, while my : Second Waltz. Elimant; Harebell. "oAi -March of the Mandarins. Brackett; Waltz in skin got thick and dingy, with yellow blotches on my flip? (Organa nf fighrat (irahr Heins ,,, Swi,;« s°ns- Wolff: Dance'of the Bears. 550 Woodward Avenue - . Detroit, Michigan F MajoD Dietz; Country Inn Polka Op. 188, Engel- M. P. MOLLER NetrtH,;„^ 't , ;.n , Song' -'letter : Wind Fairies' Lullaby. 1 . Valse in G Major, Op. 272, Duvernoy; Valse face, caused by the condition of my liver and blood. ELECTRIC, TUBULAR PNEUMATIC Lange6 ’ L,ttle Princess Waltz, Smith; Viel liebchen. I made up my mind that all these afflictions came OR MECHANICAL ACTIONS PIPE ORGANS Pupils of Frank II. Smith. from the coffee, and I determined to experiment and man: ’Second Valse Caprice Op. 33, Eyer.; Gi;a”d« Valse rSSaT,!4 hdsi|- E'lssell : A rieasant Summer, learn piano tuning Have been endorsed bj Emmons Howard - - Westfield, Mass. Foii ni,, v nMU<‘' °P- 168, Ingraham; Lullaby at the Chop!n*e’lnPa Garden°Fair (Intermezzo), Op. 294, Sudds; “So I quit coffee and got a package of Postum eminent organists and cl< Scherzino On Toh„ea Gottschalk; ' Nocture, Op. ! THE BIG SIX beats regularly and my complexion has cleared up BAUJiDE^0rTUBU^^-ÊUIVMTlc 'iano Pieces Suitable (Krch)?rCChristensen; jS^'f^ream'of‘aii beautifully—the blotches have been wiped out and M. P. MOLLER, Hagerstown, Maryland. ÎND ELECTRIC-PIPE- ORQrtNlr" Pupils of Margaret Belle Tableau Chspel Chimpe p for Teachers and Schools it is such a pleasure to be well again.” Name given Bohma,'eTh?‘'Sy,h Gurlltt: Maybells. Op. 135. D,Dci°g C own ReVerie * Reiman 60c Dainty Dahlia by Postum Co., Battle Creek, Mich. l’rince o,,1 . -Merr.v-Go-Round. Goerdeier; The Little Bu«'e Call“‘.March. ' . Xcigelman. Fisher 50cKfW. Florentine__ Gavot op. 53 Smith 'ViJfeOn 12. Gurlitt; Witches’ Please menti-n THE ETUDE when addressing rnr * P- l-i. No. 1, Ivrogmann: The Alpine Iloie. There’s a, reason. THE ETUDE 383 382 THE etude

„r«i trprz «a^r55C*ss»-.« ™"hoTdST ,£* The Cooke-Keller Combination Music Staff Ruler SKSsiFwe* 5 “ « * rstr rs iss SENT ON TRIAL—Anywhere

IlSKM-tredta,^,s wey-

-“USED BY ALL UP-TO-DATE TEACHERS” B THE KINDER ADJUSTABLE FOOT REST AND PEDAL EXTENDERS ™

teacWs°ai^etrade!*,

Music Printer^ ing of the fourth tone in flats. This is done through AND ENGRAVER5

Music Printing As soon as this is mastered, I begin again with THORS TEACHEI C and go over them in two octaves, adding the simple

LuW? BW>k* E. A. Stege Co., 252 W. 47th St., New York (CORRECTION OF MUSIC MSS. ^ A SPECIALTY of Music, 822 N. Broad St. ALBERT W. BORST

I THE ETUDE 385 384 THE ETUDE

EMINENT MUSICIANS ORGANIZED THE NATIONAL CORRESPONDENCE SCHOOLS OF MUSIC FOR THE PURPOSE OF GIVING INSTRUCTION BY f MAIL IN HARMONY, COUNTERPOINT, INSTRUMENTATION arid COMPOSITION

Thorough Musicianship is the Object of the National Correspondence Schools of Music SUCCESS can only come through the channel of honest and properly-directed study. WHY YOU SHOULD BECOME A PUPIL OF THIS INSTITUTION : There is no body of musicians better equipped to give the necessary instruction than the faculty of the National Correspondence Schools of Music, the members of which a ■ known to the entire musical world, and their many compositions are recognized as classics. If you are interested i t the best of musical knowledge, write for full and free information.

