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

2-1-1899 Volume 17, Number 02 (February 1899) Winton J. Baltzell

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Editorial Notes. *5 Woman’s Work. Questions and Answers.. 37 Musical Items.• ••.J® Thoughts, Suggestions, and Advice.89 Book Reviews.. • • l; • • • • • •"• • •• T• 1 Shall the Last Note Under a;Slur be Played Staccato? H. 8. Saroni. Answers to Musical Puzzle..40 Letters to Pupils. J. S. Van Cleve. 41 Self-playing Pianos. Robert Braine...... • • • 42 Beethoven’s American Biographer. P. G. Hubert, Jr. 4s Letters to Teachers. W. 8. B. Mathews.. 44 An American in Music. S. A. Smith.. 45 Covering Ground. F. O. Raihbun....45 On the Revival of Mozart’s Works. E. R. Kroeger.. 46 The Musical Millennium. Henry 2. Finck.46 An Interesting Incident. AimH M. Wood...... 47 On the Expediency of Playing Without Looking at the Keyboard. B. von Adelung. ■ Nervous Pupils. Susan Lloyd Baily.. Comments by Emil Liebling.. Some Common Faults. Wm. C. Wright.. Teachers and Pupils. George Lehmann...... «• • • • A Word of Encouragement to Young Pianist*. Fred Kenyon.. 49 How to Treat Pupils who Have Previously Studied with Another Teacher? Replies from E. von Ade¬ lung, W. F. Gates, J. E. P. Aldous, Wm. Benbow, Frank L. Eyer, E. J. Decevee..... Foundation Teaching. Perlee V. Jervis... 51 The 8treet Organ as a Musical Educator. Henry C. Lahee.*... PHILADELPHIA. PA. Am I a Good Teacher? How Can I Improve?.51 The Invasion of Vulgarity in Music. Arthur Weld.. 52 Would-be Teachers. F. B. Hawkins.52 Studio Experiences. 53 Prize Essay Competition. 58 The Transformation of a Genius (Story).54 Making Mistakes. Madame A. Pupin. 55 Am I Musical?. 55 What They Would Like to See? Frank L. By*.55 Vocal Department. By H. W. Greene. 56 iUBSCRlpy ION Publisher’s Notes. 58 7«rusic PRICE III SHEET FORM Prize Song from “ Die Meistersinger.” Arranged by W. J. Baltzell.rr'J"/.*° ?° Danse Ukraine. Th. Kirchner.zt,Pn£uQ^».60 PER YEAR In Fair Poland. 1. L. Rickaby.....40 $1.50 Fascination. C. Uei>er.30 Elfin Dance. A. Jensen..20 “Aida” Triumphal March. H. Engelmann.20 When Love is Kind. A. L.20 Forever Mine. H. W. Greene.. .30 SINGLE COPIES 15* ir The Dancing Sprites. C. Bohm. .40 k _ —i 33 THE etude THE ETUDE SUBSCRIPTION FREE TO TEACHERS. An Important Work. Of great interest to those attracted in Best Seeds Train the Musical Sense: Not the Fingers The Brotherhood Technicon,... any manner toward an Ttbc TOUtmarh Monthly. that Grow! The Homophonic Forms <*^or Pianists' Hand Gymnasium. Artist’s Life. An illustrated paper devoted to buyers and sellers of music, teachers, theatrical folks, bands, and orchestras. OF Indispensable to Pianists of every grade. Thousands of Dollars BRIGHT, NEWSY, AND IN TOUCH. )£ar draining. Preeminently the invention which completely develops absolute NOTES OF A PIANIST in CASH PRIZES for 1899 Musical Composition. control of all of the piano-playing muscles. In making application please state permanent address for and many other New Features, BY one year. __ A COURSE OF SYSTEMATIC STUDY of particular interest, presented in An exhaustive Treatise on the Structure and Develop- LOUIS MOREAU GOTTSCHALK, Try the " CREST” high-grade music paper (none genuine FOR THE DEVELOPMENT OF THE without water-mark) and you will accept no other. Endorsed meat of Musical Forms. PIANIST AND COMPOSER. and used by leading musicians. Send stamp for sample sheet. BY MUSICAL PERCEPTION. Preceded by a Short Biographical Sketch and Con¬ URPEE’S temporaneous Criticism. Edited by his sister, Being aware that teachers are more or less organizers of PERCY GOETSCHIUS. A H«lp Touuard the Better local amateur associations, we have compiled a special little Farm Annual CLARA GOTTSCHALK. Translated from th. Understanding of IHusie. . . >Y pamphlet for that purpose, entitled, “Are You Interested in Leading American Seed Catalogue Amateur Affairs ? ’ ’ This little pamphlet takes in every branch French by ROBERT E. PETERSON, M.D. Mailed FREE to all. Price, $2.00 net. ARTHUR H. flHACOX. A handsome new book of 176 pages,—tells Price 75 Cents.- _ the plain truth about Seeds, including rare CROWN OCTAVO. EXTRA CLOTH, $1.50. Novelties which cannot be liad elsewhere. For the use of General and Special Students of Musical JUST PUBLISHED FOR PIANO. Beautiful colored plates and hundreds of illus¬ Ear training, perhaps the most important subject in all Structure, a Text-book for Private Classes and Schools, Second Polonaise in E Minor. By J. A. trations from nature. Gives practical informa¬ musical training, is at the foundation of the very structure Gottschalk, one of the first American pianists and tion of real value to all who would raise the an Indispensable Companion to every Book of Harmony. of musical character. Strange as it may seem, this sub¬ Silberberg.^0 choicest Vegetables and most beautiful Flowers. among the most talented that the world has ever known, Featured at Manhattan Beach by Herbert’s Twenty-second Write a postal card TO=DAY ! ject has been greatly neglected in the past. It touches a Regiment Band. Very showy for Concert Pianists or has here related with charming vivacity his shrewd W. ATLEE BURPEE & CO., Philadelphia vital point in all musical education. We have not taught Teachers. A New Organ Collection. music as music—as something to be heard. The hands observations of people whom he met and places that he “ The Rough Riders.” Scene Equestrienne. By and fingers have been taught to manipulate the instru¬ visited during his short but successful career. Used and recommended by many celebrated Teachers and Soloists Chas. M. Connelly..—. 50 ment, but the musical sense was forgotten; when it wag A vividly descriptive number, the best since Warrens famous as the moat direct process for developing and perfecting technical Clever anecdotes of his tours through many countries “ Tam O’Shanter.” aroused in us it was in spite of our methods. It is neces¬ make the book entertaining to a great degree, not only to Master Pieces for the Organ sary that teachers themselves become acquainted with the dexterity of the hands. “Lurline.” Dance Romantiqne. By John W. The Choral musicians but to the general reading public. teachings of this work. While it begins with the very REDUCED PRICES. KAO*. Bratton... A Collection of Twenty-one Organ Works, Selected elementary stage, it proceeds by gradual steps to the Teachers' Technicon, Black Walnut.$12. Charmingly graceful—for advanced pupils. Chiefly from the Programmes of higher cultivation of the ear. “ “ Mahogany... 14.00 Published by TflEO. Pl^ESSEl^, “La Gazelle.” Dance Characteristic. ByTheo. Mr. Heacox is fitted to produce a thoroughly valuable Students’ “ Black Walnut. 7.5€ 1708 Chestnut Street, ...Philadelphia, Pa. Bendix. Class Book ALEXANDRE GUILMANT. work. He has been teaching this branch for many years Liberal discount to Teachers and Schools. Enjoying fine success. in one of the leading conservatories of the country, so Write for Mr. Brotherhood’s latest essays, illustrating the advantage# “American Citizen Waltzes.” Frank M. H tTeiMBooft for Stnginp Scbools, Edited and Provided with Registration by that the system has been thoroughly tested. of Technioon exercises, sent free to any address. U4THBHSTIN<5. Witmark.•••—••••••. INSTRUCTIVE. By the composer of " Zenda," “ La Carmela, and Cyrano Collepeg, Institutes, public Schools, WILLIAM C. CARL. J. HOWARD FOOTE, Sole Agent, Waltzes. Published by TfiEO. BJlTBHTflII4H40. a In Venice.” Italian Serenade. Panl Rubens, ETC., ETO. 31 Cortlandt Street, - New York. P Neapolitan in style. Price, Flexible Cloth, $2.00 net. 1708 Chestnut St., Philadelphia, Pa. “ Awakening of Venus.” By W. C. O’Hare... ianoforte A graceful valse lente on the order of “ Love’s Dream After L. S. LEAS0N and H. H. McGRANAHAN. HAND GYMNASTICS. NEW HNTHEMS the Ball.” From the Preface : In compiling this Collection “L’Voodoo.” Dance Creole. By W. T. Francis, the editor has endeavored to bring together a number of The Basis of Pianoforte Technic, For Quartette and Chorus Choir. A most brilliant solo. Requires quite an exponent to give Complete, in Board Covers, 75 Cents. compositions which will especially serve for Recitals and By W. FRANCIS GATES. By ALONZO STONE, Mus. Bac. this number the proper showing. By the composer of the 194 Pages, barge Oetavo. Study... famous “ Cactus." _• Concert-work. In order to make it more valuable and Praia a the Lord, 0 Jerusalem, 12c. O Taste, and See that the Lord A clear and concise statement of a variety of Hand Where’er Have Trod Thy is Good.ISo. A complete course in chorus singing from the very attractive, a “Grand Choeur en forme de Marche” (from Gymnastics for the acquirement of technic without the Sacred Feet.10c. Great is the Lord.100. By. GREAT SUCCESS OF beginning to the most advanced concert work. Contain¬ the manuscript), by Alexandre Guilmant; an “Inter¬ use of gymnastic apparatus. Jesus! Lord Most Merciful, 10c. Hints on KUHXANDHR taeARTRUR, Victor Herbert’s and Harry B. Smith’s Comic Opera ing an abundance of material for every purpose,—church mezzo” (from the manuscript), by Joseph Callaerts ; a and concert, solos and quartets, anthems, patriotic songs, “ Prelude et Cantilene” (from the manuscript), by Sam. EACH EXERCISE ACCURATELY DESCRIBED. CHAS. A. BECHTER, Publisher, 416 Arch St., Phlla. Author of Piano etc., etc., and a selection of choruses from the best Rousseau ; and a “Chorale,” by Kirnberger (edited by Every teacher should keep a supply of these inex¬ "Rubinstein," a Biography; “THE FORTUNE TELLER." works of the great masters. Alex. Gnilmant), have been added.' pensive leaflets on hand and supply them to students. "Irish Rebels," etc. Playincj. As played by the ALICE NIELSEN OPERA CO., at Wal¬ A great advantage this work has in addition to the A large proportion of the pieces were in the repertory FOR ALL WHO TEACH laces Theatre, N. Y., to the capacity of the house THEIR USE WILL PRODUCE A MARKED Attractively Bound in Cloth, $1.25. almost every performance. large volume and variety of material is the separation of M. Gnilmant during his recent American tourney, and into three parts: Elementary, Intermediate, and are reproduced with the same registration and expression GAIN IN THE STUDENT'S PLAYING. ‘“The Fortune Teller’ is an unquestioned success.”—James Hune- Chorus Department, each 30 Cents. Price, S Cents Each. . 30 Cents Per Dozen, Net. ker in the Musical Courier. _ marks which he followed. How to Teach ^ TflHO. P{*ESSE1L Publisher, Vocal Score (complete)....$2 00 THEO. PRESSER, Philadelphia, Pa. (First edition disposed of before day of publication. Second A LIBERAL DISCOUNT IS ALLOWED. 4 1708 Chestnut Street, - Pbila., Pa. edition now ready.) Send for Free Sample Pages. How to Study i Vocal Gems.80 50 Landers.$0 50 Important New Organ Music. Libretto. 25 March...... 50 THEO. PRESSER, 1708 Chestnut St., Philadelphia Music Talks Selections for Piano. 75 Schottische.- ou Bartlett, Homer N. Op. 149. Toccata in E.$1 25 Waltzes. 75 + + BY B. 7«S. SEFTON Fine Collections for Teaching Purposes. Bossl, M. Enrico. Op. 78. Etude Symphonique. 1 00 METRONOMES Selections, Vocal and Instrumental, published separately. Dubois, Th. March of the Magi Kings. 50 Toccata in G. 85 With Children. price, « = 50 Cento. (GUARANTEED). PIANO COLLECTION FOR HOLIDAY GIFTS. Godard, B. Berceuse from “Jocelyn.” Transc. STANDARD by S. P. Warren. 50 S2.50, without Bell. (In Book Form Only.) Gnilmant, A. Berceuse in A Flat, and Priere in .. BY .. The young teacher, or one about to enter the profession, 3.50, with Bell. “ Mythological Fancies.” By William Loraine, $1 00 A Flat. 60 TflOjaAS TAPPHR. is in need of guidance quite as much as the pupil. Very These are better than the ordinary metronomes now A suite of four dances. First and Second Grade Pieces Pastorale from First Organ Sonata. 50 little has been put in book form that relates to the being sold for more. Key attached. No. 1. “ Diana,” No. S. “ Apollo,” . . AND . . Kerval, H. Marche Nuptiale (Wedding March).. 5U teacher’s work. Mr. Sefton has had extended experience No. 2. “Venus,” No. 4. “Uadine.” Lemaigre, E. Andante Religioso in G. 40 Bound in Cloth. Pfliee $1.28. in training young teachers. His efforts in the normal We guarantee both for one year from any “Wild Flowers.” Chas. Bendix. 1 00 Liszt, F. Pilgrim’s Chorus, from Wagner’s defect in manufacture. A book of dainty solos. STANDARD field have been very successful. His “ Teachers’ Class “Tannhiiuser”. 60 Book ” is generally used by teachers who wish a system¬ No. 1. “Arbutus,” No. 3. “Primrose,” The beautiful spirit in which this book has been written Quantity discount allowed. No. 2! “ Clematis,” No. 4. “ Columbine.” Miller, Rnssell King. Op. 4. Scherzo Sympho¬ atic record. This is a work designed to aid the teacher. can be found in the first, eleventh, and twenty-fifth chap¬ Transportation 30 cents extra. nique in .. It touches on every phase of teaching. Every difficulty “Little Inspirations.” In Press. J. A. Silberberg, 1 00 ters. There is here touched upon that which creates the When you want a good Metronome, and run no risk as Third and Fourth Grade Pieces Op. 6. Two Organ Pieces: which confronts the teacher is met. It were better that music possibilities, and yet nothing like it has come into to its being perfect, send to No. 1. Nocturne in F. 50 even the older teacher studied the hook. There is such the literature of music up to this time. Hence the book FOR YOUTHFUL PLAYERS. Compiled for the Piano by No. 2. Epilogue in E Flat . 50 a thing as doing a thing for years, and doing it wrong is thoroughly new in content as well as in its purpose to THEO. PRESSER, “ Musical High Tea.” By Eduard Holst. 50 Murray, Harvey. Offertory No. 1, in A Flat. 25 unconsciously. He is the best teacher who is most anx¬ W. S. B. jVtflTflEWS. A popular book containing six pretty sketches. Offertory No. 2, in F sharp minor. 40 be a child’s music book. ious to improve his method of imparting knowledge, and STATION A. PHILADELPHIA, PA j* jt The remarkably few books on music intended for chil¬ i« Sunny Days.’’ By Eduard Holst. 50 Rosseao, Sam. Doable Theme Varie. 1 25 be prepared to receive advice. It relates solely to the dren would of itself make this work welcome to thousands A charming set; brimful of novel surprises. Designed to accompany the celebrated and Wagner, Rich. Vorspiel (Overture) to “Lohen¬ idea of how to get the best work out of the pupil. universally used Standard Graded Course of of readers; yet beyond this we predict that there will be TO ALL We are more than anxious to interest teachers in our vari¬ grin" (H. N. Bartlett).... 50 found in it a charm and value entirely without parallel in ous departments, but only bona fide teachers will receive the Studies by the same compiler. March and Chorus, from “ Tannhiiuser ” MUSIC LOVERS inducements. It is a well-known fact that there are any num¬ the literature of music. r^u-bliotied. by ber of imposters who receive benefits intended for teachers, jt Jt (H. N. Bartlett). 75 SCRIBNER’S LIST OF MUSICAL BOOKS (184 pages', con- To the Evening Star, from “ Tannhiiuser ” taining works in every department of music: Musical Histories, and think because they present a card that same should be No more valuable hooks of compositions have ever been THEO. PRESSER, Philadelphia, pa. THEO. PRESSER, 1708 Chestnut St., Philadelphia Critical Works, Biographies, Musical Instruments, the accepted as indisputable proof. published—cuUed and selected from the best teaching (S. P. Warren) . 50 Violin, the Organ, the Piano, Voice and Singing, Technical We wish to discriminate against them, and will appreciate Prelude “Die Meistersinger von Niim- and Scientific Works, Musical Novels, the Opera, etc. any support in the matter. We must see credentials, such as material in their respective grades; in all piano liter¬ Also circulars, programmes, etc., before we will treat with any one ature—popular classical and semi-classical—something berg.” Concert Paraphrase by S. P. Warren.. 1 50 on a teacher’s basis,—we prefer, however, an endorsement MUSIC ENGRAVING AND PRINTING SCRIBNER’S MUSICAL LIBRARIES CIRCULAR. $10.00. suitable for any pupil in addition to that contained in from local dealers. All real teachers (who will receive liberal $25.00, and 850.00, General Musical Libraries; and $10.00 discounts) will welcome our crusade against those not en¬ IN ALL ITS BRANCHES. and $25.00, Violinists’, Organists’, Pianists’, and Singers' the regular course. _ titled to the usual courtesies. Published by .. Libraries. New and complete catalogue of the Witmark Popular THE OLDEST AND LARGEST ESTABUSHMENT IN AMERICA. All offered at very low rates, and on the instalment plan of monthly Publications just completed, and will be sent on request. price of eacb, = = = $1.00. payments. Address Durably and Substantially Bound. __* ter gnmpiaa and Prioe-Liate. Oopyrighta Attended to. Charles Scribner’s Sons M. WitmuRK & sons, G. SCHIRMER, THE ZABEL-WORLEY CO., (The largest dealers in Musical Literature in the United State*) 8 West 29tti Street, JSlem York City. Address Publisher, NEW YORK. THEO. PRESSER, 1708 Chestnut St., Philadelphia 710, 721, 723, and 725 VINE STREET, - PHILADELPHIA, PA. 153-157 Fifth Ave., N. Y. Proprietors Witmark Music Library. etude #S>THE PUBLISHER OF THE ETUDE CAN SUPPLY ANYTHING IN MUSIC 34 ARTHUR P. SCHMIDT, CLAYTON F. SUMMY CO., 220 Wabash Avenue, Chicago, Ill., BOSTON: NEW YORK: SOLE REPRESENTATIVES IN CHICAGO FOR THE 146 Boylston Street. 136 Fifth Avenue. CHICKERING PIANO. Music Publisher Publishers and Importers of Music,

SOLE AGENT IN THE UNITED STATES General Dealers in Pianos and Music of PHILADELPHIA, PA., FEBRUARY, 1899. FOB the Better Class. vol. xvn. Mechanical music may have its value, and doubtless Henry IJtolJ, Brunswick, Germany, and tors fail to recognize this condition in music study. The will serve important uses in future, hut the joy ol Edition Chanot (Violin Music). other evening I called at the house of a friend, and found ©HE GwUDE. producing the music-fresh, new, alive, out of your CONDENSED FINGER TECHNIC. the boy of the family making noble but rather futi e conscious, intense, active self-is, sui generis, a thing £ Publiaatlon ton the T«»»!reN» 8Da ... BY ... efforts to practice. The piano was in the chief room of not to he obliterated or replaced by any effective substi¬ Students ot JIusia. the house ; a very cosy and sociable way of arrangement p. c. LUTK1N. tute. of course, hut not very conducive to concentration of New Publications, Subscription Bates, SI. B0 per year (payable in advance). thought. The sister, at a table, was studying, or, Two Subscriptions or two years in advance,. . . *1.35 eacn. SOflGS. Pabt I. Rhythmical Five-Finger Exer¬ Three Subscriptions or three years in advance,. . 1.30 eacn. rather, fuming, at her arithmetic lesson, with some Litebatube and art, not less than politics and dress, ... 15 cents. cises, including syncopations and Single Copy,. quite snappish assistance from an elder sister ; the little must obey the fickle moon of fashion. One of the most FOOTE, ARTHUR. Op. 43. Six Songs. unequal rhythms.$0.60 Foreign Postage,. three-year-old brother was prattling and laughing in interesting philosophic studies is the comparing and con¬ No. 1. The Nightingale has a Lyre of Gold. Two keys, each $0.36 Pabt II. Schooling of the Thumb. Prepara glee ; the father and mother were chattiDg of news and trasting of ages and epochs of intellectual development. No. 2. Roumanian Song. E (b-f). 40 tory to scale and arpeggio study, . .60 DISCONTINUANCE—If you wish the Journal stopped, an No. 3. Sweetheart. Two keys, each.26 explicit notice must be sent us by letter, otherwise it will various matters; and last, I, as a visitor, was added. Thus, the style of an Elisahethan author can be readily Pabt III. Preparatory Exercises in Part No. 4. The Roses are Dead. Two keys, each.25 Playing,.50 be continued. All arrearages must be paid. The father sharply ranked the hoy for not attending to distinguished from that of an author of the age of Queen No. 5. Up to Her Chamber Window. Two keys, each.40 RENEWAL.-No receipt is sent for renewals. On the Ms work and playing smoothly ahead. Poor hoy ! t Anne, or that of Victoria—the style of an American No. 6. 