NATIONAL CORRES¬ Please send me, free of all charge, your book “Theo¬ PONDENCE SCHOOLS retical Music,’’ and its study. Name . of MUSIC Street. Carnegie Hall - NEW YORK, N. Y. City. State.

Burrowes Course of Music Study DUNNING SYSTEM OF IMPROVED MUSIC STUDY FOR BEGINNERS KINDERGARTEN AND PRIMARY

in the hands of a partner’or as antitacts as a feeder to their __ I began the Burrowes because kênablesTheni to dtTmore Course in 1902 with c in fewer hours ; To 01 three pupils. Now I have 100. It has cre¬ ated a sensation, and is most attractive to chil¬ dren. Parents are de¬ li|I Address MR*S. CARRIE E. DUNNING, 225 Highland Avenue, Buffalo, N. Y. lighted. Margaretha Kirpel or E. 47 Parsons St.. Detroit. Mich. KINDERGARTEN MUSIC Wisconsin Conservatory ÛPKRIOR instruction, RIPON COLLEGE TEACHING TEACHERS CHURCH-PARSONS’ Of Music HOW TO TEACH PIANO frc^gspg MISS JOSEPHINE A. JONES 558 JEFFERSON ST., MILWAUKEE, WIS. ’ Conservatory of Music = A Course of Ten Lessons in Modern Ideas of Touch, Illustrated Music Study Music taught in all its branches by an able and ex RIPON - WISCONSIN Technic,^Pedal, etc., and How to Apply Them penenced corps of teachers. Instructions given in Piano Voice, Violin, Violoncello, Organ and Orchestral Instru JOHN ORTH, 146 Boylston St., Boston, Mas tnents. Departments in Harmony, Histoiy, Elocution ant Dramatic Art and Public School Music. Coaching fo> Opera and Oratorio. HARMONY BY MAIL Musical Moments With Children advantages. Newly Dirnished Dormitory in charge . With New Modulating' Harmony Chart UNIVERSITY SCHOOL of MUSIC TROEBEL’S “^ÂÎDEAÂPPUED TO THE ANN ARBOR. MICHIGAN Choice of Courses Moderate Terms Particulars Free uners Complete, Thorough and Systematic Instruction in all branches of Musi BsSsstSSM Correspondence Courses for Mothers, Kindergartners and Music Teachers. Season Begins Sept. Ilth. Faculty of Twenty-five Members F.C.PARSONS, 610 Fine Arts Bldg., Chicago, Ill. CORRESPONDENCE SCHOOL OF HARMONY ms§mM Send for Catalogue. I’or inn Union °f 3°° Voices—Orchestra 0/40 Pieces Prairie du Chien, Wis. CHARLES A TiNK,CT.%",°Stcre1^ry',U'”dd 3lease mention THE ETUDE when addressh^T"û7"advertis Kssassssssssa®®1

■ 387 386 THE ETUDE the etude

p--——-— - CHICAGO

W. WODELL THIRTY-SEVENTH SEASON WILSON COLLEGE The Oberlin Conservatory ICIALIST PUBLIC SCHOOL MUSIC and METHODS Director of Music PHILADELPHIA FOR WOMEN u^?^P&^e^rTstf0 MUSICAL ACADEMY CHAMBERSBURG, PA. Thorough College course, leading to the degree of A. B. 1617 Spruce SI. and 6029 Main Sf., Competent faculty of University GERMANTOWN. ■forparticulars to CROSBY ADAMS, Director and College graduates. Handel Hall, Chicago RICHARD ZECKWER, Director. Unusual opportunities for the study of music. Teachers of experience and European training. American School of --Apply for Catalogue to- Music Education M. H. REASER, Ph.D., President Conservatory Opens Sept. 25th, 1905 Hugh A. Clarke 223 of Music BUILDING Phila-delphia-’s Leading Mvisica.1 College CALVIN B. CADY, Principal mus. doc. South 38th Street 313 Pierce Building BOSTON, MASS. Broad St. Conservatory of Music iimt. Philadelphia 1329-1331 SOUTH BROAD STREET Announcements will be Sent on Application “VaX,noa CHICAGO MISS EDITH LYNWOOD WINN THE OBERLIN CONSERVATORY OF MUSIC offers unusual advantages for MUSIC, DR.AMATIC AR.T Chicago Piano College WILLIAM ERHART SNYDER the study of music. Lectures Recitals Teaching MODERN LANGUAGES 926 Students last year. STANDS FOR PIANO TUNING Faculty of 30 specialists. PIANO-MUSICIANSHIP a fine tone and security of execu Large 3-manual Roosevelt pipe organ, two vocalions, and xo pedal organs avail¬ RESIDENCE DEPARTMENT For New Catalog address able for organ students. FOR- YOUNG LADIES ^Pe^;^efetBee'S8rd,!S- 125 pianos. CHARLES E. WATT. Director It is a department of Oberlin College, and enjoys its intellectual and social life. sound musical education from the foundation to post¬ Kimball Hall. Chicago, Ill. STUWo'.'ldds'Brlar Placed CHICAGO Send for descriptive catalogue and musical year-book. Address, graduate and ^normal worlc The various departments under Charles W. Morrison, Director, Oberlin, Ohio, MR. EMIL MAHR WM. H. SHERWOOD Teacher of Violin and Ensemble Hugh A. Clarke, Mus. Doc. Sherwood Music School department for Public School Music and its supervision FINE ARTS BUILDING ... - CHICAGO N. E. Conservatory and Steinert Building. Boston -een established under Enoch W. Pearson, Director of Concerts and Lecture Recitals (PRIVATE STUDENTS Music, Public Schools of Philadelphia. (Plano Dep’tJWM. H. SHERWOOD, Director CORRESPONDENCE SOLICITED on all questions regarding VIOLIN EDUCATION. A complete equipment of teachers of Mr. Sherwood’s modern Address all communications to ROYAL CONSERVATORY OF MUSIC IN STUTTGART Illustrated Catalogue Free Correspondence Solicited principles of musical interpretation, analysis, touch and tech- . = ALSO OPERATIC AND DRAMATIC SCHOOL - Address: 69 CRAWFORD STREET, ROXBURY, MASS. MENTION “THE ETUDE” HISS L. HUMPHREY Winter Term Complete education in all branches of music. 40 teachers, Prospectus may be advanced stages. Fall term will open Sep. 11,1905. 713 Fine Arts Building, Chicago, III. among others: Edm. Singer (Violin); Max Pauer, C. Linder, . , , , „ Begins Ernst H.Seyffardt( Piano); S. de Lange (Pipe Organ and Compo- obtained free from September 15, 1905 sition); J. A. Meyer (Theory): O. Freytag-Besser, C Doppler the Secretary _ (Singing); Faber (Dramatic Class); Seitz (Violincello), etc. lne secrela !. S. de LANGB, Director. Missouri Conservatory of Music SCHOOL OF MUSIC FOR YOUNG LADIES Hyperion School of Music (Twentieth Year) I623 Missouri Ave., St. Louis, Mo. 1505 Arch Street A Conservatory of National Reputation MR. J. C. EISENBERG, Director. PHILADELPHIA, PA. THE WESTERN CONSERVATORY STUDENTS FROM TWENTY-NINE STATES All branches of music taught by a faculty of specialists. Onr new --, L»fayette park j, „„„ All Branches of Music Taught by_ a Faculty of Musicians Unsurpassed by those of ■ of the pleasantest in tl -Jing department for young ladies is under t supervision of the director, i SIX GRADUATING COURSES WITH DIPLOMAS fords a delightful home Salubrious Climate. Home Boarding Department with Active Religious Influences If You Intend to go from Home to Study Music, Address FRANKLIN E. < LANDON CONSERVATORY, Box 873. Dallas, Texas, for our prices Fall Term begins September 4th, 1905 JOHN W. POMMER, Jr. n begins September 4th. E. H. SCOTT, r 1 way Hall, Chicago.