0 Love, Stay by and Sing. Two keys, each.40 wrapper ol the next Issue sent you will be printed the data Believing that there is always would have taken the mental concentration of Archi¬ dialect poet like J. Whitcomb Riley from that of a “ /"TONDENSED FINGER TECHNIC” is the result to which your subscription is paid up, which serves as t HANSCOM, E. W. medes when he sprang from the bath, or the “ raptus French declaimer like Victor Hugo. Equally in onr be¬ 14, of a need which the compiler experienced in his receipt for your subscription. My Secret. Waltz Song. E flat (d-a flat).. .60 demand for the highest possible of the deaf Beethoven, to have studied music under such loved and most significant art, music, the styles of the Pilgrims of the Night. (Sacred.) Two keys, each.40 work as a teacher of piano playing. Students THEODORE PRESSER, conditions. Parents wonder naively why Miss Sophroma epochs of evolution differ widely. Thus, in the days of Always with Us. (Sacred.) G (c-d).40 degree of excellence in a given 1708 Chestnut St., Philadelphia, Pa came to him with fair ability and considerable famili¬ Smith, the new city teacher, does not make their boy Bach, Handel, Scarlatti, and Rameau, counterpoint and HOLDER, ALBERT J. manufacture, the Mason & arity with the keyboard, but with indifferently developed Entered at Philadelphia P. O. as Second-class Matter. play without stumbling. It is very strange, indeed. everlasting tinkling of the sixteenths, set off with the O Jesus, Thou art Standing. (Arr. from Schubert.) Two technic and superficial notions in regard to rhythm, phras¬ Hamlin Company has held Copyrighted 1899, Thkodorr Prsssrr. The lawyer studying his case demands deathlike silence trill and the mordent, were all the rage ; then, in the keys, each...40 steadfast to its original prin¬ ing, and accuracy in general. A vigorous drill was in his office ; the preacher at work upon his sermon sits age of the great Viennese masters, the sonata was the LYNES, FRANK. Op. 27. Two Songs. found necessary in all these matters and just the right ciple, and has never swerved in a hush, warmly walled with the books of his sanctum ; thing ; and the only thing now-a-days—it is dance-forms No. 1. Betrothal. Two keys, each.35 material seemed not at hand. This series of technical but the juvenile music student is expected to follow the and folk-music. The true student must deal with all No. 2. A Thousand Eyes in the Night Two keys, each.35 from its purpose of producing studies attempts to fill this want, and it is arranged on Evidences are accumulating which prove that there gossamer threads of abstract music thought in the very these, and must extract from all the strODg and varied the following general plan : is more and more encouragement and chance for the SCHNECKER, P. A. instruments of rare artistic citadel of bedlam. Parents, put the piano in a quiet tinctures that make good blood. really earnest and studious music teacher. People are Lead Kindly Light. C (e-g).50 PART I is confined to the first principle of finger room for your children to practice, and see to it that the Guide Me, O Thou Great Jehovah. D flat (c-g flat).35 merit. As a result the Mason technic—that of controlling the five fingers iu successive beginning to think that possibly there is somethmg thermometer is not one notch below 70° Fahrenheit, and Gently, Loid, O Gently Lead Us. F (c-f).35 & Hamlin Company has re¬ order under all conditions. This is carried out by hav¬ quite serious in music as an art. Nothing will help this perhaps the child will not be so inattentive or the It is not unusual to find paragraphs in musical papers SCOTT, (HAS. P. ing the hands alternately play in slow tempo while the tendency more effectively than musical lectures. Al¬ or in the musical columns of the daily press making other hand plays constantly changing time combinations, teacher so inefficient. A Widow Bird. D flat (e flat-g flat).35 ceived for its products, since its though there are many who perhaps have not the cynical comment on “ fashionable fads ” in music, or on varying from quarter notes to thirty-second notes. Syn¬ The Brook and the Wave. D flat (d flat-f).40 foundation to the present day, copations and unequal rhythms are also included. At qualifications requisite for arranging an entertaining “society and mnsic.” And yet fashionable society m words of greatest commendation first adjacent notes are used and later the stretches in¬ lecture, it is nevertheless within the power of every This has been called the scientific age, the age of more than one city has taken the lead in the cultivation volved in triads and sept-chords. The hand goes through teacher to formulate for himself a few sentences which invention, the age of breaking the powers of the physical of the best music, interpreted in the best way and by the an immense amount of varying positions and motions, from the world’s most illustri¬ may be dropped into the conversations we have with our universe into forms in which they can minister most best artists, and the general public has followed. The the fingers receive a great deal of direct physical exer¬ fellows, which may make them think. Suppose that Preliminary Studies in ous musicians and critics of cise, a finer discrimination in time-values is developed, completely to the necessities and comforts of mankind. present writer has seen it stated that Colonel Higginson, and attention is compelled by the constant and abrupt for this purpose one should commit to memory a few Inventors are imbued with the commercial spirit, and haeker of the Boston Symphony Orchestra, said that tone. changes of rhythm. /Vlelody Playing short and pithy quotations dealing with the serious im¬ all departments of science and art are the fields in which some men spent their money and found recreation in Since and including the Great PART II is devoted entirely to the schooling of the port of music. they labor. Mnsic is by no means exempt from their yachts, some on fast horses, some in globe-trotting, and . . by . thumb. It is first trained to pass under one finger, then So many persons are disposed to treat music with researches, and to-day, as may he gathered from the in other ways. His hobby is his orchestra. And a noble World’s Exposition of Paris, two, three, and four. This is followed by preliminary indifference, or even with a certain spirit of agnosticism ! article by Mr. Braine, on another page of this issue, hobby it is, one that has done an incalculable good for WILSON Cx. SMITH. scale studies carried out in like order. Next, arpeggio 1867, the instruments manu¬ Instead of encouraging such a frivolous and careless playing is prepared by exhaustive studies—first the thousands of dollars are invested in plants for the man¬ the heightening of the musical standard of the United OP. 76. factured by the Mason & Ham¬ diminished sept-chords, then the triads and dominant attitude toward the art, quote what Carlyle said about ufacture of automatic musical instruments. States ! And Mr. Higginson’s work has been successlul, sept-chords. The difficulties are all exaggerated by “thinking deep” and “thinking musically.” It Every day witnesses the exploitation of some new in part at least, because society has voted that these lin Company have received tied-over notes which enforce absolute connection and PRICE, = - $1.25. might be well if the music committee of your church piece of ingenious mechanism for the rendering of concerts are to he supported. make the practical playing of arpeggios comparatively wherever exhibited, at all Great were gently reminded of what Luther said of music as easy after the studies have been mastered. Many of the musical compositions. The music-box, with its silvery, In Philadelphia a number of women belonging to the These studies have b;en written for the sole World’s Expositions, the exercises found in this part are used by the preparatory being next to theology. bell-like tongues, has long been with us, and varies in “smart set ” have undertaken to raise the money neces¬ purpose of developing the singing tone and thereby teachers in Theodore Leschetizky’s famous Piano School. At any rate, musicians ought to he prepared to give size and repertoire from a hymn-book to a melodeon; sary to establish a symphony orchestra of the first rank. cultivating the true legato touch. This necessary PART III consists of exercises in part-playing and something better than the outer husks to those about from a single tune to many score. The rolled paper Here is society mixing in again, and as the large in¬ adjunct to the technic of the pianoforte is often is especially intended as a preparation for Bach. Pian¬ them who are willing to learn more concerning our art. stencil, with its many-shaped and many-sized holes, comes are usually found among people who are “m treated in an inferior manner or not with sufficient ists, as a rule, are very deficient in this regard, and have What Dr. Holland said concerning educational methods society,” the mixing in seems thoroughly practical, un¬ attention Mr. Smith has been extremely feli¬ but little conception of the movement or the importance which operate either the air puffs of an organ or the ....Highest Possible Awards... is particularly appropriate in this connection : citous in his method of procedure and has begun of inner voices. Simple studies in two parts for each hammers of a piano, seems like a veritable magician. less they are bnt following out the whim of the moment. with the legato formation of the simple C-major hand alone are first presented, and the difficulties are “ The dispensation of sawdust is over. If you want Everything up to the most intricate polyphonic score of Professional musicians may talk about Taising the gradually increased by the addition of syncopations, scale iu the right hand and very easy accompani¬ your horse to win, feed him oats.” Wagner can he made to sound by this giant ribbon. standard of music, hut practical work requires money, ment in tlie left. Later on this scheme is reversed, substitutions, finger crossings, and slidings. Practical Has it struck the death-knell of the artist? the key¬ and the musicians are not the persons to furnish it. It and again the scale appears in the right hand excerpts from the Three-voiced Inventions and Fugues of Bach conclude the part. a number of teachers and artists in any city wish to do under auother form of structure. Throughout SEND FOR CATALOGUE note of a lazy world, in which humanity will lie supine The series will he continued by sections devoted to Nothing is more harmful to a young student of music the little work this admirable systematic principle and receive all its music by outward pressure? good and effective work they must enlist the cooperation PhrasiDg, Embellishments, Wrist Motions, Octave-play¬ —or to an old one either, for the matter of that—than to has been adhered to. By no possibility. The extremest ingenuity of man of the music lovers in the fashionable circles, those who ing, etc., and will he duly announced. be broken in upon during the hour of practice. Music is In conclusion it may he said that these studies has never yet made mechanical mimicry to possess that have both wealth and social influence, and who can be are progressive, melodious, and pleasing; and #d30iii-f)amlin closely allied to mathematics, and in the old Greek mystic charm which we call life. An orchestrion is not depended upon for permanent interest. having been carefully edited, will be welcomed by days, when every art was held divine, music was taught an orchestra—the warm blood, the flowing breath, the all teachers. CLAYTON F. SUMMY CO., as a branch of mathematical science. The witty satire BOSTON. NEW YORK. CHICAGO. beating hearts, the alert brains of the players have a against the mathematicians in the “ Voyage of Gulliver A wobd or two to ambitions young men and women PUBLISHERS, mystic efficacy. The most wonderful Swiss clock, with Catalogue of . . . to the Flying Island of Laputa ” was but little exag¬ who contemplate entering the career of concert singer. its dancing figures and mechanical birds, deceives no 220 Wabash Avenue, - Chicago. gerated as to the absent-mindedness of the true mathe¬ Do not he content to acquire simply the technic of the one. A watch is wonderful, hut it is not so wonderful matician, and the same is true of the musician to a con¬ vocal art, but gain a broad education in these things that faster fllhustc Philadelphia Representative, as a child. A photograph is a marvel, hut you do not siderable degree. Many and many a fine moment of make up good musicianship : accurate time, keen leeling Sammy's Bulletin of New Music sent free mistake it for your dead friend. The photogram, which . . . sent upon application. CHARLES H. FISCHER, 1710 Chestnut Street composition and of fruitful practice has been rendered for pure intonation, development of the harmonic sense, upon application. performs its miracle in the Edison phonograph, can not useless by the stinging touch of interruption. 36 THE etude 37 to self-culture, do not overlook those practical needs and THE etude strengthening of the memorizing faculty, orchestral in¬ opportunities which affect the weH-being of the whole you to Clarke’s “Harmony,” which combines both kinds of study Woman’s Work in HDusic. abandoned. That the sonatas of earlier times require greater care struments and their peculiar registers, and, if possible, in a very useful manner. community. in the use of the pedal, or, rather, give fewer opportunities for its Some considerable time has now elapsed since the first some practice in score-reading. Is it strange that con¬ use, is no reason why it should not be used at all. E y. N.—1. In order to read quickly, a pupil must be able to ductors of choral societies should grow gray, bald, or women’s musical clubs were organized ; a time sufficient, 2. The “ Two Skylarks ” (Leschetizky) must not be played with¬ name and to locate the notes quickly. A young pupil relies too The Etude acknowledges the receipt of the club both before their time when one stops to think of the it would seem, to have afforded opportunity to test the out sentiment or expression any more than any other piece of much upon playing from the “ fingering ” marked In early pieces. book of the Ladies’ Thursday Musicale, Minneapolis, music; on the contrary, this piece gives very nice opportunities for Then she learns to watch ahead for the position and direction of nervous chills that must race up and down their spinal valuable elements in the movement. It is not the phil¬ Minn.; Mrs. H. W. Gleason, President ; Miss Nelle P. delicate vacillations of tempo and refined shading. each succeeding note, which is all right, provided she can locate it columns lest some “distinguished soloist” who learns osopher who begins great movements; it is the enthu¬ Hale, Secretory. The members are divided into three With regard to both questions, we would suggest that, in teach¬ accurately and promptly. Take something with plenty of skips, everything by note—not an unusual thing, so it is said siast. But after the latter has set in motion the new ing, the artistic element should never be lost sight of, except, perhaps, point to a note in the treble, have her locate it quickly on the principalc lasses,—active, student, and associate,—the —go wrong on some cue, take too many liberties with activities, the former frequently comes along, calmly and in the purely mechanical trainingof the fingers. Even Master John keyboard; then skip to the bass. Have her read something new time, or in some other of many possible ways spoil that coldly scrutinizes the results achieved, weighs every total membership being 538. The club has a “studio,” Sebastian Bach’s works admit of a most refined and highly artistic and difficult at every lesson for a while. In these purely reading [Our subscribers are invited to send in questions for this style of playing. It goes without saying, however, that all ques¬ exercises do not insist upon phrase-marks, etc. perfect ensemble which is the dream of the true con¬ factor, and seeks to form a correct j udgment of the vari¬ which is at the disposal of members at all hours. In department. Please write them on one side of the paper only, tions of expression are to be deferred until the mechanical difficul¬ 2 For the hesitating or stuttering habit, continue the slow prac¬ ductor? Piano-players, especially those who play much ous elements that made up the whole movement. He connection with the studio is a practice-room for the and not with other things on the same sheet. IN Every ties of a piece are mastered, or at least so far mastered that a fair tice you already use, and try the following: Have her play an easy rehearsal of ensemble work. The library of the club in¬ alone, are also the terrors of conductors. Aspirants for attempts to give a clear, dispassionate statement of the Case the Writer’s Full Address must be Given, representation of the musical idea of the piece is possible. hymn-tune, each chord firmly, and holding it so until she knows fame as virtuosi want to play with orchestra accompani¬ facts involved, the work done, the good accomplished, cludes a large amount of music, vocal and instrumental, or the questions will receive no attention. In no case will the 3. “On Sound,” by Tyndall; “Sound and Music,” by Sedley where to locate the next chord. Again, take something she knows Taylor, and “The Student’s Edition of Helmholtz” are standard well, and have her play it quickly; and even though she makes a ment without having had any more ensemble drill, per¬ records failures, and seeks the reason for all these four- and eight-hand arrangements, opera scores, and a writer’s name be printed to the questions in The Etude. books on the scientific side of music. mistake, force her to push ahead without attempting to correct it. number of reference books of standard value. The lead¬ Questions that have no general interest will not receive atten¬ haps, than a second piano accompaniment by a teacher. things. 8. It is often good to give scales and arpeggios independently of tion.'] In the orchestra are men whose proficiency was attained Now that the glow of enthusiasm has somewhat sub¬ ing musical journals are kept on file. For the season of N. C.—1. If you wish to take up a course in harmony, we recom- the pieces in which they may occur, especially when practiced with H. B. T.—In reply to your question as to whether every piece is only by hard and diligent labor. Our pianists and sided, it is time that the older members—the sober¬ 1898-’99, the club took up the study of oratorio and can¬ mend you to get a copy of Clarke’s “ Harmony.” It is well adapted the accent demanded by the rhythm of the piece, the right touch, to be played in accordance with the teachings of some certain for self-instruction. etc. singers praise the work of a finished orchestra, but are headed, clear thinking women who have directed the tata by the representative composers of different coun¬ method, Virgil, Mason, or Leschetizky, my answer is an emphatic 2. Mendelssohn’s “Songs Without Words” vary in degree of L. w.—1. The intervals in our scale are not true to nature, with loth to undergo the same thorough training. work so far—should set themselves to the task of study¬ tries. The leading artists and lecturers on musical NO 1 The object of all piano study is the most musical, sympathetic, difficulty from Grade II to V. ing their achievements and seek to learn what lessons topics have appeared at the public meetings of the club. and artistic rendering of a composition possible to the player. 3. We recommend young teachers to use the “Standard Graded the exception of the octave. In other words, our scale is tempered. Whatever method or means facilitates that result should be used; Series,” by W. S. B. Mathews ; and as a book on teaching, Sefton’s 2. Some animal Bounds include recognizable intervals, but very From letters received by the publisher of The Etude they can. few animal cries or bird songs may be correctly represented in our whatever militates against it should be shunned. There are points “ Howto Teach-How to Study.” the editor gathers the opinion that a number of people A community moves so slowly; a few people so quickly. A circumstance has come under the observation of in piano-playing that are not covered by any method; again, some notation. There is a gibbon (a variety of monkey) that is said to are interested in The Etude principally because of the When a new impulse is started, it takes tremendous of the most vital points in artistic playing are exhausiively treated Sister M. D.—1. In playing the Mason two-finger exercises, the sing a descending chromatic scale. the writer that suggests an opportunity for our women musical supplement. Then, others will read only certain enthusiasm to give to it force enough to withstand, and in the Mason and Virgil methods, but no one has discovered the hand should not rise on the second note, the finger flexion alone 3. The Arabian scale (in faet, many Oriental scales) differs from teachers of music. In one of the large cities of this philosopher's stone. An acquaintance of many years with Dr. producing the desired effect. parts of the paper; others never look over the “pub¬ still more to overcome, the impact against the dead¬ ours, being divided Into thirds of tones. country for several years a local organization of the Mason, as his pupil and admirer, warrants me in asserting that he 2. Clinging legato, in the case of notes a third apart, is accom¬ 4. Bishop Ambrose of Milan and Pope Gregory were among the lisher’s notes ”; and still others seem to read the paper weight of public impassivity. Here is the opportunity would be the first to deprecate any such claims for his method. At plished by clinging to the first tone, with firm pressure upon the earliest and most enlightened patrons of music. music-teachers struggled along, with but indifferent suc¬ in a somewhat perfunctory manner. But to reverse the for the investigator. Seek out ..„se factors which are the same time, I personally believe that he has come nearer to the key, until the second tone iB sounded, and then sliding up over the 5. The syllables were first applied to the scale by Guido of Arezzo, cess. The great number of the local professionals were picture, we are glad to say, on the other hand, that we most practical, which former experience has demon¬ philosopher’s stone than any one else I know of. You will find his intervening key,—black or white,—making sure that it is a slide, in the tenth century. He adopted the first syllables of a hymn to apathetic, and in course of time the association was on “Touch and Technic" an exhaustive and masterly analysis of all and not a lift; what Dr. Mason would call the glissando, or “ skat¬ have reason to believe that the majority of the patrons strated to have the power to appeal to the mass of the St. John, which reads: that goes to make up the highest quality of musical and artistic ing” over the tops of the keys with a feeling of continuous contact. “ Utqueant laxis of The Etude read not one page only, but all, and re¬ the verge of breaking up. At this time the officers of general public, and then put all energies to the exploita¬ playing. If you care to do that kind of playing you can not afford 3. The “ pearly scales,” as you call them, should be done by Re-sonare fibris the club were principally from among the male members. read more than a few of them. While the editor aims tion of such factors. to be ignorant of the best means of developing it—viz., Mason’s “ slight, almost imperceptible, finger flexion ’’ as the finger leaves Ml-ra gestorum to use only articles which have something useful to say, It is no doubt very pleasant for a member ol a club At this juncture a few earnest, whole-souled women " Touch and Technic.” the key after the tone is produced ; a flexion of the nail joint only, Fa-muli tuorum What Dr. Mason has done for the musical side of piano-playing described as the “ flexion of the finger-tips.” In passages of con¬ and which say that something in a simple, direct manner, to have assigned to her the preparation of an article on took charge of the affairs, reorganized, elected officers Sol-ve polluti Mr. Virgil has accomplished for the technical side. You will find secutive tones like the moderato or fast forms of two-finger exer¬ La-bii reatum, void of useless verbiage, it is also true that there is, in from their own sex, invited their brethre n to assist, and “Chaminade,” on “Mrs. Beach,” on “Woman in in the “ Foundation Exercises” an exhaustive analysis of the com¬ cises, or in scales at a Bimilar rate of speed, the detachment is so Sancti Johannes.” many cases, more “ meat ” in these simple articles than to-day the association is on a good foundation and doing plex playing movements that go to makeup rapid, even, and brilliant modified by the blending of the successions of tones and their Music,” on the “Modern Russian School,” on “Clas¬ The Ut was afterward changed to Do, and Si was added when the may appear at first glance. They will bear re-reading, excellent work. No doubt, this instance can be paral¬ scale, arpeggio, and passage playing. I can not agree with Mr. overtones that the legato effect predominates.