Established 1874. Finest Conservatory in the West The Hahn Violin School NATHAN SACKS FREDERICK E. HAHN, Director BUSH TEMPLE CONSERVATORY Detroit Conservatory of Music NORTH CLARK STREET & CHICAGO AVE., CHICAGO. FRANCIS L. YORK, M. A., Director Weighfman Building, 1524 Cheslnul Sheet, Philadelphia, Pa. KENNETH M. BRADLEY, Director. Thirty-second Year Begins Monday, Sept. 11, 1905 Piano Recitals- Fannie Bloomfield Zeisler BS^,J25J5&MI " = The Faculty includes such noted Artists and Instructors as Fbinpis L.Toek, Piano, Organ and Composition ; Wi. Yrscn, Violin ■ Ida Fletchek SSSS" Kg"”‘ mfceUence °i0e' “ C°Ip8 °* 42 eipert itl8‘mctore, unsurpassed lor their - Concerts- % HE LEA D1N G 14/1 | I cfl f* OR ATO R v'a nd Free Advantages : Ensemble Playing; Composition; Concerts ■ Har- mhers of Intern all leX!triSu ^ LANGUAGES mony ; Orchestra Playing; Musical History and Lectures. ’ FREDERICK MAXS0N 0r?‘nis* Church 4fre®SwidpartW8choiarahip8.0n n ePar men 8- Fall term begins September 11. -Instruction Teacher of Organ, Plano and Theory Catalogue on^ appHeatkm^to E. ^CHMII>T,^Secretary. PROSPECTUS ON APPLICATION „ lessons given on the Three-manual Electric Organ ft First Baptist Church. Pupils prepared for Church posi- JAMES H. BELL, Secretary (Pupil of Leschetizky J ;‘on): Concert Work and for the Examinations of the Ameri¬ 530 Woodward Avenue, Detroit, Mich. can Guild of Organists. Call or address Northwestern University, Evanston, Ill. The Odeon - St. Louis, Mo. FIRST BAPTIST CHURCH Seventeenth St„ above Walnut PHILADELPHIA A Higher Music School Mrs. Hughey’s Illustrated Lectures Summer Music SchooT Incorporated 1900 with University School of Music Privileges a-nd Aims FORREST PARK UNIVERSITY The Kroeger School of Music THE PENNSYLVANIA E. R. KROEGER, Director and Concert Pianist COURSES IN MUSIC PREPARATORY Leading to a Degree. ipc Organ! SpSiSttSnmg'fM teaSta^dStag E- R. KR 0 E G E R, DEPARTMENT «. ANN A SNEED CAIBNS, - - LITER ARY-MUSICAL For Beginners. tfnl summer boarding. Music witi i best instructors. P. C. LUTKIN, Dean THE ODEON, ST. LOUIS, M0. COLLEGE OF MUSIC COURSES Music Hall, University Place and Sherman Avenue jn THE ETUDE when addressing our advertiser IS11 oeqrees of music conferred Send for Catalogue 11 GIRARD AVE. k. h. chandler, prwt k 388 THE ETUDE

NEW YORK MUSIC SCHOOLS Modern Studies AN OFFER TO OUR SUBSCRIBERS MODERN SENT ON INSPECTION TO RESPONSIBLE PARTIES TO AID IN SECURING You Will Hear Thorough, Systematic Study- of You Will Play Instruction Books Grand Conservatory of Music STANDARD GRADED COURSE OF More Better NEW SUBSCRIPTIONS FOR. THE PIANOFORTE STUDIES FOR THE PIANOFORTE MUSICAL STRUCTURE 68 West 83d St. For 23 Years in 23d St. NEW YORK W. S. B. MATHEWS Our Offer: For the low price in the second column AND ALL THAT CAN BE EXPRESSED IN NOTATION BY A In Ten Books, a Grade to each Book we will send a year’s subscription to The Etude, and ’HE only Music among the latest and best on the market. They ai School,empow- This course represents the ripe experience of a veteran the work mentioned, and also give to the person sending widely used by our best teachers, are first of all, x ered by Act of teacher. The contents consist of standard etudes and studies this subscription the regular premium as mentioned in modern, with crisp and fresh ideas. The authors A the Legislature, to CORRESPONDENCE - confer the degrees Course Based upon Bach, Beethoven, and "The Art of the Musician.” of Bachelor of Music, Master of ALONG THE LINES OF HUNDREDS OF ANALYTICAL RECITALS Music, and Doctor of Music, and the kindred arts. Thorough and Subjects requiring the teacher to HEAR the Student’s Work are EXCLUDFD from this Course. Send for Circular systematic instruction in all branches of vocal and instrumental music, as a science and as an totnyiHL°p£nsMth°dS will.1££nt “ °n SaIe” istruction and Analysis Classes at the School art, by the most eminent artists and teachers. any similar one before the public. Price, $1.QQ each. X The full course leads to the degree of Bachelor DR. HENRY G. HANCHETT’S of Music. The Opera Company and Concert ETUDES DE STYLE First Steps in Pianoforte MUSIC SCHOOL Company are open to students for membership. You Will Teach You Will Enjoy Open All Summer Fall Term Begins Sept. 4th ANTON SCHMOLL 1 must accompany all orders. Better No. 40 West 85th Street, New York City Study More Dr.E. EBERHARD, Pres’dt.

very good one for left hand alone.

The Brookfield Summer School of Music Only $350 a Year for a Complete (Grades V and VI.) Price,a$T.OO H. W. GREENE, Founder and Director Musical Education 40.000 SOLD Combines the advantages of Special Musical Culture with a AT MARKS’ CONSERVATORY OF MUSIC delightful Summer Home in a healthful rural New England village. INCLUDING ROOM AND BOARD seventh and diminished seventh chords, written out in full in y?'.6’ Pian0j’ ?r?an. and Theory Celebrated New York teachers in each department. Method for the Piano Interesting Lectures and Reata's Normal Classes, and Concerts, all of special value to Teachers and Students. Send for Illustrated Prospectus. Piano, Voice, Violin and Other Instruments Clarke^’H." JL,1CkMinterpoint|1Strict^and*Fr«an.0, Address H. W. GREENE, 504 Carnegie Hall, N. Y„ or Brookfield Center. Conn.

Fall Term Begins Sept. lorn VIRGIL SCHOOLPIANO Special „ - Special advantages f Foundation Materials for “11. Mrs. A.Tm!' M. Virgil, Director, Author of Practical Exercises in Harmony Playing), etc. FRAN CO-BELGIAN SCHOOL the Piano — 19 WEST SIXTEENTH STREET, NEW YORK.: OF