—M. G. Murray. sical Music,” or on “Wagner’s Operas.” One sets to octave scale was introduced. Mathews in his estimate of these movements. I find after unpre¬ and will repay earnest thought. Wagner says some¬ work, in such a case, to gather needful material; reads leled elsewhere. 6. The antiquity of the scale—either diatonic or chromatic—1b a judiced trial that these “supposedly exact” playing movements pro¬ Old Reader.—Rubinstein’s “ Christus” was produced at Bremen where, “What is worth reading once, is worth reading It is not amiss to suggest that the women teachers of thing that can not be determined. Both are probably as old as are up a number of books ; makes copious notes ; compiles, duce with every pupil certain technical results that are secured by in 1895. We have no means of ascertaining if and why the Berlin the attempts of mankind to make music. The chromatic scale gets again and again.” condenses, polishes; and the result—a more or less the various communities reached by The Etude con¬ the current piano methods with only the talented few. I have used authorities refused to allow it to be given in the latter city. its name from the Greek work for color, from Its analogy to the Still one more class is present with us—those who think sider the question of forming clubs, with the distinct the method in teaching for over five years, so I know whereof I We would remind you and other readers that we must have cor¬ labored essay is the result. This is one phase. gradual change in the “shading” from one color to another. speak; the results can not be gainsaid, and as I am after results in respondents’ names and addresses to all inquiries. The Etude a journal for music students and “ coun¬ It may be that the member to whom a certain topic purpose of helping to improve the work and general ()„r tempered scale is quite modern, but the untempered scale my teaching, I do not concern myself as to whether Mr. Virgil’s try teachers.” We do most earnestly protest against status of their profession and those of their sex who C. A. K.—1. Mathews’ “ Standard Graded Course” is a progressive is at least as old as the pyramids. was assigned is a thoughtful, cultivated, well-educated analyses are exact or only supposedly so. course of piano studies, and will give you good drill in technical 8. The question as to the qualities of the various degrees of the such an off-hand assumption. The Etude contains woman, who is capable of going behind the facts of his¬ practice it. Now, a word of caution: The Virgil method used exclusively and scale is rather fanciful. The tunic may be called restful, the leading ideas of practical value to all musicians and music- tory and evolving therefrom principles which have to¬ to excess can result only in unmusical playing; but the teacher who and artistic work. 2. You can commence in Grade III, if you play Kuhlau sonatinas. note restless; but which is the saddest and which is neutral the pres¬ lovers, no matter what their degree of culture and perceives clearly the dividing line between technic and music can, day a living/orce in our thoughts and actions; which The Women’s String Orchestra of New York city, 3. Divide up your time between technical study and pieces, not ent writer has no means to determine. by a happy combination of Dr. Mason’s “ Touch and Technic ” with special training may be. How often do these “artist- 9. The Lydian mode in Greek music was considered the most fit¬ to-day are as truly impelling ideas as at any time hith¬ under the direction of Mr. Carl V. Lachmund, holds a the Virgil method, get results with the average pupil that would not more than an hour’s continuous practice. teachers ” mouth the favorite thought, “I learn the 4. You will find the advertisements of a number of well-known ting for love-songs, hence Milton’s reference to it. erto. This is by far the better method of preparing a be attained by either method alone. position that is practically unique. There is no reason 10. We do use the scale intervals in speaking, but owing to the most from my dullest pupil.” But the contributors to If you do the best kind of musical and expressive playing you will teachers in The Etude who will give you lessons in harmony by paper. The philosophy of history is far more fascinat¬ why women should not play the violin and other stringed evanescent character of the sounds in speaking, their pitch and The Etude are men and women far above those “dull¬ find yourself at every point in accord with Dr. Mason’s method, and, correspondence. ing than a mere record of dates and events. extent can not he determined accurately. The relative pitch of instruments—although we must confess it is something from the technical side, Mr. Virgil’s. You should aim to give the est pupils, ’ ’ and if the 1 ‘ artist teachers ’ ’ j ust mentioned 5. M.—It is perfectly proper to have a musical composition com¬ sounds is the same on all instruments, although some violin players But there is another field of work that clubs may well of a sacrifice to learn to play the big, unwieldy double- most sympathetic rendering of a piece with the most expressive and are sincere in the statement made, they should be mence with a portion of a measure. It is caused by the necessity take up—not, of course, to the neglect of the literary beautiful touch at your command; if you can get an artistic and claim to make a difference between ct and d1?. An enharmonic bass ; and if women play violins, why should they not for proper rhythmic accent. The last measure of the strain must willing to receive ideas no matter whether they come musical effect that justifies the means used, and the Mason, Virgil, scale is one that moves by quarter tones. It is impossible in our side : that of seeking out those things, those opportuni¬ go one step more and form an orchestra? The violin be shortened by just the same value as is given in the opening meas¬ from Philadelphia, New York, Boston, or Pumpkin Leschetizky, or any other method says you must not use that means, musical system except on paper, thus—C Ctt I'” D D- F-7 E. Even ties for work, which are specially adapted to women ; does certainly suit a woman very well, and several ure. The measures may appear to be full, but the subject will end why so much the worse for the method. In other words, be broad, Hollow. We may go still further, and say that not one those things which women can do better than men. Let before the training as a player from his mother. Later he became standpoints ? The teacher, of course. If the teacher to appropriate to themselves what is useful to advance in “Fie! fie!” exclaimed the elocution teacher as she a pupil of Nicholas Rubinstein, and after that was with emphasizes some one particular, lesson after lesson, the Why is it so difficult to keep together a body of musi¬ A performance of Handel’s “Messiah” was re- the correct path of evolution and development. If any entered the room. “What do you mean by all this Liszt at Weimar. cal people for real earnest work? In several cities the pupil of necessity learns to take that thing as the one one asks, How can I learn to play octaves? the simple nonsense? I have a remedy in my room that will set great essential in piano-playing. Of course, each pupil Mme. Patti recently said in an interview that she effort has been made to get well equipped professionals to answer is, Keep the muscles relaxed, and they will come you right in a moment.” “What is it?” cried a chorus intended to write her memoirs when she had definitely form organizations to promote the interests of the best has to have certain things continually harped upon, yet to you, with the easiest way of playing them, and with of voices. “ I will give each of you a dose just before retired from the stage and concert-singing. Does this music, but all, or nearly all, broke on the rock of attend¬ this should be done so that he shall consider them as the position of hand and wrist best for you. you are ready to play, but you must each promise not to mean another farewell trip ? Perhaps the new husband ing rehearsals. How many of these unwilling members a means to the final expressive playing of his pieces. tell the others what it is.” CHARACTERISTICS. wants to see the world. have, at some time or other, prated about their devotion Let the musical tree bear its fruit, but let these other As each pupil emerged smiling from the elocution to art ? things be twigs and leaves. BY THOMAS TAPPER. teacher’s room, went on the platform, and came back Victor Maurel, the French baritone, who will give to m’' ° f“M r«‘"“ 526 i saying, “I never felt the least bit frightened,” great a series of song recitals in the various cities of the United New York is to have a concert-hall especially designed ON THE CULTIVATION OF STYLE IN PIANO¬ The best results follow in any business in proportion curiosity was expressed as to what this wonderful States, has recently published a work under the title of for the rendering of choral works, with the assistance of FORTE PLAYING. to the amount of personal attention which the business remedy could be. “ Ten Years of My Career.” It contains several essays an organ. The intention is to have as perfect a hall, E. R. KROEGER. receives. And nothing more frequently impresses us Now, it seems she only slapped their backs. She on American musical conditions. from the acoustic viewpoint, as possible. The organ The great virtuosi have set such a pace in technical than the fact that people have failed in an undertaking began by patting their backs and shoulders with the is to have three manuals, with a 32-foot pedal stop. development that students have been prone to consider only because they keep themselves well out of it. This A NUMBER of public-spirited women of Philadelphia palms of her hands, alternating right and left. The This project, if carried out successfully, should make technic the principal aim of pianoforte playing, and have explains a large number of very bad music performances; are raising funds to establish a symphony orchestra in slaps grew faster and harder, until the poor victim could it possible to give oratorio under the very best possi¬ rhythm It is possible to excite a body of people by bent their energies accordingly. In this way the true a much larger number, I am sure, than we may right¬ that city, and $100,000 has already been secured. A num¬ ble conditions. scarcely bear it; yet as the blood went tingling through joining in or even merely hearing a song having a aims of art have suffered, and the “means” have been fully attribute to incompetence. I do not care how high ber of the largest contributors are understood to favor the veins there was such an exhilarating effect that each rhythm corresponding to the prevailing feeling. When be the grade of a class of music students, there will al¬ Walter Damrosch for conductor. Newspaper criticism is frequently so severe and un¬ taken for the “end.” The majority of young pianists ways be found present among them an element of one felt impelled to endure “just a little more,” until founded that it is but natural that one should wonder if thousands sing a popular air, the effect is quite other- have been inclined to play the most difficult pieces they The music-box industry has become well established unwillingness which keeps the best they have more or the teacher sent them off laughing to the then delightful the great artists read what the papers say of them. wise than when sung by a single person. Music is could select, merely to display digital facility, instead of in the United States. The late inventions, which use task of playing their graduating piece, which all of tl.cm further calculated to excite the passiens, ard theieloie those which they could render with less exertion and less out of their endeavors. The reason this is found in It is reported that the de Reszkes, Nordica, and Sem- did with honor to themselves and their teachers. is capable of taking on an immoral character.” more beauty. such a class is not because it is a class of music students, THE ETUDE 41 40 THE etude inconceivable harvests of delight; and there your infirmi¬ A MUSICAL PUZZLE. Again, you say that you have so many studies that should be able to denote the kind of technic involved m ties, both of sight and of digital mechanism, will not you can get but one hour a day to practice. Well, that the rendering of a passage. count, except possibly in your favor. Yes, make any In The Etude for December, 1898, we published a is rather little, to be sure ; but I incline to say that it is The book contains a number of valuable ideas for the alterations and adaptations of the works of composers list of questions which could be answered by musical all right. Far better get your mind well developed on thoughtful teacher, and will aid greatly in an under- that you may find expedient. This is done in some characters. The answers follow : all sides than only developed abnormally in the one direction. Even your music will he better if you have form or other every day. But, of course, you must be 1. Part of the feet of quadrupeds, /v Pause-( Paws). a widely intelligent and receptive mind. The end and careful not merely to mutilate and to distort these 2. A reflection on character. '■ " Slur. aim of music is to stir and to intensify emotions, hut divine creations. Be of good courage, and do all that SHOULD THE LAST NOTE UNDER A SLURRED 3. A measure used by woodmen. Chord—(Cord). the emotions of a cultivated person are to those of an you can in music, and you can not fail of a rich reward. HOW MUSIC DEVELOPED : A Critical and Explana¬ GROUP BE PLAYED STACCATO ? M. C.—My dear little friend : Your letter and that of uncultivated individual as the many elastic, sensitive tory Account of Modern Music. By W. J.'Hender- M. D.—You wish to know if you may hope to do any¬ your fellow student came to me in the way of a surprise. strings of a harp to the one stiff, coarse string of a bow. 80N. Frederick a. Stokes Co. Price, $1.00. 4. A wharf. :^j)=EE Key-(Quay). thing in composition without a deep knowledge of the BY H. S. 8ARONI. During all the fifteen years in which I have written for For some kinds of work it is better not to be too deli¬ 5. What a worm will do when touched. ~ Turn. higher branches of music. I am in doubt whether to This book seems designed for the general public more The Etude, never, so far as I can now recall, have I cately emotional—to be a soldier, for instance hut the 8. When two competitors are even. ✓—Tie. say yes or no. So much depends upon the meaning than for the musician, although the latter will find light I have been very much interested in the article on the had a letter from a blind student of music. This is sur¬ musician is a harp, not a bow ; his business is to utter attached to terms. You are, like many others, in great on many points that have not been made fully clear. above subject by J. S. Van Cleve in the December num¬ 7. A number, f (Forty). prising to me for two reasons : First, because the blind varied tones, not to discharge the forcible shaft of an danger of deceiving yourself by the idea that to write 1 he general plan of the work seems to be first to show ber, and that of W. S. B. Mathews in the January 8. A kind of residence, t Flat. are very generally interested at all schools in the study arrow. the development of composition, as shown by the early music is easy. This is ore of the paradoxes of art: the number of The Etude, and I take the opportunity 9. To annul. 3 Cancel. of music ; and second, I suppose that they all know that Again, yon say yon would like to take the recess time contrapuntal schools and the minstrels and minnesingers, easiest things are the difficult things. The same is true afforded by the editor of The Etude to add my “mite” 10. Once again. -ijj Repeat. I am and have been circumstanced in the same limita¬ for practice, bnt the Sister in charge refuses to allow in secular music ; how the pianoforte and pianoforte in literature. The highest test of great genius and con¬ to the discussion. 11. What betrays nationality? > Accent, tion and privation since early boyhood. you to do so. There you are wrong, and the Sister music advanced ; the evolution of the classic forms, summate art is absolute simplicity. By simplicity is The slur, unfortunately, is a character which has to 12. What knights of the yard-stick do. :-1 Measure. I began the study of the piano in the autumn of 1862, right. You must have a strong body if you are to he especially the sonata, leading to the broadening of the not to be understood mere baldness, but absolute free¬ serve various purposes. We see it employed : at the State Institution for the Blind, Columbus, Ohio, a musician. What would a powerful mind be worth orchestra and the increase of its resources, and, always 13. No respecter of persons. $ ^ Time. dom from the redundant. In Burns, Heine, Longfellow, 3. As indicating a strict legato of a group of two or under the excellent tuition of a lady named Mary A. in a weazened, weak, worthless body ? What would a ahead of it, as it were, the demands made by the great 14. What nightingales do. tr—— Trill. Shakspere, Dante, there are thousands of proofs and more notes. Tipton, herself blind. Since that time, so long ago, I thousand horse-power engine be worth if pnt upon a composers in their works ; the development of chamber 15. A vegetable. Beat. examples of this supreme human simplicity ; and the 2. As a tie of two notes. have had many teachers, and have observed much of the loose-jointed raft? No; take regular and faithful exer¬ music, the oratorio, and opera in its various phases, from same is true in music. It is not so easy to compose a 3. For phrasing purposes. world, musical and otherwise. cise. You have plenty of time, you are yet a very the early Italian to Wagner. 18. Used in driving. - Lines. hymn-tune as yon seem to imagine. Jnst think how It is a pity that it is used for the latter purpose at all, It is no bragging that I should say that the whole case young student. Do not be impatient. A very famous A broad field, and one that is well covered by Mr. naive, direct, and simple are the great themes of Bee¬ since other characters, such as | j, would have of the blind musician and music student is thoroughly Latin poet once said that “ Art is long and life is brief, ’ ’ Henderson. The last two chapters in the book are par¬ 17. Seen In account-books. — larger—(Ledger) Lines. thoven ! achieved the same object without causing the confusion familiar to me. It also understands itself, as they say in and this idea was used by onr American poet, LoDg- ticularly valuable. “Wagner and the Music Drama” What you must do, if it is horn in you to compose, is incident to the slur. But since it has no bearing upon German, that I have a deep, sincere, and all-round fellow, in his “ Psalm of Life,” when he said, “ Art is gives a very clear, full exposition of the peculiar prin¬ 18. Pedestal of a statue, j £'■ Bass—( Base). to study earnestly, deeply, long ; and then, if you are the question at issue, we need no further refer to it. sympathy with you. The first bit of advice that I will 19. long, and time is fleeting.” Be content to grow gradu¬ ciples which Wagner advocated, and which he uses so I think that by going back to the origin of the slur A trickster. J Sharp. able at last to create something worth while, you may give you is this : be on your guard against sympathy. ally, as do the trees in the forest. much. It is illustrated by quotations from the various 20. he honestly glad. It is by no means an idle task to all misconception can be avoided. Like all the other Strengthening medicine, [ jjj? ^ Tonic. Especially bad and dangerous is that pity or sympathy operas. The final chapter, on “The Lessons of Musical The schedule of divided time as you outline it to me characters connected with “ touch,” it was borrowed from turn out universally accepted tunes like “Old Hun¬ 21. What unaffected people are. 3 Natural which is impractical. That is unfortunately the very is excellent—viz., two scales,—one major, one minor. History,” is a fine critical estimate of “the intellectual dred,” the “Coronation,” “Duke Street,” “Antioch,” the technic of the violin. Here it indicated that the 22 kind that we blind musicians receive for the most part. and emotional impulses which governed the develop¬ . A musical Instrument, p Plano. This is especially good, and should he continued with group or groups over which it was placed should be and others that may almost be called classic. These 23. What a general has. staff. Many of the tender tears which are bestowed upon us regularity all your life through, for thus you will carry ment ” of the tone art. things are all sparks of the true, divine fire of genius, played with one and the same bow, thus creating the are about as valuable as the thousands of tears of April From the standpoint of usefulness, one of the best 24. Part of a flower. 1 js ^ Stein. the whole system of diatonic scales to a finish every most perfect legato. Now, the strict legato is but a com¬ and tljpt (I say it not irreverently) is part of the light features of the book is the unusually complete ifldex, 25. Used by fishermen. s Hook. rain which fall upon the sand beach beside the sea, and two weeks. Then, “ Touch and Technic ” is admirable ; bination of successive tones “without a break between that lighteneth every man that cometh into the world, without which no book can be said to be practical. 26. A carpenter’s tool. j Brace. that not because the blind are ungrateful or selfish nothing in the world better. Next, your new mnsic ; them.” This, as we have seen, is easily done by the either with actual creative ability, or with the power to Almost the minutest paragraph in the book is available 27. All around us. —p>— Space. above other people, or at least the average of human and last, the old music. Even on a program so small bow of the violin, while on the piano it can only be feel and enjoy. because of the great detail in the index. 28. beings, but because this pity fails to understand the as one hour a day I think you will do well to hold approximately effected by holding down one key until Can be found on dominoes. . . All the famous hymns, with very few exceptions, pith of the difficulty, and to suggest a remedy or a palli¬ closely to this scheme without swerving. You say that the next one is pressed. (See No. 1.) 29. What makes a check valid. were extracted from the compositions of the great mas¬ Signature. ative of the troubles of a blind music student. Per¬ yon already have a knowledge of fifteen pieces and 30. Three of a kind, Triplet. ters ; and they were mighty men of labor, giants of in¬ VOICE AND VIOLIN : Sketches, Anecdotes, and haps I am rather talking over your head, for you say you twelve fitudes. That is very well for so young a girl, 31. dustry as well as of inborn brain. Reminiscences. By Dk. T. L. Phipson. J. B Lip- What one does when weary. 2 ^ Rests. are but eleven years old, but if the words are too big for and the only caution I need give you is this: beware pincott Co. Price, $1.75. 32. Take a good, long, earnest, untiring course of study, An association of lawyers, j Bar. you now, keep these lines and read them when you are lest ambition for quantity cause you to slight quality. 33. and, if at all possible, spend at least a little time with The reminiscences are largely personal, the author, Seen on the ocean. Swell. older, and you will get some help from them perhaps then. In art, quality is always the most important of all After the last note of a slurred group, a new bow is 34. some distinguished teacher, in personal lessons ; for an English gentleman, having had wide acquaintance Important ingredient in a dye. Mordent—(Mordant). Now, just what I mean is this : do not believe people things. Music is like gems : a pebble as big as a plum taken for the next note or group—i. e., the up-bow gives though written lessons can do much, very much, good to with violinists, singers, and other musical people of the when they say of your playing that it is wonderful, if is not worth as much as a pearl as big as a pea. place to the down-bow, or the down-bow to the up-bow, a bright mind, they are not wholly adequate. last half century. Many of the characters introduced you really know that it is no better than the playing of What you tell of your repertoire takes my breath—it creating necessarily a momentary cessation of sound, so are well known to the music world, while others, though your fellow-students. Do not let yourself off easy, hut is so difficult, and there is so much of it. However, it that No. 2 in the above would sound like_ ONE STEP TOWARD SUCCESS. new, are the central figures in interesting episodes. be strict and ambitions ; become as good as you possibly is quite possible that God has given you a positive genius can, and insist that people accept yon at your real value, How frequently we find a music-teacher discontented as a compensation for your lack of sight. Yon ask why PLAYING FOR PARENTS. not at an exaggerated estimate nor at less than your TECHNIC AND NOTATION AS APPLIED TO THE with his surroundings ! He feels that he is not in bis Sidney Smith is not spoken of with more admiration. real value. Now, just here is where the shoe pinches. PIANOFORTE. By John W. Tufts. Clayton F proper sphere ; that his opportunities are circumscribed, He was an imitator of Thalberg ; the beauties in his Summy Co. Price, $1.25. The very persons who talk to us blind people as if we Is it not a fact that children for whom their parents Tim effect is produced on the piano by playing the his work unappreciated, and bis professional rank lower pieces are all borrowed, and to him belongs nothing hut were all geniuses are often the last to engage ns to do have sacrificed in order to provide for a musical educa¬ In his introduction the author says : “ This book is group legato, but withdrawing the finger from the sec¬ tnan he deserves. the credit of clever adaptation to the piano. work whereby we may earn money, and thereby enjoy tion are often ungracious in acceding to requests to intended as a contribution to the art of playing the ond key before the third is touched. It is evident, there¬ With what force come Emerson’s words, “O dis¬ the happiness of Belf-respecting self-support. My dear A. K.—My dear little lady, please read what I have play for the parents ? And yet the very reason for the cul¬ pianoforte, and is especially designed to assist those fore, that there is no necessity of a dot over the second con ented man, if there is anything you want, pay the little girl, I am now preaching not to you especially, bnt just written to your junior fellow-student, for much of tivation of the art should rest first of all in its power to who desire to gain an idea of the positive effects of our and fourth notes of No. 2, unless an extra-short tone is price and take it!” Aye, there’s the rub. We want to all the blind students of music who may take The it will apply equally to you. A strange case indeed is brighten the home life and to lighten the burden of daily notation as presented through that instrument.” required for those notes, in which case it would be far trre!!?8 ’ ^ Want better Positions> better opportunities, Etude and have it read to them, and also—which is yours, and a sad one ; bnt the cheerful Christian spirit business routine and the humdrum of domestic cares. There is no room for doubt that our system of signs, better to indicate it by a sixteenth “rest.” greater appreciation, but we are loth to “pay the price.” even more necessary—to the people who see, and among which you manifest is worthy of all commendation, “ Play that little piece again, ” said a tired man to his characters, and terms does enable a composer or an editor In No. 3 we find a slur between the second and third that tb h WiSheS t0 g° to the lar8e ci‘y “net know whom we must live and earn money. Tenderness, kind¬ and certainly can not lose its reward. Having, as you daughter, as he lay with closed eyes on the conch, resting to convey a tolerably clear idea of how he wishes a notes They have both the same pitch, and using the that there he meets with fiercer and greater competition. tell me, in addition to blindness, a twisted and disabled composition to be performed ; but, on the other hand, same bow for the two changes them into one tone, as at ness, words of praise are to the human heart what the after a hard day’s work and worry. right wrist, yon are truly at a very great disadvantage ; the whole system is so loose, so few composers give No. 4, for there must be no break between tones under rank ^ *" ‘0 Wgh sparkling spherules of morning dew are to the weary “I should think you would be tired hearing it,” she “nav the , . the necessary training, he must hut music is a wide subject, and there is room for many proper attention to the meanings of signs and terms they the same slur. Here, then, we have the slur as a “ tie ” flowers. replied, a little petulantly ; but she played it over, this strain andfT* “ h"'1 WOrk’ money> health, nervous kinds of talent and activity in her mighty kingdom. use, that one may say that it is not at all strange that H is easily seen that with a proper understanding of You say that you love music dearly. That is good. time with more care and feeling than before. before’he ! 7* *° 8ecure the training You ask me if 1 think you can ever become a fine players distort passages into a totally different rendering the slur there is no need of formulating new rules Wagner, one of the greatest composers that ever wrote “It always rests me,” said the weary man. “It musician. That is a very wide and extra vague question, from that intended by the composer. He can cite rules which are afterward found “ too sweeping.» The fact ab Ho fi,Tnt 7nd the high6r POSiti0n- He music, said that music is love. That sounds at first as if brings before me a picture of willows by a brook, a though certainly one most natural to a young mind and custom in justification for his interpretation. It is, there is altogether too much “ ten-pin playing ” in cess of a^eLetSfvrJ V"* ^ it might he a little silly and sentimental, but upon peaceful landscape where cattle graze. At the second “nav the r>r- i) . '^ean de Eeszke. He can never standing at the beginning of the seemingly interminable rests, then, with the musical editors, proofreaders, and teaching the theory and practice of music. Too often deeper thought, we see that it is a profound truth, in its part the scene changes somewhat, bnt the willows are Bat we can a'lT ° aCqnire the Position he dreams of. vista of life. I think that you may become a pianist, engravers of a publishing house to get the mechanical rules are “set up” to be “knocked down ” afterward nature akin to the beautiful teaching of the Bible that there, always waving gently in the summer wind. It is how small and aSpire to one steP at a time, no matter even with the crippled condition of your right hand, if make-up of a piece into something like uniformity with “God is love,” and that the essence of the Christian beautiful.” religion is love. The finest enjoyment and the richest you are, as yon say, able to make running passages well ; the general system of notation, and this opens the way in earnest’awTt6,S wm “paTth " ^ Never again did that daughter think it not worth -A recent letter of Joseph Jefferson contains this in¬ but the deepest and richest mnsic requires an intricate for trouble, since different editors will vary largely in no matter what it be. ®PnCe demanded- benefit from music are to be obtained by this ardent love, while to play for her father. teresting passage, which presents a new and somewhat regard to the exact significance of certain signs. and are to he realized in the inmost soul. Always do and interlaced style. There is in Europe a famous unique idea as to the scope of music : “I have always pianist who has absolutely no use of the right hand, and Mr. Tufts calls attention to these facts in his book, and your best to understand that which is really beautiful, oved music, and I would not give away for a great deal you will find an account of him in the January number makes out a good case for his contention that what we and seek to enjoy it in your own mind. For this happi¬ the little that I know. I pretend, and I declare it with¬ —No education which can he offered will be of much lack is a uniformly accepted system of signs, terms, and ness you may thank God as honestly as for any comforts of The Etude. out shame, that after theology there is no art comparable good to the student unless he can he made to appreciate characters which shall cover the questions involved in of body or blessings of the spirit. So, then, I say to However, my most earnest advice to you is to turn o music. When natural music is perfected by art wl the value of a habit of careful, regular thought and of interpretation, both from the artistic and technical side ; you, always keep alive the fire of love, and never ask your mind away from mere questions of performance, see as far as we are able, the great and perfect wisdom self-reliance guidiDg the mind toward the high ideals of particularly that the system and the manner of using until afterward what will please people and cause them and to study the theory and esthetics of music. There of God in His fine music,” to admire yon. you will find a new and marvelous field, which yields life—the creation of a noble purpose. thepaim7 eenW°Undedaadwe — THE etude 43 42 THE etude in the hope of finding new material. Once that Mr struck simultaneously are of the same strength and the BEETHOVEN’S AMERICAN BIOGRAPHER. Thayer’s purpose and sincerity became known, help and duce them in proper order, may also have suggested this instrumentalist very well. Some of the leading musi¬ SELF-PLAYING PIANOS. solo part can not be made to stand out and sing, and cians of the world, snch as Edouard de Reszke, Mme. suggestions came from many quarters, notably from Dr. useful invention. the accompaniment made weaker and subordinate to the BY P. G. HUBERT, JR. Otto Jahn, the biographer of Mozart, who had long con As the paper roll unfolds in the “ self-playing piano Nordica, Flavie, Van den Hende, and others, have ap¬ solo part. the levers connected with the keys are manipulated in peared in public, accompanied by this machine-made templated a life of Beethoven, and who turned over to BY ROBERT BRAINE. One never loses sight of the faettbatour “ self-playing accordance with the position of the various holes and accompaniment, at recitals given for the purpose of It is announced that Mr. Henry E. Krehbiel, the Thayer the material he had collected. piano " is a machine after all, and in pieces requiring openings in the paper, thus producing the right notes showing the capabilities of the instrument. musical critic of the New York “Tribune,” is now at Thayer’s biography gives, so far as possible, a com¬ poetry and sentiment it is painfully mechanical, it That these inventions are no longer musical toys is plete record of Beethoven’s life, describing how and If Father Bach could stand before a modern Amer¬ and producing them in the proper order. As will work preparing for the Messrs. Scribner an English shows np best in compositions full of brilliant passage proved by the intense interest and delight which leading where he lived, what he did, and who were his friends. ican grand piano, he would no doubt marvel greatly, readily be seen, if the paper is moved faster, the tempo edition of the life of Beethoven, to which the late Alex¬ work. In the vigorous, powerful notes in the opening musicians of the world have manifested on hearing In his exhaustive account of the sort of life to which but it he could see au innocent-looking wooden con¬ will be quickened, and if held back it will he slower. ander W. Thayer devoted nearly fifty years of his life, of Liszt’s “Hungarian Rhapsody No. 2” for instance, it them. Rosenthal was as pleased as a child on hearing trivance moved up to that same piano, and, by means All of the instruments are consequently furnished with and which he left unfinished. Thirty-two years have Beethoven was born, he goes back to 1689, sketching is ridiculous,hut in the brilliant runs anil passage work one of these self-playing pianos render a Chopin study. of a perforated paper roll and a series of wooden levers, a lever which either increases or decreases the speed at elapsed since the first volume of Thayer’s biography oi the musical existence of Bonn from that date to 1784. He wrote of it: “ It is a most ingenious invention, and begin to play one of his most difficult fugues or sara- which the paper is unrolled, thus making possible the of Weber’s “ Rondo Brilliante ” it is admirable. Beethoven was published at Bonn, and in German. The Nothing is too trivial to be neglected. Some one may These I feel sure that nothing has more closely approached baudes with perfect accuracy, without a human hand finest gradations of tempo. By gradually moving the instruments, especially those which are strictly second volume followed in 1872, the third in 1879, perhaps present this mass of material in a more attrac¬ hand playing I was greatly delighted to hear it play being touched to the keys, I am convinced that he would “ tempo indicator ” marvelous accelerandos and ritar- automatic and which can be operated by an electric bringing the work down to 1816. During the last years tive shape, but no one is likely to put more love or the Chopin study at my own tempo. It seems to me earnestness into the task ; and it may be assumed that raise his arms in amazement to the skies and declare dando3 can be achieved. The performer operates the motor, are in many instances displacing human per¬ of his life, Thayer worked steadily at his task, hut the greatest in brilliant show pieces. I think it may that the age of miracles had revisited the earth. pedals just as he would if he were playing by hand, formers in museums, restaurants, saloons, on boats, and nothing was published, largely owing to the small the field has been exhausted of original material. It is be practically useful in assisting piano students to con¬ Not content with having advanced the art of making althongh some of the instruments have been made to do in cheap places of entertainment, as they arc yet curi¬ money returns of the work already accomplished. The expected that Dr. Deiters will complete the woik in two, trol their technical powers and their tempo in this class pianos to a state of perfection which seems little short automatic pedaling. One advantage of the pneumatic osities to many persons and they save the salary of a volumes that have appeared were written in English, or perhaps three, more volumes. The next, or fourth, of the ideal, the busy brains of American inventors have type of automatic piano players is that various degrees pianist. of compositions.” and, when no British or American publisher could he volume is expected this winter. The great pianist purchased one and sent it as a not rested until they have given us machines, almost of loudness and softness can be obtained by working Some music teachers are disposed to think that this found, were translated into German by Dr. Herman In a recent and interesting little volume entitled present to his sister in Vienna. Paderewski is another human in ingenuity, to play these same splendid pianos. the bellows with different degrees of pressure, which invention will have a tendency in time to injure their Deiters, of Bonn, to whom has been intrusted the task “Music and Manners,” Mr. Krehbiel gives some ex¬ pianist who was intensely surprised and delighted at The perfection to which these “self-playing” or auto¬ causes the levers to strike the keys with varying degrees business, on the theory that parents who are fond of of finishing the work from the mass of data left hy tracts from Thayer’s note-book, which were placed at this triumph of American ingenuity. matic pianos and organs have been brought is little short of force. In the case of the latter instrument a per¬ music will buy these attachments for their pianos Thayer to his executors. Thayer died at Trieste, July his disposal by Mrs. Jabez Fox, a niece of the biog¬ Automatic organs, both reed and pipe, played hy the of marvelous. From more or less crude musical toys, former is required to sit at the instrument and work instead of having their children take lessons. It .seems 15, 1897. Who was Thayer, and how did he come to rapher and his heir. Here is one : agency of perforated rolls of paper, which alternately “ August 29,1859. ImetMusikdirektorKrennon the they have been perfected until now they stand almost the bellows as in a cabinet organ, and to manipulate the to me that this idea is far fetched, however, as I write a biography of Beethoven that even the Germans admit or shut off the air from the pipes or reeds, in equal marvels with the graphopboue and phonograph. pedals (controlled by hand levers) and the tempo indi¬ should think that children of a family who povsisied themselves look upon as the final word upon the subject! glacier "and he related me the two following anecdotes : Inventors have been working to produce machines accordance with the openings in the paper, are an older Hotrath Iiuffner told him [Krenn] that he once lived cator. one of these automatic pianos would be very ntnch Alexander Wheelock Thayer was born at South which would achieve the results now attained in the invention than that of the self-playing piano. Concerts with Beethoven in Heilijenstadt, and that they were in In the case of other attachments, the machine will more anxious to learn to play than those of a family Natick, on the Charles River, near Boston, October 22, automatic playing of keyed instruments for many years. and recitals on these instruments are now frequently the habit evenings of going down to Niissdorf to eat a grind out the music without any aid, except that of the who do not. It might as well be claimed that fre¬ 1817, and was graduated from Harvard College in 1843. Visitors to the World’s Fair will remember the electric held and are popular all over the country. It is also fish supper in the Gasthaus ‘ Zur Rase.' One evening electric motor, but the effect is much better if the per¬ quent concert-going would take away the desire to While engaged as an assistant in the college library he piano which was one of the marvels of the electric said that these instruments are coming into use in some when Beethoven was in a good humor, KUffner began : former sits at the instrument and does the pedaling and learn music, whereas we all know that the opposite is became interested in Beethoven. He was not a musician, department of that great exhibition. It has only been of the churches, where a first-rate organist is not avail¬ “ _‘ Teil me frankly which is your favorite among changes the tempo as the composition requires. While true. It is more likely that this invention will increase although possessing some skill as an organist; yet every¬ in the last two or three years, however, that these instru¬ able, or where the church is unable to afford one. As it is, of course, true that a child can learn to manipu¬ thing pertaining to music and musicians attracted him. your symphonies? ’ the business of the teacher by increasing musical the organ can be played in the ordinary manner, all ments have been perfected sufficiently to bring them into late the machine in a few minutes, yet at the same time From the first the personality of Beethoven interested “B. (in great good humor)—‘Eh! Eh! The their present popular favor and use. knowledge and intelligence among the man-es, hy mak¬ that is necessary is for the church to secure an organist it can readily be seen that no one but a highly educated, him : the more he learned of Beethoven, the man, the “Eroica.”’ The growing demand for such instruments is proved ing it possible for a man to have produced in bis home as with sufficient ability to play the hymns. All the practical musiciau can manipulate it to the best advan¬ more he found in the study of this transcendent genius, “ k.