THE AMERICAN INSTITUTE of APPLIED MUSIC Violin, Cellos Theoretical Branches (THE METROPOLITAN COLLEGE OF MUSIC) DR. EDOUARD BLITZ Carnegie Hall, EDGAR O. SILVER. President 212 West 59th Street, New York City JULIEN-PAUL BLITZ_NEW YORK tendingPauTsavage.^l^rwe^h "vonrlnde1 Georee Colerrian0rS.marH0ro’ H®rryJ5?*8 she,ley. Kate S. Chit- Boucher.dWniiam F. Sherman, Paul AmbTo^ ™ The advantages are unequaled in America. Twentieth year begins September 2Sth, ,905. THE LESCHETIZKY METHOD Twenty Lessons to a Be- circulars and catalogues. KATE s. CHITTENDEN. Dean gf the Faculty F. E. HATHORNE State Normal and Training School ginner in Piano Playing Potsdam. N. Y. W. S. B. MATHEWS Thorough Course in the Art of Pianoforte Playing, with Diploma. Send for Circulars. J S ven in His Study, or MozaVt Directing His S. C. BENNETT UTICA, N. Y., SCALES, ARPEGGIOS, AND CADENCES INSTRUCTOR IN f This edition of scales, arpeggios^ and cadences will be Conservatory of Music of Crane Normal Institute Music cordaiiâllp^^die^najo^âle^ the^llmrmorric6 antT melodic Robert J. Hughes, M. A. Edward B. Fleck training school for SINGING DIRECTOR MUSICAL DIRECTOR The Most Ideal System of Vocal Faculty of i7 Skilled Instructors SUPERVISORS OF MUSIC Heads of Departments Instruction Known Easy Method fo/ the ROBERT J. HUGHES, M. A., VOCAL JULIA E. CRANE, Director, Potsdam, N. Y. Semi stamp for particulars Pupil of Signor Tamaro EDWARD B. FLECK, PIANO rupu or Anton Rubinstein Pianofo CARNEGIE HALL, - NEW YORK CITY ALBERT KUENZLEN, VIOLIN Pupil of Ysaye CAN HARMONY BE TAUGHT BY MAIL? H. H. SIPPEL, L. R. C. O. and R A M OR r A w w!anr to leam to Compose and Arrange Music? If so, AND HARMONY ’ ORGAN htnvde had s nia'TfessonsÎfThese les^ns'dS notice ôu CG>aaW TOW ELOCUTION Ion1 &°U W'A! succeed—then they are free. Don’t write unless The Master School of Music mean businessr°US:h knowledSe of the rudiments of music, and BACH’S INVENTIONS VOCAL DEPARTMENT M C. W. WILCOX (Harmonist), REDUCED RATES Mention The Etude. Room s, World Bldg., New York City. Madame Aurelia Jaeger Victor Beigel Pedagogics^’ Sisht~Readlng and Directress Associate to polyphonic playing. The work has been edited, revised, Fall Term Opens September Ilth, ioor QUSTAV L. BECKER fingered, and annotated with extreme care, a special feature Dr. Gerrit Smith Henry T. Finck . . Send for Illustrated Catalogue, Address Secretary . . Theory Hislory oi Music being the writing out in full of the correct execution and in¬ Concert "Pianist. Teacher, Composer terpretation of the various embellishments in the body of the Languages. Sight-Singing, Dramatic Action, \ large proportion of Mr. Becker’s pupils are themselves teachers. Diction.Fencing taught by eminentprofessors S. REID SPENCER Teacher of Piano Send for circular with press; notices to OPERA-CLASS and all departments of (Lesch'titxsky Method) ‘2SS-K2.1 music instruction. Number of pupils limited AUTHOR OF I West 104tK Street - - New York City Theory and Composition Eclectic Harmony Season begins Oct. 26th, 1905 * Hnm. Lin. of The New Method Adopted "IRTZ PIANO SCHOOL “THE ETUDE,” 1712 108 Montague Street - Brooklyn, N.Y. in Leading European and St. .- THEODORE mi THE ETUDE when a. CONRAD WIRTZ,°DrRECTORRUCTIOPi "‘Tie Terms Philadelphia, Pa. 1712 Chestnut Street, - Philadelphia, 1712 Chestnut Street, Philadei The Leader 190S 1780 for 125 Years - Walter Baker & Co.’s mm Chocolate & Cocoa

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