—11 should have guessed the C minor.’ by the fact that in the city of New York alone there are frequently as he wishes the masterpieces of music in an voluntaries, including the masterpieces of Batiste, tage, since the pedaling and tempo depend on the per¬ whose life teemed with the strange, the grotesque, the “B*_‘No; the “Eroica.” ’ ” about twelve different firms engaged in making different at least fairly intelligent style. Guilmant, Lemmens, and other great writers for the former, and in the case of the pneumatic machine, the pathetic, and even the tragic. Schindler’s biography, Krenn was a pupil of Ignaz v. Sey fried, and at one types of them. Any particular portion of the composition being organ can he played automatically by the machine. pianos and fortes as well. published in 1840, gave but the shadow of the man. time he was studying Beethoven’s Seventh Symphony For those readers of The Etude who have not yet seen played by the machine which the student wishes to That the invention, improved and cheapened as it While, of course, this mechanical substitute can never Thayer’s first idea was to compile a new life of Beethoven, with his master, and when they came to the place in the these instruments a short description may be of interest. have repeated for the purpose of studying it can be will be in the next few years, opens up a boundless hope to approach the work of the elastic, trained hand using for the purpose all of value that had been pub¬ finale where the drums are out of harmony, Seyfried The sell-play.ng” pianos are of two general types: gone over again and again at pleasure by turning the field in the musical development of the age must be of the human pianist, with its infinite gradations of lished by Schindler, Wegeler, Ries, and others. This told this anecdote: the strictly automatic instrument, which consists of an roll back again and again ns required. apparent to any musician on a little reflection. The touch and power, now caressing as the summer zephyr, was in 1845. But gradually the plan took larger shape, Years before they were rehearsing that work with his attachment to the piano, usually operated by an electric At present the machines only cover a compass of from love of music is about universal, and almost every home and now dealing blows as with a sledge, still in the and finally he resolved to devote himself to the great orchestra. When they came to this place he thought motor which supplies the power to strike the keys, and four and a halt to five and a half octaves, but in the of the well-to-do class in our country has its piano. hands of a clever manipulator it does work which is task of writing an exhaustive biography before the the parts were copied out incorrectly, but on referring the pneumatic instrument, which is entirely separate from future the machines will no donbt control all the notes The trouble heretofore has been to get some one to play little short of marvelous. Its greatest use is, of course, material for such a work had disappeared. to the score it was the same there. As carefully as pos¬ the piano, and which is operated by air pressure, secured of the piano. it. Now here is a creature of springs and levers which for home entertainment and pleasure, and also for the Beethoven died in 1827. Thayer began his work sible he said to Beethoven : “ Dear friend, theie seems by bellows worked by foot treadles in the same manner One feature about these instruments which at once has come to our aid, is always willing, never refuses to dissemination of knowledge of leading musical works nearly twenty-five years afterward, when the little band to be an error here ; the kettledrums are not in tune.” as the ordinary cabinet organ. strikes the musician is the fact that as the scoring is no play, never tires, and will repeat passages ad libitum; by making it possible for the non-musician to be able of those who had known Beethoven was fast dwindling, Beethoven flared up at once and exclaimed : “ It is not Both types can be applied to any piano, and in each longer dependent on the compass of the bun an band, which renders the greatest recital programs of a Pader¬ to produce them in a fairly intelligible manner, at personal recollections were fading, and the fantastic was intended that they shall be.” Now that Seyfried had case the piano can be played in the ordinary way with any combination of notes is possible. Thus, instead of ewski or a Rosenthal, possibly in a manner only faintly least so that when he hears them properly performed at taking the place of reality. If the story of the real learned to appreciate the poetic idea which underlies the the hands if desired as the attachments do not interfere. an orchestral composition having to be transcribed for resembling the performances of those great artists, hut concerts he will be able to appreciate and comprehend Beethoven was ever to be known, no time was to be music, he told Krenn : “ Now I comprehend that the The price of such attachments is at present from $200 them. the piano or organ, all the notes of the score can be ren¬ in a manner infinitely superior to a bungling pianist, wasted. drums ought not to be in tune. to $300, although they will doubtless become cheaper in dered exactly as it is played in the orchestra. Passages and to the delight and instruction of an average music- What a wonderful privilege and pleasure it is for a Thayer went to Germany in i850 and worked for two There are endless anecdotes of this type, short and time so soon as the instruments come into wider popular are thus easily possible, which wonld ordinarily require - loving family. The machine can only be a benefit to use. music lover who is not a performer to be able to step years at the language, taking at the same time a prelim¬ long, some of them already used by earlier biographers, music teachers and musicians generally, as the more into bis drawing-room, place his machine at his piano our or six hands. Instead of the ten or twelve simultane¬ bntT’many of them unknown until Thayer took the In the first type of instrument above described the inary survey of the field. When his funds were ex¬ with its faithful wooden fingers above the notes, and the ous notes possible to the human performer, the machine music there is, the more there will he, and the higher case containing the mechanism is attached to the piano hausted he returned to this country to become a member trouble to ferret them out. To enthusiasts and students next minute to be reveling in the sublime measures of can execute any number simultaneously up to the full the musical intelligence of the nation is developed, underneath the keyboard. It contains a series of levers of the New York “Tribune” staff until it became pos¬ they are invaluable; and while no publisher has seen Beethovens Egmont Overture,” Liszt’s “Hungarian lmit of the five and a half octaves of its scale. the more patrons there will be for the concert player which push up the key levers on the opposite end of the sible to resume his chief task. In 1854 he was again in fit to issue the work in its original and somewhat tre¬ Rhapsodies,” or the “TannhUuser Overture”by Wag The remarkable growth of the demand for these auto¬ and the music teacher. keys to that on which the ivory is placed, instead of the Europe, where, with the exception of two years (1856- mendous proportions, there seems to he no reason to Her 1 The possession of such a machine, with a good matic pianos and organs is proved by the fact that the outside end of the keys being struck down by the fingers, ’58), he remained for the rest of his life. Meantime, doubt that an edition embodying all that is vital in the num ier of compositions which can be obtained for them as in playing by hand. In the second type the playing collection of “rolls” of music representing the master through occasional letters to the newspapers,—chiefly the work will meet with a warm welcome. pieces of music, would mean an amount of musical now numbers in the thousands, embracing every depart- machine is entirely separate from the piano, and when “ Tribune,”—he had made known his purposes, and had education and pleasure to a family, especially when en o musical literature, symphony, opera, oratorio, STORY OF PADEREWSKI’S MINUET. operated is moved up in front of the piano, with its enlisted the help of several influential persons, notably am er music, concertos, etc., by the great masters, as levers (one for each key, and covering about 5| oc¬ living at a distance from the great music centers where Dr. Lowell Mason, of South Orange, N. J., and Mrs. good concerts can be heard, which it would be impossible well as dance music and the latest “ coon songs.” One _The musician has only of late succeeded to an ex¬ taves) placed directly above the keys at a distance of A CURIOUS story is told of Paderewski’s ‘ ‘ Minuet, ’ ’ Mehitabel Adams, of Boston. At the request of Mr. to estimate. r P Pn,-1Dp firm has established a circulating library tent in shaking off that reproach which attached to him about i of an inch, and ready for striking. These perhaps the most popular of all his compositions. Pad¬ Motley, Thayer was appointed to a place in the United The musician listening to one of these self-plavimr for his (real or imagined) inability to meet his fellow- levers or fingers are of wood with a pad of chamois , ' m,lsIC- Hie snl'scriber pays $15 a year, and States Legation at Vienna in 1862, and in 1865 was given pianos for the first time is at once struck by thefect nas the privilege of taking twelve new pieces every erewski, while still a professor at the Conservatory of musicians in ordinary social intercourse without sooner leather on the end which strikes the key, and are oper¬ the post of consul at Trieste, through the good offices of that it does some things marvelously well, and some Warsaw, was one night at the house of Swicztochowski, or later coming to high words. It is not always, how¬ ated by either electric or pneumatic force. form-Wee S ■ Here is an °PP°rtnnity for the non per- the Polish litterateur. The poet declared that no living Senators Sumner and Wilson. This post he held until not so weB. Its advantages are mathematical precision mg music lover to make himself familiar with 300 ever, the jealous and quarrelsome man who comes first All types of these “self-playing ” instruments depend October, 1882, when President Cleveland removed him in striking the right notes at the right time, and ability composer could ever compare with Mozart in simplicity to loggerheads with his fellow men. There are those for operation on rolls of paper on which the composi¬ wav lu *DasterP'eces °f music each year in the same to make way for some one of his own political faith. to play passage work with absolute correctness and and beauty. Paderewski at the moment simply shrugged who, not bent so much upon personal distinction, and tions to be performed are “ printed,” by means of per¬ library 3 ^ PUrKne a 8Jstem of reading in a During this whole period as an office-holder Mr. evenness at a tempo equal or greater than that of the his shoulders, but on the following evening he returned not envious of some fellow-artist’s performance, yet forations and slashes of various sizes, and in various Thayer devoted all the time he could spare from his greatest pianists. Unlike human pianists also, it never to the same house and sat down at the piano. fall foul of their company by reason of some overzeal- positions, corresponding to the notes which are required st-ind irf)8 °'? fi'e"t wll° is Possessed of good musical tions ; to examine all records in town halls, churches, great power, the lack of distinction between staccato and could never be written in our time ! ” order corresponding to the required tones of the compo¬ differences of opinion as matters of personal offense. readVmmfe this "sefaI —bine with its “Well,” said Paderewski, “ that happens to be a theaters, and concert rooms that might throw light upon legato, the impossibility of the levers producing the The public is its own best judge.—” Musical Opinion.” sition, and which, striking the notes of the comb, pro¬ with which ^ ^ aD<5 rea(,.v->nade accompaniments, Beethoven’s life ; and to follow him from place to place, various varieties of touch, and the fact that all the tones minuet written by myself.” feculW for f n erS°n °f U° tCeljnic whatever, but with i y following, can ieani to support a singer or 44 THE etude THE ETUDE 45 minor, for instance, in the little book of easy preludes I have not a copy of “Plaidy’s Technical Studies ” at which were written originally as clavier lessons for one demands for its correct interpretation, and your pupil hand at this moment, hut my impression is that the When this has been done, the pupil can be left to study if they did. He became the editor of a musical paper, of the Bach children. If in the fourth grade, I should will realize, when this condition is reached, that the fingering of the double thirds and sixths is the regular Bach in any particular work which interests him; like, lor and though the paper failed, considerable tree adver¬ begin with an “ Invention.” In the preface to the “ In¬ classics are those that give her the best opportunities for Tomaschek fingering, and is still the approved fingering instance, the ‘1 Italian Concerto ” or the “ Chromatic Fan- tising was secured. ventions and Symphonies,” published in 1723, Bach displaying her skill as a performer, be it on the piano, for diatonic scales of this kind. In the thirds the filth tasie and Fugue.” The latter, however, is a much more He was asked to support the claims of a certain piano defines the object to be attained in the following terms: manufacturer, to the exclusion of all others ; and as he organ, violin, or other instrument. finger is used once in every octave, and both parts are exacting piece for interpretation, and, with due respect Covering ground ! How important this is at the very was furnished with an instrument and a studio free of played legato wherever possible. In the sixths the third “An honest guide by which the lovers of the clavier to the edition by von Biilow, it is a great pity that a outset. Every lesson you give the pupil should contain cost, besides receiving a commission upon all pianos that finger is used once in every octave, and the thumb is used but particularly those who so desire to learn, are shown better edition could not be provided, with the expression some new idea—a step forward in development ot mind a plain way (1) not only to learn to play neatly in two he sold, he readily assented to this proposition, although on two successive keys in one place in the octave. In more legitimately marked. I am hoping that Mr. or fingers, or both. If she fails to step forward, of “SPRHHD” CHORDS. parts, but also in further progress (2) to play correctly he knew the piano was far from being first class. How¬ ascending, the upper voice is legato and the lower voice Godowsky will publish his edition of this masterwork, necessity she steps backward—there is no standing still. “ I am giving Schamann’s Nocturne in F, edited by and well in three obligato parts, and, at the same time ever, he sold many, which were purchased upon his first- is legato wherever possible. In descending, the lower because he has given it an entirely new treatment, which A few steps backward, and discouragement, loss of con¬ yourself, to one of my pnpils. Throughout the first not only to acquire good ideas, but also to work them out class recommendation. He grew (?), and being possessed period should the octave in the left hand be struck with voice is legato everywhere, and the upper voice wherever themselves, and (finally) to acquire a cantabile style of is far more rational than that indicated by Biilow. The fidence in you, her teacher, steps in. These steps back¬ with the bump of self-conceit, rated himself as second the lowest tone of the broken chord in the right, or with possible. playing, and at the same time to gain a strong predilec¬ Bach “ Chromatic Fantasie and Fugue,” I may remark ward are very easy. Allow your pupil to slur staccato the last and highest, which I understand is to receive tion and foretaste of composition.” to none. His rapacious palm became capacious, and his The fingering of chromatic thirds and sixths, and of in passing, is a very singular and interesting work, full notes, finger a scale wrongly, phrase badly, etc. all ol the emphasis of the beat? Again, what is the meaning soul more and more niggardly. All that he did for art, certain kinds of diatonic thirds and sixths, has been very of imagination and modern spirit; one of the most these seemingly little things are steps backward. A of the term trio as applied to a movement of a piano Note the idea—“to acquire a cantabile style of he really did for himself. He possessed the peculiar piece?” much modified by Mr. Godowsky, but his fingerings have remarkable of all the works of this great master. little relaxing on the part of the teacher and the pupil never been published, and he has not worked them out playing.” When you have been over this ground in the study of properties of certain kinds of food especially designed has begun her triumphal march to the rear. The chords in the first period of the Schumann Noc¬ The playing of Bach presents to the modern student for the nerves, and called “nerve-food,” so that he to a complete system. In chromatic thirds he obtains Bach, you will have discovered that there is no such It may take one lesson to teach the finger staccato, it turne in F exceed the compass of an octave for the right certain difficulties peculiar to itself. The most impor¬ often publicly praised his own work, whereas it was a pure legato of both voices, but, contrary to the old thing, strictly speaking, as a small number of typical may take twenty. Keep after it until you get it, and hand, and therefore can not be struck absolutely to¬ tant of these is the polyphony, or the equality of the ofttimes mediocre. He wrote several compositions, and practice, he frequently uses two adjacent fingers together, pieces of Bach music. Bach was the most original and when you do get it, your time has been well spent. gether except by very large hands. The chord is there¬ such as 2-3 or even 4-5. This seems to be very easy for different voices. Most of our modern music consists of the most thoroughly musical of all composers. His music had no hesitation in recommending them to his pupils “ Labor omnia vindt.” You can not expect your pupil fore spread from the bottom to the top. The most sat¬ him, but for nearly all hands it would be very difficult, melody and an accompaniment; the accompaniment con¬ is practically inexhaustible, and there is almost nothing and the press, though in fact they were, from point of to work unless you do. After she has mastered two or isfactory result is obtained by making a very rapid sists of chords or broken chords, and is comparatively of his which can not be played so as to be delightful. At merit, mere trifles. A European composer of note three of the simpler touches, give her some little recrea¬ arpeggio effect, the bass coming before the first note of I am at a loss to know why a played-out and incom¬ unimportant, serving merely as a background. In the same time, in consequence of the century and a half dedicated one of his lesser compositions to our musician tion that employs such technic in an interesting manner, the right hand, or with the first note of the right hand, plete system of technic like that of Plaidy, which is Bach's compositions this kind of thing very seldom which has elapsed since the last of his works was friend, who, in return, praised all that this particular and notice with what delight she finds the piece attractive, and the count coming with the top note of the chord. fifty years old now, should be used by any intelligent occurs. In most of his music the left-hand part is written, the change in style has been so great that all composer wrote. Whether sincere or not in his praises, simply, perhaps, from the manner in which she must Therefore the time occupied in spreading the chord is teacher, when a thoroughly modern system, up to date, equally important with the right, and is an active his music is somewhat foreign to the music thinking of it drew attention to himself ; but this was business, as derived from the previous beat, the arpeggio not operat¬ perform it. It is like “playing a game ” for her. Im¬ and far more complete, like Dr. Mason’s “Touch and worker in the discussion of the musical idea. Instead the present time, and unless it is played very well in¬ business goes, and art is sometimes made to grovel as ing as a retard for the melody. There are a few cases of press again the maxim that “ it not so much what you Technic,” is within the reach of any one. Plaidy’s of making his melody of one substance, and liuing it deed, it will not produce an effect upon a miscellaneous the servant of business. Now, this person herein de¬ arpeggio chords where artists begin to count—as is almost scribed may or may not be an imaginary one ; it is pos¬ play, as the way you play it.” system makes no provision for touch except the hammer with a chord fabric of an absolutely different nature, he audience. For this reason I have insisted upon every¬ always directed in instruction books—with the bottom Children are, as a rule, very imaginative, and what finger for passage work. Everything else is ignored. makes his melody of a certain idea nnd trims it with thing being memorized, and then upon its being played sible for him to exist, however. note, the soprano being retarded by whatever time is The serving of self alone is poor pay ; there are other appeals to their imagination will interest them. Tell Dr. Mason’s system has an entire provision for artistic the same. For example, take the first Invention in C until the real expression and musical feeling of it is en¬ occupied in spreading the chord. You are to observe, compensations, aside from the king’s ducats, of greater them the little story that the piece seems to convey, then tone production. Major, and you will notice that the left hand comes in tered into. Aside from this undercurrent of emotion and therefore, that the time occupied in spreading a chord worth and value. Art may be placed upon a business let the pupil tell the story with her fingers. Do n’t If you will read over carefully what is said about the with precisely the same melodic idea as the right hand of real musical feeling, the only other peculiarity of play¬ is infinitesimal; the notes follow so rapidly one after the basis, and its advancement be none the less rapid. cover too much ground here; be content to gain a little. up-arm and the down-arm in “Touch and Technic” started with, and that this motive of eight notes consti¬ ing Bach lies in the melodic character of all the voices. other that there is very little impairment of the chord Merit should win, and that honestly ; it requires no arti¬ “Only after the form becomes clear will the spirit you will find that the so called up-arm touch is begun tutes the great hulk of the piece. A certain number of teachers use Bach in a different effect. In this particular instance there is an arm move¬ become clear.” Pupils who had studied two years (I with the wrist quite low,—certainly, as low as the key¬ way from this. Instead of playing it with the singing ficial propping. “Be not bought and sold, buy the ment which you will realize if you place, for instance, Bach is the great source of thematic treatment in should have said “ taken lessons ”) have come to me and board,—and the forearm, or in fact the entire arm, tone, as Bach directed, they play it with a very light truth and sell it not.” The great principles of art are the second finger of the right hand on C, and alternate music. All his music is thematic, and there is no other have calmly told me that they had finished major and springs up somewhat in making the touch. The motive tone, and in a very fluent manner. In this way they go art truths. Hold fast to them and you will surely win. F below with the thumb and A above with the fifth place where a student can acquire training in the trans¬ minor scales and arpeggios “long time ago.” Two or power of this touch is merely the triceps muscle, which through a great many of the snites. I think my distin¬ finger, without moving the second finger from C. You formation of ideas and in answering an idea from one three questions have developed the fact that they did you will find explained in the later editions of “ Touch guished friend, Mr. Emil Liebling, uses Bach in this will notice that you can only reach from one place to hand to the other so rapidly as in the works of Bach. It not even know what minor, as applied to a scale, meant; and Technic.” In the down-arm touch the hand begins way. This manner of using Bach creates a great deal, COVERING GROUND. the other by moving the wrist laterally a little. When is a question of technic,—that is, of melody playing,— that they knew absolutely nothing of scale formation, away from the keys and falls with the weight of the of fluency and smoothness in the playing, but in my this is properly done, the lateral movement of the arm using the left hand the same as the right, and of thinking and could not play one scale, either major or minor, arm upon the keys. In this mode of producing heavy judgment it does not afford the pupil the best discipline BY F. G. KATHBUN. is very sharp and spiteful, and the melody accent comes the music. I use the Bach music quite as much for its when asked to begin on some tune other than the fun¬ chords the fingers have to be braced very firmly, but the which the study of Bach can give him. I prefer on the top tone. This is the general way of playing influence upon the mind as upon the fingers ; and this damental one. Two years’ time worse than wasted, ideas motive power is the weight of the arm. I am inclined Bach’s own idea of a singing tone in all the voices and With the experienced teacher this subject needs no extended chords of all kinds. first Invention, for example, which can very well come dwarfed, confusion, disappointment, and discontinuance to think that some artists who play chords extremely of an earnest cantabile style of playing. discussion. His years of actual contact with pupils I am in the habit of requiring the hand to he closed m about the middle of the fourth grade, I should require of lessons in the near future. well combine a slight fall of the arm, from a point not have taught him what, perhaps, his teachers failed to somewhat in the act of playing the chord ; in other words, to be memorized and played until it can be played Nail your pupils to the scales, hold on to them through more than two inches above the keys, with the action teach. It is with the teacher just beginning his life- besides the arm movement, there is a finger elastic fluently and intelligently, which will take a part of at thick and thin, play them in every conceivable form, of the triceps muscle, the fingers holding firmly on the work that I wish to chat, and especially if that teacher touch. A few players hold the top note its full value, least three lessons. When this is learned I would treat slow and rapid, accented and unaccented, pp and ff, keys when they reach the chord. Chords produced in AN AMERICAN IN MUSIC. be stationed in some remote town or village where there but I think it is better to play it with the elastic touch No 4 in the same way, and then No. 8, No. 13, and No. cresc. and dim.; ascend in the major and descend in the tins way are very full, firm, and satisfactory, and en¬ are no advantages for hearing really good music and and use the pedal with each chord ; the eighth rests 4. There are several other Inventions that are pretty minor modes. All this can be done in endless variety ; tirely free from the flop of the fingers on the keys which BY E. A. SMITH. where the teacher must rely solely on himself to create between the chords are considerably shortened ; all that if yon care to play them ; but four well done,in the man¬ and you, if you are a conscientious teacher, can make is such a very objectionable feature when the hand is the stimulus that pushes pupils to their best efforts. is wanted is a very slight separation of the successive ner I have here described, will occupy part of the time them interesting to the pupil. If you are not conscien¬ chords. raised to a considerable distance and the fingers are To Americans, the spirit of Americanism pervadeth Ground covered is not always ground gained, and or at least twelve lessons, and will perhaps be as much tious, what right have you to teach ? loosened. These questions, however, belong to advanced all things, and at the present time the patriotic and the never was this more true than in this present day and The second period presents much greater difficulties, Bach playing as yon will need in that grade. Teaching music is responsible work. You are helping technics. commercial spirit hold monopoly. Art and music can generation, when the demand comes from parent and in consequence of the wider jumps which have to be My next work with Bach would be for the purpose of to form character and disposition ; perhaps the very not escape from the prevailing spirit of the times. guardian, right and left, that you teach their children made, and you have also to try to carry out the little PltAYlflG BACJl. ea ing the pupil to like him, and for this purpose I to play “some pieces” right away—how, no matter. pupil with whom you are careless right now may, at imitations which exist between the soprano and thealto ; In one of our large cities—it may be yours—there ou select more attractive numbers than the “ Inven- Play, she must. Her friends call, and, knowing that some future day, have to rely on her musical ability to but the same principles prevail as in the previous chords’ lives a man who, some years ago, took up his abode s. Supposing, now, we are in the fifth grade : I earn her daily bread, and if, through your indifferent and you count with the melody note. ro»« ,r. ,.P li oLSSV g> therein. Now, this may or may not be a true story ; but she is taking lessons, ask her to play for them, and she r °U USe E°nre in G, the Saraband in E Minor, the has nothing to play but exercises. The girl who lives training, she makes a failure of it, you are to a great The term “ trio ’ ’ is used in musical form as the name Inventions,’ preludes, and fugues’ % PivoauM if by any chance you can find a personal application to • 3° ® !n . *Waj°r' arranged by Dr. Mason, the Minuet next door has been away to a boarding-school for one degree responsible. You may never become a brilliant of a softer middle piece in any kind of ‘ ‘ song-form with ^ the most typical of Bach’Sg ‘ Tn'veiti^ ’l^ud^ yourself, apply it. and fugues (those which best express th7WT!( ,’ term and she plays “ beautifully.” (I have heard that teacher, but you can be thorough and accurate in all trio, ” such as scherzo, minuet, canzonetta, or what not. F aJOr *n * e*erS * Pa

«>.« a. the master was present at the organization, and was Musicales and recitals are well and most necessary to “ I have ‘ Plaidy’s Technical Studies. ’ Is the fingering ment and embellishment forms. Then we have to Lm Again : “If I am not made for popularity, I have no it Dreredo* , , Ways 638161 than the fugue wh allowed the privilege of suggestions ? the advancement of the pupil after a certain stage is given there for scales in thirds and sixths good ? If not to play melody, and must acquire a certain facility upon desire to learn how to acquire it; if you find that will you let me know any better way? Also, is the The master also possessed a pen that flowed with the reached. Milton and Shakspere are not very interesting the keyboard. In this way we cover the ground of the iSSr* if?,:* ™> £■» <■ unreasonable, I prefer to say I am unable to learn it, fingering given in Plaidy for octaves slowly played and ink of caustic criticism. Being a brilliant writer, he to the child at tender years, and can you expect Bach or octaves quickly played good? When Dr. Mason speaks rst three grades. Expression has already begun with Mi»»: No. ie“Z /to D n»- “" and really I can not and would not like to learn it.” No 15 ■ nnd ti, 6 Pre ade and Fugue in G Maj could also judiciously discriminate in favor of himself. Beethoven to be more so? Fit your music to the child of the up-arm, does he mean to raise the forearm and some easy melodies by Heller and Gurhtt ln^ How different this from the spirit which causes many He condemned that which was in conflict with his own at first, as you would its clothes; study disposition, wrist only ? Also, wheh down-arm is spoken of, does it fourth grade or, according to the practice of some most Pl^g oAhTfimt^’ f°- 3‘ Th6Se “ 1 composers and players to seek the tnedium of the public mean to drop the wrist and forearm ? The cnts in Dr methods. It needed no investigation to do this, and as temperament, likes and dislikes, until you get hold of teachers, in the third, we begin with Bach. If in the third last two are rather dfffin H the “ CIavier'” 1 press in order to advertise themselves through their Mason’s book do not give the whole arm ” “G. M.” he possessed the desirable commodity of influence, he them all, and then proceed slowly, very slowly, one in each instance aboutC”*’ a”d th® fngne wil1 re

V 48 THE etude who has made a lifelong business oi playing, who behind. ” Consistency is a very bright jewel in musical COMMENTS BY EMIL LIEBLING. practices while we teach, and who plays better, because composition, and had better be observed by younger he does nothing else. Hence, the failure of the visitor writers. Musical Salmagundi. as a concert attraction by no means helps the local artist, or proves that the American artist is gaining the N<> 2720 nr. When I was a young man “ Blind Tom ” was quite in ascendancy over the intruder, for if the average concert- PRIZE SONG. vogue; one of his puerile tricks consisted in playing goer, who does not care a fig for the nationality of the I have had referred to me for some practical reduc¬ “Dixie” with his right hand, “Yankee Doodle” with executant, but only for his individual enjoyment, does tion to musical ueeds, or perchance the needs of musi¬ liis left, and whistling another tune at the same time. not relish the splendid performances of the foreigner, cians, two newspaper extracts, one entitled “Business (DIE MEISTERSINGER. WAGNER.) He simply foreshadowed the modern virtuoso who plays how can he be expected to pay for the inevitably less Opportunities,” and the other “ How Shall We Make simultaneously two Chopin etudes with his right band, the Most of Life?” The first takes the stand that if artistic offerings of the average local performer? W. J. BALTZELL. while the left hand executes the same composer’s waltz a man simply brings to his work purpose, courage, and funeral march. The musical value of both perform¬ and enthusiasm, he is bound to succeed. This must be 3 What a splendid example Verdi is giving to the Molto moderato. taken with considerable allowance, for even an unsuc ances is precisely the same. musical world 1 At the age of eighty-five he has just cesslul fanatic may possess the above most desirable qualities. The fact of the matter is that the old Latin published four important sacred pieces for soli, chorus, proverb, “ gutta covet lapidem," according to which the How times change 1 A few years ago it was only and orchestra, which are said to be a distinct evolution drop hollows the stone, only applies to cases where there necessary for an artist to come from abroad, have him¬ and development of his great “Stabat Mater,” pub¬ is an enormous reservoir of water furnishing the con¬ self photographed in a fur coat, and play a few sensa¬ lished thirty years ago. Constant progress marks his stant drop ; in other words, there must be a solid store¬ tional specialties, and lo and behold ! how we all did fall career. “Aida” began a new epoch, “Othello” and house of knowledge to back the push and individual down and worship him ! We were then called provin¬ “ Falstaff ” followed, and there seems to be no limit to enterprise, in order to gain success ; it is on this very cial ; now we have run to the other extreme, and noth¬ his greatness. I hope to hear the latest works perfoimed point that our students find their fatal wreck. They ing is good enough for us. This proves that we have by some of our large choral societies. Here is an instance are not willing to spend a sufficient period of time over become metropolitan. As a matter of fact, this is an off where great ability and persistent working power are their studies. Results, in order to be satisfactory, must year for the visiting, as well as the local, artist. The coupled, and Mr. Verdi has bad reason to be fairly sat¬ be immediate, or they are not desired. There are too dull thud has evidently communicated itself to Europe, isfied with the result of his labors. Mascagni, Leon¬ many lame ducks being helped over the fence all the for two “handlers of the ivories,” Siloti and Zeldenrust, cavallo, and the other pigmies of the new Italian school, time ; too many people consider the world a debtor and who had meditated an invasion of our country, seem to who thought that they had safely planted the old man, responsible for their living, and they largely encumber have heard something drop, and have realized that the may now consider him their Nemesis. Even Boito and the musical world with their dronedom. Young teachers walking back to Europe is liable to be very bad, hence Puccini sink into insignificance in comparison with the just starting out, with everything to be learned, would they abandoned the trip. Siloti can easily be missed ; many-sided Verdi; as for Marsucci, Sgambati, and like to rank with those whose work embodies the ex¬ the “flying Dutchman” we should have liked to have several others, their worst does not figure at all when periences of a lifetime, and confidently expect the same heard, for he was announced as a Bach specialist. It is contrasted with really great achievements. reward for their immature labors. As the German says, just a bit obscure what the latter implies, but if it por¬ “ Seller essen ma.chtfe.it" (What you eat yourself fattens tended exclusive Bach programs, I am afraid his audi¬ you). Get your knowledge yourself from competent ences would have taken to the woods very early. This SOME COMMON FAULTS. sources ; digest and assimilate what you have learned ; country, after all, has a curiously correct instinct in copy able masters at first, and then enlarge by your own sizing up men. I have in my mind now a foreigner who BY WM. C. WRIGHT. individuality ; and then second this acquisition by earn¬ came among us some years ago and was quite well re¬ Many amateurs are apt to make mock arpeggios by est work, and perchance you may live to be not only a ceived. He settled in New York and made periodic striking the bass just before the treble. The effect is a good musician, but a successful one. This is by no concert tours, always fairly successful, “gerade wie in 54 2 1 means synonymous, for the latter implies negative uniform “ ter-rum, ter rum ” (accenton the last syllable). Deutschland ” (just as at home). A very capable busi¬ j- 3 One might suppose this defect to arise from a want of -0- m 5M qualities of a high order, as well as the positive. Life ness man engaged him as head of a conservatory, which is not a game of grab, although the Lord is said to help bore his name ; after a while he left his own school, coordinative power over the muscles, were it not easily *1 those who help themselves, and as we all know, the which still continued his name as trade-mark, proving proved otherwise. It proceeds, no doubt, from a false hindmost in the race is always consigned to the evil that it might have been as bad by any other name. He notion of style or expression, as this “ fad ” often infects JJju-L one. As to the ability of “making the most of life,” a whole community of players, and is especially ob¬ was reputed to receive a fabulous price for private les¬ / 3 |) or, rather, to have life do its utmost for us, it depends sons ; all this time the man was swaggering around on servable when an attempt is made to play a choral or upon what we consider most desirable in life. The aver¬ clay feet, and the inevitable crash came; he gathered other piece of slow music. This method should be shunned. age person is satisfied with average success, average in¬ his Lares and Penates and returned to the Fatherland m come, and average enjoyment, whereas the exceptionally where he will readily drop into the same position he Another fault quite frequent is the playing of all I p £ 54 gifted personality makes higher and more exacting de¬ held before he emigrated. And there are many more just staccato notes equally short, whatever their written mands on existence; the best advice for the large ma¬ hanging over the precipice-and they will go over • it length. Surely, staccato quarters, eighths, and six¬ legato.___ jority is to ascertain at as early a period as they possibly only takes some longer than others. teenths are not each and all to be as short as possible. —' 5 4^ can what they can do, and do best, and then develop The width of detachment should vary with notes of A "Cl4 in that particular direction, and it is safe to assume that different length. Perhaps a good rule would be to give L—^ their work will somewhere or other find a market. Reverting once more to the fruitful theme of the quarters and eighths one half their value in sound and -r.-—£jr Perhaps those who live more isolated or in smaller foreign artist, I for one am free to confess that his he other half in silence where round dots are placed communities get more out of life, and preserve their present temporary eclipse is somewhat unmerited. ver or under the notes, and one-fourth of their value iu d5-r individuality better ; yet that does not always hold good, Now let us be frank for a few moments and discuss onlv soun and the other three-fourths in silence when wedge- for our leading Chicago writer, Mr. Henry Fuller, tells the pianists. Raphael Joseffy may be considered hors de s ape marks are used. Of course, very short notes are me that he wrote his most fanciful descriptions of life concours. Then there is Madame Bloomfield-Zeisler who ° e played as much detached as possible. It would 33 in Italy, as evidenced in his charming “ The Chevalier A is a splendidly equipped virtuoso, also endowed music¬ A f ^ ^6a tor ^le PUP*1 to be impressed with the f j— of Pensieri Vani,” at his dingy office on Lake Street, ally in every direction most highly ; and, finally Mr \3E==\ -i -J—— . ,a S afcato mar'5sareactually indications of rests, . with elevated trains passing every few minutes ; surely Godowsky is with us, for whom the piano never pos¬ r ~ —— 1 a ‘‘ reaf1” 6 38 CarefnlIy ^eee ^ D0t0“lyt0 b . A ■ rr ft fully mastered all forms existing before them. This =53= on programs; their self-imposed “ high-falutin ” ffigni but also to give the final h * n'8h,ng “easnre together, can not be said of our present writers, who lose them¬ precision notes or rests with simultaneous Itt- J • - ties avail them not; "they are not in it ” with the above- selves constantly in endless and needless changes of time, r ■ =* named three players. It would be invidious to begin rhythm, and modulation, and the results are accordingly naming the rest, among whom the writer may, perhaps lamentable. Their works remind of the criticism made claim to occupy a humble niche, for every large city dition ouglflf not^to be1106P°Wer fr°m obscnre con" Copyright 1899 by Theo. Presser. 3 by some witty scribe on the Boston Library, of which he cau boast of possessing good pianists by the score, but much of course H 3<1e t0° ^ Dor a thin« tf>° said that it was “Queen Anne in front and Mary Ann things it ouvht t ™ ment be the rarest of ah rare they are easily disposed of as against the foreign comer —Edmund Burke.° ^ thr°ngh some 80rt of probation.

L 2720.3 2720 - 3 5 4 N? 2704 DANSE UKRAINE. DANSE UKRAINE. F. KIRCHNER. F. KIRCHNER. PRIMO. SEC0ND0.

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SO To Mrs. Viola B.Tilden. N92725 FOREVER MINE. Music by Words by H.W. GREENE. Dr. J. N.TILDEN.

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Copyright 1899 by Theo. Presser. 4 2718-4 THE etude 49 A WORD OF ENCOURAGEMENT TO YOUNG TEACHERS AND PUPILS. talent, and to wish that the difficulties and dangers which surround them might be lessened. But this is a PIANISTS. question that must be passed over ; for it defies solution BY GEORGE LEHMANN. or modification. Some general suggestions may, how¬ BY C. FEED KENYON. ever, prove helpful.

Teaching is a separate and distinct art. Its higher The first years of studentship are too often frittered It very often happens that a young artist who has at successes do not and can not depend solely upon musi¬ away. Frequently, they are more valuable than any his finger-tips all the skill, and in his head all the cal gifts. The really able teacher possesses by nature other period of the pupil’s development; and, though knowledge necessary to enable him to become a knight or acquirement, or perhaps both, that same faculty of they decide so much for the future, their importance is of the keyboard fails to achieve anything like success diagnosis which enables the physician to arrive quickly either underestimated or utterly ignored. These first simply because of some fault of character which he him¬ at the disease itself, and to decide, with the utmost pre¬ years mean much more than the acquirement of tech¬ self has never given attention to, and of the very existence cision, upon the surest treatment to effect a cure. nical ability. They influence and develop character and of which he is often ignorant. How many of us have Kindness is unquestionably one of the first and most ambition ; and if they are years of earnestness and fruit¬ seen young men, fully equipped for the art-life which important requisites. Not that kindness which is born ful study, the future may be awaited with less anxiety, they are about to enter, fail miserably—seemingly, of pecuniary considerations, but rather that quick, less dread of disappointment or actual failure. The through no fault of their own ? They have knowledge, warm heart-throb which seals at once the bond of re¬ immediate practical results of such beginning are less technic, application, studious habits, and a desire to get spect and affection. And allied to the impulse of kind¬ important than the lasting effects produced upon the on. Why, then, do so many of them fail to become liness should exist that intelligence and discernment character by good discipline and conscientious endeavor. famous pianists ? and how is it that in nine cases out of which first discovers the need of help in other forms Pupils are too much inclined to believe that, being ten they have to devote their lives to teaching ? than musical suggestions, and afterward delicately pupils, much is not expected of them ; that their work There are many answers to these questions, the first contrives to remove or modify such necessities. need be only sufficiently satisfactory to escape censure ; of which is the everlasting one that the musical profes¬ The really able, talented teacher feels the pulse of his and that they need not aim at the finish and good style sion is terribly overcrowded. Yes, but there is always pupil. The stumbling-block in a pupil’s progress is not displayed by the artist. In this belief they, unfor¬ room at the top ! It is not necessary for a pianist to always the absence of musical intelligence or mental tunately, are encouraged by their instructors, who are have genius before he can reach the very front rank of alertness. If the experienced professional performer is not very exacting in their demands, on the ground that performers, and very honorable distinction and much frequently embarrassed by nervousness and anxiety, the pupil has not yet arrived at that stage of proficiency worldly success may be gained by pianists who have how much more easily prone to temporary disorders is where anything artistic may be expected of him. It not a particle of genius. I think that all teachers of may be readily imagined that such reasoning often results the pupil who is anxious to do himself justice, anxious music will confirm this statement. M’e will take it for to please his teacher, nervously eager to offer satisfac¬ in the destruction of artistic possibilities. The aim is granted, then, that we have a young man, ambitious, tory evidence of earnest study ! And just here the never high, and the achievement is even lower than the talented, and full of the spirit of go-a head. He begins teacher’s duty—kindness—steps in to give relief and aim. his efforts to make an impression on the public. Perhaps Then, the pupil should not be too dependent upon he gives a recital in one of the public halls, and issues assistance. The administration of such kindness must often, guidance at any period of his studies after a good ground¬ tickets for the press. If he is modest and free from work has been laid. He should early develop the faculty however, be cunningly accomplished. It is an operation nervousness, he will next day see in the papers various of self-criticism, never contenting himself with mere aid either telling in effect or utterly useless, according to notices, most of them awarding him praise as “ a thor¬ or suggestions, but carefully endeavoring to reason out the cleverness or clumsiness of the operator. To dis¬ oughly sound pianist,” but none of them going so far the that lie at the bottom of his education and pense such kindness successfully, it is of the greatest im¬ principles as to say that he is anything particularly wonderful. his art, applying these principles and enlarging upon portance that the pupil’s temperament and manner of So far, so good; his recital has served its purpose ; he thought be clearly understood by the teacher; for the them in all his work. has secured a slight advertisement ; he has shown what Close as should be the relations between teacher and he can do, and he is satisfied. The next thing to do is ability to teach well begins with, but does not end in, pupil, and eager as the latter should be always to carry to secure engagements. This is much sooner said than knowledge of the art which is being taught. out the wishes of the former, yet should he early en¬ done. He tries to secure engagements, and, of course, The responsibility resting on the teacher can not be deavor to appreciate that one day he must be indepen¬ overestimated. Correcting technical blunders and poor fails ; and in the meantime he has to live. Now, here dent of all support, and that the sooner he begins to comes the difficulty. He can not live by his engage¬ phrasing, altering the conception here and there—these think for himself, regardless of where such thought may ments because no one will engage him ; there is nothing are duties requiring only common intelligence and con¬ lead him, the more rapid will be his development, the scientiousness. Every pupil 'should be treated accord¬ else to do but teach. So he glides into a daily round of hard work, and the chances are a hundred to one ing to his peculiar talent and individuality. Above all surer the road to artistic achievement. Those pupils who do not early invent, and are content against his ever rising from this position. He is dis¬ things, the teacher should begin by firmly establishing merely with being taught; who never subj ect their work couraged, and in the future music means nothing more in the pupil’s mind purity of thought and purpose. to the knife of their own honest criticism ; who are not He must allow no ostentation to germinate, no false to him than teaching, teaching, teaching. eager to stamp their art with individuality ;—for those But a musician who has great strength of character, pride, no inclination to exhibit ability at the expense the hour will never arrive when the teacher can resign combined with an ardent desire to succeed, will take of modesty. his work of discipline and education, throw off the care that he does not drift entirely into teaching, but In the earlier stages of technical development even mantle of reserve, and pass into the cherished relation will persist in seeking engagements, and will persist the most gifted pupils are unable, without competent assistance, to battle with the difficulties which con¬ of friend. until he gets them. To whichever branch of art the student has dedicated It would be well if our young pianists would remem¬ tinually present themselves. It is not enough to say to his life,—whether it be art of playing or singing,—he ber that anything reasonable can be accomplished in such pupils, “Never do thus or so,” or, “This is the should always remember that true musical happiness is this world, if only the desire to accomplish is strong best and surest method.” It is necessary to get at the born of true musicianship ; that playing and singing are enough. Strength of character and the power to wait very root of the difficulty. No real knowledge is requi¬ merely vehicles of expression, no matter how great the patiently are all that is needed ; true talent tell in site to string together meaningless but high-sounding must degree of perfection attained. And if these do not go the end. Even our greatest pianists have had to wait phrases. It is one of the simplest matters imaginable hand in hand with thorough musical knowledge, the soul years before success came, and you, who are not a genius, to mystify a pupil, and to do so with an air which of the art itself is lost to them forever. but have only talent, must not expect to become famous murders all doubt. But it is indeed a serious and all at once. Paderewski himself worked for a long time formidable undertaking to clear away the dense forest without any adequate recognition, and if he had lost of difficulties which has overgrown the pathway of art. —Many pupils fall into the habit of stumbling, of confidence in himself and given up the struggle, wearied A brief and simple definition of a teacher’s duties is playing everything in an isolated manner. A good way and tired out, he would most likely at the present quite impossible. The duties are too numerous ; the cir¬ to correct this is to make the pupil count phrases as moment be earning his living as a teacher. cumstances and conditions too varying. But give a measures—that is, suppose that the piece is a waltz in Of course, I do not in any way wish to decry the pupil the best that is in you. Give him the results of which the phrases are of four measures each: instead teaching of music : teachers we must have, and the pro¬ your own thought, experience, and observation. He is of counting each measure one, two, three, let him con¬ fession is a very noble and honorable one. Yet, at the a sacred trust; and in that hour when the young or inex¬ sider each measure as a triplet, and count the four meas¬ same time, those who have talent sufficient to enable perienced teacher first realizes the sacredness of this ures as only four beats, ending his “ wholesale ” measure them to make names for themselves by interpreting the trust, in that hour he begins to equip himself with the with the end of the phrase. In doing this he does not works of the great masters should not despair if suc¬ strength, the dignity, and the purity of purpose which feel that he has come to an end of anything until he has cess does not come all at once ; it must be fought for, the responsibility of his position renders imperative. finished the phrase. By this method of counting there and provided the fighter has sufficient strength and In view of the fact that teachers are so numerous ; that is a sense of continuity that compels him to keep on un- patience, it is bound to come in the end. they all have their acquaintances, friends, and a circle brokenly to the end. Besides breaking up his bad habit of admirers, by all of whom they are lauded and recom¬ of stumbling, it makes phrasing more and more real and mended ; and that, as the general public is not in a posi¬ 2718. 4 actual to him, and this makes him feel the musical con¬ tion properly to estimate the worth of services which —“As all matter is composed of atoms, so is life com¬ tent of what he plays, and thus leads him to give out have not a clear and definite commercial value—dwell¬ posed of opportunities ; and the best life is that one in musical thought when playing rather than meaningless ing only upon such conditions, we have reason to sym¬ which fewest of the component parts are lost.” pathize with pupils, especially those of exceptional notes. THE etude 51 TP ETUDE upon the cultivation of good taste, and we all know how 50 This is not at all a visionary scheme of study, but one judge is the very best for his present condition, regard¬ FOUNDATION TEACHING. the taste for good music grows by hearing good music. be judged not in the light of the pupil’s present abilities less of what he may think is his grade. that is successfully carried out by teachers that I know HOW TO TREAT PUPILS WHO HAVE PRE¬ Haydn, Mozart, Beethoven, and all the great composers but in the light of his former disabilities. Not by wha of, and is possible to every teacher who understands his 4 I do not have any pet exercise, but give what BY PKKl.EF, V. JERVIS. wrote for mankind, and not only for the few who are VIOUSLY STUDIED WITH ANOTHER the teacher has made of him, but by what the teacher business and will use modern and progressive methods. will most thoroughly and easily fill his greatest need. able to spend large sums on musical education. Then TEACHER. has tried to make of him. The pupil may have been 5 Yes. Studies are more musical and interesting, and The crying need of the times is for competent and a train, mechanical instruments are now made with sue of such material that the angel Gabriel could not teac they are better graded ; and as music is being more and thoroughly equipped foundational teachers. The day a°degree of precision that mechanically perfect perform¬ [Thebe are several interesting questions connected him to blow a horn if he tried through all eternity. I more popularized, there is a keener interest and emula¬ when any teacher was good enough for a beginner is ances of almost any music are possible. Let us have with the question of how to treat pupils who come to a wait until I see what I can do with a pupil before saying THE STREET-ORGAN AS A MUSICAL EDU¬ tion But, on the other hand, in my town school chil¬ rapidly passing away, and parents are beginning to real¬ some of the best, and then a greater number of people teacher after having previously been under the instruc¬ much about previous methods. In this respect, it in no CATOR. dren are so overloaded with their studies that they can ize that upon the first teacher rests a weight ot respon¬ will awake to the merits of musical art, for the differ¬ tion of another teacher. In order to throw some practi¬ other, I try to do as I would be done by. After a while, not find as much time and zest for practice as they them¬ sibility as great, if not greater, than that which devolves ence between a Paderweski and a mechanical performance cal light on the subject the editor sent out letters to a if my methods are superior to my predecessor’s, the selves would like. upon any of his successors. The first teacher can be a BY HENRY C. LAHEE. is a matter of art. The greater the number of people ac¬ number of teachers in various parts of the country and pupil will realize it without my telling him. It they power for good or for evil, as habits, either good or bad, customed to hearing the best class of music, the greater Canada asking for answers to several questions bearing are not, the less said about it the better. formed by children are with difficulty eradicated in later will be the number of those who can appreciate art, and on the subject. These questions and several replies 3. I prefer that a pupil review, in the best shape in pl?0ivi FRJ4FK I*. EYER. Although the street-organ is the object of much years. Statistics collated a few years ago proved con¬ will strive to attain it. By all means let us regulate the follow.—Ed. ] which he is capable, some of the work he has previously scorn on the part of the educated musician, it is none 1. In the first place, I talk to the pupil for about ten clusively that only five per cent, of all the piano students barrel organ, and get from it the best of which it is cap¬ done. This enables him to present himself to me in his the less a weapon of great power, and might be turned 1. When some one who has previously studied with minutes, asking how many lessons he has taken, of in this country ever learned to play legato ; the other best aspect. I soon branch out into other material in to good advantage in cultivating the taste of the great able. It can be made a great power for good. some other teacher comes to you for instruction, what whom, and what studies he has used. I endeavor to ninety-five per cent, failed to acquire the most elemen¬ order to keep up the pupil’s interest and have him leel majority of the people. The street-organ now per¬ kind of an examination, if any, do you make? draw him out in order to find just what he knows about tary principle of artistic piano playing. This truly is 2. What bearing do you adopt in reference to the pre¬ that he is making an advance. The whole thing is a meates almost every town and village in the country. music in a general way, aside from actual performance an appalling state of affairs ; but astonishing as these vious instructor, as regards criticism or comment upon failure if the student does not maintain a lively interest It is no longer to be regarded only as the pest of the ou the instrument. Next, I have the pupil play for me. statistics are, I can, from my own experience, “go them AM I A GOOD TEACHER ? HOW CAN the character of his work ? in his work. great cities, and it is well worth while to spend a few As a rule, he will play for you his favorite piece, so that one better.” 3. Do you allow the pupil to continue with the pieces 4. The only 1 ‘ method ” I try to use is applied common moments in contemplating the subject. I IMPROVE? one can get an idea of his musical taste and training in For the past eight years, as head of the music depart- and fetudes given by the former teacher, or do you imme¬ sense. I’ll admit that it is frequently hard to “break The reason why this is an appropriate time for such this direction. Allowing much for nervousness and ment in one of the oldest and best known boarding- diately give new work ? At what point do you begin them into” good common sense methods, to quote the contemplation is that an edict went forth in Boston that want of practice, I note particularly the position of the schools for girls in New York city, I have had hundreds MUCH is said, nowadays, about competent and incom¬ your instruction—that is, keep right on from the grade phraseology of the question. But it there lias previously all operators of street-organs should appear with their hands, fingering, and sense of rhythm at this performance. of pupils from all over the country. In all the time I petent teachers. How can one distinguish between them? the pupil has reached, or go back somewhat? existed a good grade of common sense in the pupils, it instruments before the Music Commission and the A few'more questions about the piece just played, and have been connected with the school I have never known Have the teachers themselves a standard of measurement 4. Do you use any special exercise to break them into will soon begin to show itself practically in their musical Board of Police on December 1st and show that their in¬ then I put a rather easy composition on the rack for him one pupil that could play legato when she came to me. by which to discover whether they lack any necessary your method ? work. If they have previously been made up of whims, struments were in tuue. Those that were satisfactory to play at sight. Before allowing him to play it, how¬ Now, what is responsible for this almost incredible requirements of a good teacher ? How shall they go to 5. Do you find better preparation to-day than you did caprices, and uncertainties, without the balance wheel of should have their licenses renewed. Those that were ever, I question him as to the signature, time, tempo, state of affairs? Undoubtedly, incompetent foundation work to supply what they lack ? ..... education or judgment, the “breaking-in” process is out of tune were to be deprived of their licenses it the ten or fifteen years ago ? The genius for teaching is as much a matter of birth a tedious matter. It is like the time at which an educa¬ etc., and then, requesting him to count aloud, I let him teachers. instrument’s were not put into satisfactory condition go ahead. This test reveals much, and I consider it one The uumberof young teachers who are doing excellent as genius in any other direction. But since genius does pROfl H. VOfl HDELiUftG. tion should begin—the breaking-in ought to have begun within a certain time. work is increasing every year—all honor to them for it; not always supplant all details of education, and since with their grandfathers (or at least with their mothers). of the most valuable a teacher can make. It was stated that there were 330 licensed grinders of 1. Having been informed what pieces the pupil played but are not many of my readers acquainted with at least the teachers of fewer gifts depend the more upon educa¬ 5. Fifteen years ago I would not have made a compe¬ 2. It is poor policy to run down a former teacher. If mechanical musical instruments in the city of Boston ; last, I ask him to try a piece which I select from the file one girl who, having taken a few lessons, feels competent tion, it is worth while for each to look at his equipment tent witness as to the preparation the musical world you can speak good of a person, speak ; if not, keep barrel-organs, piano organs, hurdy-gurdies, orguinettes, of Etudes I keep on hand. If too difficult, I give him to undertake the education of children in music? These with some definite standard in mind. was getting. But I know I am giving enough better silent. and the squeezers of concertinas and accordions were another, until I know pretty fairly what he “ does not are the teachers who are doing such incalculable injury According to Dr. Riemann, the thorough musician, preparation to my pupils than I received in my earlier 3. Yes and no. Where he has a book of good standard included. On the day of trial 140 instruments were pre¬ to the pupils who come under their care. whatever his especial branch, must have a well-trained know.” study. But I suppose most teachers can say that. etudes I sometimes allow him to continue for a time sented for the test, and this means that 184 organs—no 2. If the pupil’s work praises the teacher, I praise him ; What should be the equipment of the foundation ear, a practical knowledge of theory, and familiarity with with them, provided his progress is satisfactory. If it doubt all out of tune—sought refuge elsewhere. Most if not, I keep my own counsel; for the defects are oftener esthetics and with the history of the masters and of form. FROJW <1. E. P. HIiDOUS. is n’t, I get him to work at something I deem more suit¬ toucher ^ of them went to New York, where, we may suppose, the fruits of laziness, carelessness, or indifference than First. She should have a thorough education in mu- “A well-trained ear ” must be able to recognize any able. people have no rooted objection to organs out of tune. the consequences of the teacher’s incapacity or omissions. 1. I first proceed to find out how far pupils have gone imperfect or faulty intonation, tone-production as well. 4. This depends upon circumstances. If a pupil has sic—that goes without saying. When we consider that the street-organ penetrates the The number of teachers who by kindness combined with in scales, arpeggios, etc. Secondly, then to find what is Second. She should have some knowledge of kinder¬ Exercises in singing and naming intervals and in writing not too many faults to overcome in order to come up to slums and back alleys of our cities, plays before the firmness understand how “to bring a pupil round” is known of the bookwork of music, whether the rudi¬ from dictation, with careful attention to complicated my standard, I allow him to go on from the poiut where garten theories and methods. farmhouses in the country, and may be found in almost indeed very small. ments are thoroughly known, and if any theory. This " Third. She should have had some experience in rhythms and difficult notation, may be found in various he left off as nearly as possible. If it be necessary to put every village, always surrounded by a crowd of de¬ 3. Pieces which are spoiled can never be restored; determines what grade the student belongs to ; what has teaching, either at a normal school or under the super¬ text-books. The practice of following the score during him back, it should be done in such a politic manner lighted children, it is easy to understand that it must therefore, I prefer giving a new piece at once. As to to be done in the way of technic and of theoretical study. performances is also useful, if it is really made a study. that he will be wholly unconscious of it. vision of a good teacher. have a great influence in the land. studies, not only my vanity, but especially my experience 2. I endeavor, so far as possible, to indorse the work Fourth. She should have patience, tact, and a love “ A practical knowledge of theory ” means a knowl¬ 5. There is but one method, and that is the right one. Musical taste is almost entirely a matter of training urge me to give one of the books of my Twenty-four done by previous teachers. If anything has to be radi¬ edge not only of good part-leading (avoidance of ill- Every teacher should have a little exercise to teach the for and thorough understanding of children. or cultivation, and the barrel-organ begins the process of Studies. ” But if they have j ust commenced some books cally altered, I try to do it in such a way as to avoid put¬ sounding fifths, octaves, etc., and choice of intervals), staccato touch, legato, or portamento ; to loosen the If to all this she add a thorough knowledge of the training when the mind of the child is in a most plastic of studies, such as Bertiui, Heller, Cramer, or Clementi, ting previous teachers in the wrong ; for I hold it to be Clavier theories and methods and of Dr. Mason s “ Touch but of the relations and sequences ot chords, including wrist, etc. Should a pupil lack in any of these, then state. It reaches the children before they come under I defer my studies until some later time. one of the worst things for one teacher to run down or and Technic,” she will be at least competent to teach modulation, and this knowledge must be applied in an¬ the exercises must come in play. the influence of the public schools. It follows, then, that I have a pretty complete assortment of studies on my criticize another, except in the case of those who are alyzing compositions and in playing from figured bass 6. Yes. Especially is there an advance in musical beginners. children who have been accustomed to hear music played shelves, among them those of Czerny of all grades and obvious humbugs. Supposing the teacher to possess all these qualifica¬ an old-fashioned, but most instructive study. taste. It is wonderful the amount of good music you in tune have received an important part of their educa¬ the four volumesofWm. Mason’s “Touch and Technic,” 3. I prefer to commence with quite new work, unless tions, what should be accomplished with the average If one wishes to further his acquaintance with orches¬ will find to-day in out-of-the-way places. The Etude tion, inasmuch as they have not been spoiled for the which, however, partake more of the nature of exercises I find something well begun. I endeavor to keep on the and other musical journals have done much to spread pupil in the first year of study ? tral and chamber music—a necessity for the teacher who teacher. than of studies. same line as the former teacher, if it seems the right one, She should learn to read and play notes on, above, would not be one sided—there is help in writing harmony the gospel of good music all over our land, and a higher In former days we heard many good opera arias played I begin my instruction at the weakest point; the by continuing to use the books already given if I approve and counterpoint exercises where some transposing in¬ musical taste and better methods of teaching is the re¬ and below both staves accurately and rapidly. Then on the street-organ, and stirring choruses-music of a pupil must be supplied above all with what he needs of them. I try to carry the pupil straight on from the strument replaces one voice ; in playing from scores- sult in nearly every instance. she should learn to form all intervals and chords in good class. While we may now hear occasionally the most. point arrived at, unless there are some radical faults to every key, and to name them by ear when played by the simpler ones for voices at first, then string quartets, 4. Yes. Most of them I have printed, or in manu¬ be corrected. I do not see the use in going back to a intermezzo from “ Cavalleria Rusticana,” this is an ex¬ the teacher ; also to form the major and minor scales, etc.—and in arranging four-hand music or organ music script ; some I compose as the occasion requires. In grade already passed. ception, and by far the greater number of selections are FROJH E. tT. DECEVEB. and be able to distinguish all kinds of touch on hearing for orchestra, and vice versa. fact, I appreciate exercises more than studies ; the latter, 4. I have certain special exercises, both in scale and cheap variety-show ditties, such as “Her Golden Hair 1. I MAKE no oral examination. After the pupil has them played. In time-study she should learn to beat For ignorance in matters of esthetics and history there however, I consider indispensable in order to impart per¬ arpeggio work, that I always give a new pupil unless I Was Hanging Down Her Back,” “ On the Banks of the played a piece, a study, a few scales, or possibly other and play all kinds of time and all varieties of rhythm. is no excuse, with the large and constantly increasing severance in playing difficulties, and muscular strength find the scale and arpeggio work goes well in the way Wabash,” “White Wings,” or perhaps some “two- technical figures, I am able to discover the weak places She should be thoroughly familiar with right and wrong quantity of sound musical works now within reach. that has been already learned. step ” for the children of the poor delight to dance as in enduring fatigue. and know what remedy to apply. muscular conditions, and be able to assume and keep Almost every teacher and student who sees this paper 5. One ought to find it, and perhaps discovers it in a much as the pupils of the fashionable dancing class, and 2. I simply refer to what, in my judgment, is neces¬ the former at will. Her fingers should be trained to has read and thought of such study as is here suggested, small number of “exceptions” ; but not in the ma¬ FROpi WtUMHpi BEJ4B0W. the sidewalk is frequently called into requisition as an sary for the pupil to know, and incidentally to what has promptness and perfect equality of up and down action. —many have seen the text-books. If every one would jority. The form changes. Methods have improved, impromptu ball-room. These pieces usually possess the 1. My usual plan is to ask the pupil to play some piece, been overlooked, letting the pupil draw his or her own In touch-study she should attain a perfect legato, super- give a half hour a day to systematic work in one of these but pupils—not. There is the same indifference to merits of rhythm and melody ; but, poor stuff as they not necessarily the last, that was studied. That will inference. I make no personal mention of any teacher. legato, demi-staccato, staccato, and non-legato, as well three directions, what would be the effect on the general solid progress, the same antipathy to practicing, and I mostly are, it is far better to have them played in tune show how he stands as to phrasing, touch, pedaling, etc. 3. I always advance the pupil aloDg the line of work as the various forms of arm, wrist, hand, and elastic standard of work at the end of a year-of five years? might add—mental work, as prevailed fifteen years ago. than presented as a jangling mass of discoids. A question or two as to key, signs, terms, and a scale commenced under a former teacher ; provided, of course, touches and their combinations. There seems to be no good reason why better selections and arpeggio form with accents will disclose a good the pupil is on the right track, both as regards technical The elementary principles of phrasing, expression, could not be found for the street-organ, and the Music FFOIW W. F- GHTES. deal. requirements and geueral character of pieces employed. and pedaling should be acquired. She should also be Commission, having made a beginning in the line of re¬ 2. It is not necessary to criticize the method of the If the pupil has been neglected in these important mat¬ _Happiness never comes to the individual who makes 1. An oral examination or questioning to find the trained to memorize easily and quickly, and should form might well continue, and put a veto on all trash. former teacher, for you must take the pupil just as he ters, I never hesitate frankly to say so, and frequently develop a technic sufficient to enable her to play scales the attainment of it a personal ideal. Happiness can extent of the pupil’s knowledge or ignorance, and abili¬ There is much good music—good in the sense of simple stands at any rate, and it is impossible to say whether the pupil, for his or her own good, must return to the never be made by the individual, by himself, for him¬ ties or disabilities. But it is not safe to take the pupil s as fast as, Maelzel Metronome, a quarter note=80, one, and melodious as well as pure-written by the great com¬ the defects are due to former teaching, or native awk¬ first round in the ladder. self. It is one of the incidental by-products of an un¬ word on the latter points ; for that, one must have heard two, and four notes to a beat. posers, and it would be as easy to adapt this to the bar¬ wardness, or what not. It is both uncharitable and 4. I have no special exercises, save as these may be All these results should be attained by the average selfish life. You can huy pleasure, but Nature never puts several recitations and arrive at his own conclusions. rel of’ the street organ as to peg the barrels out with UDj ust to criticize when one does not know the facts in necessary to use in meeting individual weaknesses, in happiness on the bargain counter. It is the undetachable The pupil is not often competent to diagnose his own pupil, from eight to twelve years of age, with daily trash. There may be exclamations of horror at this the case. which cases I construct them myself to meet the required practice of one hour, and two, or better three, lessons accompaniment of true living. It is calm and peaceful; case. idea, but the best music is not too good to give to the 3. If I think any of the pieces and studies formerly need. a week. Talented pupils will do much more, and pupils it never coexists with worry or unsatisfied struggle. 2. I used to be harder on “ the other fellow ” than I rising generation. The ground floor of musical life used will suit the exact conditions demanded by the 5. Yes, decidedly ; at least, so far as competency in between the ages of five and seven (who really ought not Philadelphia “Saturday Evening Post." am now, and I doubt not that in a few years I will begin should be solid. The musical life of the nation depends to think he was about right, anyway. A teacher should pupil’s progress, I use them. I give the pupil what I teaching is concerned. to be studying at all) of course much less. THE etude 53 THE ETUDE 52 acter. And yet, though considered apart, the two will ence. Not at all. It may be any of these things, but it be obtained for fifty cents a lesson, but there are places also may be something very different. the right way—in making such a person learn to regard Stubto Experiences. be found to combine, to cooperate, and to harmonize, to THE INVASION OF VULGARITY IN MUSIC. within forty-five miles of the metropolis where the rates After much experimenting with a stumbler, I was the “coon” songs with positive abhorrence, and turn the ultimate of a successful accomplishment of all ends are only thirty five cents a lesson, orfive dollars a quarter convinced that it was not any one of these things. From to Schubert and Schumann when in search of true COUNTING HfiOUD. music ward. a musical point of view she was sound, and her errors BY ARTHUR WELD. melody and that sense of relaxation and comfort which of twenty lessons. Now, this is somewhat startling, is it To cite one single case in point: A child of a most E. VON ADELUNG. and wriggling had their roots elsewhere. Then I forgot, music at its best can bring to the most tired and fevered not? And yet, if you look into the matter, you will peculiar temperament was, much against her inclination, see that it is not. In every instance where the rate for Do pupils realize how much they miss by not count¬ placed with a teacher for musical study ; and both teacher for a while, that I was a music-teacher, and we talked Something must be done to stop the deluge of the brains. There is certainly no repose in the stimulating instruction was reduced to such a low figure I found that ing aloud ? Do they know that all the counting of the and instruction, as was evident during the first lesson, school. No, it was no trouble to learn her lessons. so-called “popular music” which is flooding this un¬ vulgarity of a “ rag-time ” melody, or the debasing ex¬ the teacher was either a very young girl or a middle-aged teacher does not advance them a tenth part of what she was determined to antagonize so far as in her lay. Could she stand up and recite ? Yes, pretty well. How happy country, doing more harm in an evening than citation of a “coon” song shouted boisterously by spinster who simply wanted some “ pin money,” or only counting for themselves would ? It is not the counting Adding to an inherited morose disposition obstinacy about reading aloud ? The answer came without hesita¬ scores of conscientious, earnest musicians can accomplish harsh, worn voices. gave lessons in music now and then, to “ pass away the alone, but the counting aloud, that does the work. In and combativeness as well, she presented a personality tion : “ I can’t read aloud at all. I have to keep going good in a month. In other words, this evil actually exists. This plague this way the player acquires the rhythmic accent—an which, although manifest in many children, proved the back all the time.” So there it was. A physical defect. If one goes into a music store to day aud examines of trashy music is upon us, like an epidemic of choleia, time.” In the thriving summer resort of Asbury Park I accent that is hardly heard but distinctly felt. As an most trying her instructor had yet encountered in the I at once remembered a case in my own school life, ol a what lies conspicuously on the counter, one finds a pro¬ and it is not necessary to spend more time in asserting noticed one of these signs, which read : “ Piano Lessons, exception, however, may be mentioned here the count¬ child who suffered from a lack of connection between fusion of idiotic and unmusical “coon” songs, a mass that a disease the evil effects of which can be seen (or course of her experience. Many would have given up the 35 cents each.” I immediately went in, and inquired ing of the little word “and.” To insure the striking brain and tongue. We might go into psychology, and of badly composed two-steps and marches, and a general rather heard) every instant and in all places really struggle and retired from the field ; but by the exercise . say that the “ little brains,” which they tell us form at confusion of rubbish ; and, alas, this is what “sells” ! exists. Let us rather plan a remedy, for remedy there for the instructor, saying that I had a little girl whom of the second eighth note exactly midway between the of courage, patience, determination, perseverance, hope, the extremities of the body to relieve the brain of some Every one is a “composer” to-day ; and position in must be, and the persons to bring about a change must I wished to be taught the art of playing the piano. two counts the teacher will assist the pupil materially faith, and the charity which is love, a change for the of its work and enable us to do things mechanically, society can be said to be assured only when one has be the actual musicians of the country ; the men who Then I asked: by counting loudly “ and,” but the pupil should never -better, and far from superficial, as time proved, was were weak. “ composed” a two-step or waltz, “ arranged for publi¬ love their art, and treat it as an art, not as a business. “Are you from the city ? and have you many pupils ?’ ’ be made or encouraged or permitted to do the same, for wrought in the pupil’s character and disposition within With this light we went to work again. New music cation ” by some well-known local musician. These They are the only ones who can combat this thing, and “No, sir ; I am from the central part of the State. it can be taken for granted that in the absence of the a few months. In this work there was no aid, but was always dreaded ; the first lesson on anything almost wretched things sell, also, because one’s friends, after they can only accomplish any tangible results by work¬ I’ve got only three pupils, so far ; but I should like to teacher that word “ and,” instead of being a guide, will entirely the contrary, from the home friends of the child, a torture. The pieces on which we could work with all, must step up and buy in order that the gifted ing together. have ten, because, I want to earn enough money to get mislead the inexperienced beginner. As illustrated here, whose impatient and severe methods of dealing with her interest week after week were naturally the most pro¬ “composer” can find the miserable tune lying on the Any man or woman claiming to be a musician and a bathing-suit. Of course, I can’t teach grown-up folks ; the pupil, without being aware of it, will count the first wayward propensities only served to develop and to ductive of good results, for she was blessed with stick- piano when next he or she comes to call. But you will yet unwilling to go out in battle against this musical I don’t know enough.” measure as written in 2, lengthening thereby the meas¬ confirm them. to-it-iveness, but the studies were always a jumble of also find the “ coon ” songs on your friend’s piano when vulgarity has no claims to consideration as an artist, It seems almost unnecessary to make any comments Years later there came a day when as a successful stumbles, until they became reviews, when they at last you go to his house, aud the chances are that he will and, indeed, in so refusing they are allying themselves on such alleged teachers, but I must do so ; for, as I musician she remarked to this teacher, “ I owe what I went smoothly. Everything had to be literally ground insist upon “rendering” a few of them for your with the “composers” who scratch this rubbish to¬ afterward learned, a friend, who ought to have known have accomplished to your influence I ” in, my function becoming rather that of a patient, cheer¬ edification. gether, and with the public to which they cater. better, actually sent his twelve-year-old girl to this ing on-looker than corrector, for she never let a mistake This may all seem trivial enough, but it has, unfortu¬ In answer to questions certain to be promulgated as incompetent and inexperienced teacher, because he NEW INTERVALS. pass without correction ; and when a thing was once in, nately, a far deeper significance, and little by little the to what can be accomplished, I would say : The edu¬ thought it made no difference what kind of a person his ure of four quarters into five quarters. Teachers, do not H. L. TEETZEL. it stuck. people at large have forgotten the noble melodies which cated musician individually ought to be the equal of child began with, so long as she learned something count for the pupils unless they count loudly with yon. Richard Strauss, Brahms, and those other gentle¬ Another one, a tot of seven, refused to be analyzed by used to interest and please them, and have sold them¬ many charlatans, but he must fight all the harder to about music. If you do you can never be sure whether they count men who think they represent modern tendencies in ready-made methods, so I had to leave the beaten track selves body and soul to the musical (?) Satan, who make that superiority felt. He must force his individ¬ The true office of teaching music in any department is correctly in your absence. All the knowledge of whole-, music, will soon be relegated to a second class. and talk myself down into her sphere of thought, with superintends the construction and propagation of this uality upon those with whom he is brought into contact, the imparting of the art in the highest possible manner, half-, quarter-notes, and others and all the knowledge of style of thing. Pass along the streets of any large city and he must fight to win. For the individual working I have a pupil who has invented a new interval—a some alarming discoveries. At seven she was a disillu¬ irrespective of monetary gains. No one who is not rests and dots will not prevent grave errors. Truly, we of a summer evening when the windows are open and in this fight there will be hard work and but little modern interval—and without any particular strain or sioned mortal,—a pessimist! Everything was hard to thoroughly in sympathy with the art itself should at¬ teachers do not count loud any more. But the time take note of what music you hear being played. It is no glory ; but a great artistic reform can not be promul¬ effort on her part either. do ; everything at school was either disagreeable or diffi¬ tempt to give lessons on the piano or any other instru¬ has been—and, alas, gone !—when we did, and we feel longer the great masters, or the lesser classicists—nor gated and completed alone by a few of us who write This young lady has evolved the interval C-flat to B- cult. Santa Claus was not good to her ; she did not agree ment. Beware of those people who follow teaching for still truly thankful to those of our own teachers who with me that her list of gifts was a pretty long one ; her even the “ Salon-componisten ” that used to be prime articles or talk noisily in the market-place. It must the sake of making “pin money,” or who do it “to pass double-sharp, counting upward. If her present uncon¬ made us count aloud. Christmas tree was not large enough, and so on. After favorites with the boarding-school misses. Not a bit of be everybody’s fight, so far as true artists are con¬ away the time.” scious talent for modern music develops with her years, several of these surprises I decided that the way she it ! It is “ rag time ”—“ coon ” songs, skirt dances, and cerned. Music teaching is a serious vocation, and one not to be some day she may do wonderful things. What do you PRIVATE PUPIIlS’ RECITALS. took to, or, rather, did not take to, music was quite in all the rest of the tawdry crew. The fight for noble standards and pure ideals in music entered into thoughtlessly. It too often happens that say, for instance, to a fugue in the key of B-double-sharp the natural order of her cross grained little being. I How can we regard this invasion of vulgarity in music must be made by the musicians themselves, nor must pianists—both male and female—rush into teaching as W. J. MCNALLY. major, on the theme C-flat, B-double-sharp, C three other than as a national calamity, in so far as the men¬ cured her, so far as music was concerned, by keeping it be made sordidly. soon as they complete their first or second quarter, under Public recitals in which only the more advanced sharps ? her rigidly at it, never relaxing one iota, or listening to tal attainments of the nation are concerned ? Is it for At present our unworthy opponents have the best of the the mistaken impression that they can instruct beginners pupils take part by no means discharge the duty which There are some things about this teaching business this that so many earnest, honest American musicians a grumble or an excuse. This method would have been fighting, but if the musicians—the real musicians—will quite as well as old and experienced teachers. If the a teacher owes to his pupils and their parents. Those that tend to wear on the nerves. have spent their lives? Is it for this that the grand fatal to an ambitious, striving child, but it proves quite arm themselves for combat, and not leave the battlefield truth be known, beginners should have the very best of who cease their study before they reach the higher orchestras of Boston, New York, Cincinnati, and Chi¬ until this hideous hydra is stone dead, we may win. the one for this child, who does not find anything worth instructors, for the impressions made in early youth are grades are thus debarred from the benefits accruing from foundation teaching (?)• cago exist ? Has all that the real workers—the pioneers —“ Music.’' doing for itself; and I anticipate many pleasant remarks the more lasting, and such habits as they get then will the special drill in preparing pieces for public perform¬ T. L. RICKABY. of American music—strove to accomplish, did accom¬ at the end of the season over the playing of “ that dear remain with them for a long time. ance, and from the opportunity of learning to overcome plish, really been in vain ? I remember a pupil who came to me after taking some little baby ! ” I wish I might impress upon every ambitious but mis¬ nervousness and the fear of a disastrous failure when Surely, no one will deny that music does influence three months’ lessons elsewhere. She played a simple guided person to stop aud think what he or she is doing playing for others. people—almost all people—greatly ; and if that he so, WOULD-BE TEACHERS. little piece through laboriously, but correctly so far as before embarking in piano teaching. I would not have The private recital, attended by none but pupils them¬ PRIZE ESSAY COMPETITION. and it is so, we should be careful as to what music is the notes were concerned. After the lesson, and just as any one make a mistake in the selection of a business or selves, meets the need in this respect, and is possible presented for their consideration. she was leaving, she paused and remarked that there BY F. B. HAWKINS. a profession ; but before any one decides to follow the with any teacher. Variety may be secured by inviting This cheap, trashy stuff can not elevate even the was one thing she would very much like to know, and The annual prize essay contests, instituted some livelihood of giving instruction in music, let him consider one or two pupils of a teacher of some other instrument, most degraded minds, nor could it possibly urge any then astounded me by asking, “How do you know years ago by the publisher of The Etude, have always well his adaptability and education for such a career. or two or more teachers may combine. The gatherings one on to greater effort in the acquisition of culture in The office of teaching is a high one, carrying with which is right-hand and which is left-hand music?” attracted considerable attention. This year we shall Think what it means to guide your pupils safely up the should be of a social nature, where all will feel perfectly any phase. I do not deny that some of these melodies it many responsibilities, and it can not be taken up Oh these foundation teachers who do not build a founda¬ follow the usual custom, and announce that we will heights of musical knowledge. The army of incompe¬ at ease. This will be sufficient incentive for careful are vastly superior to others. Among those at present and followed successfully without much previous tion ! receive essays for this contest until March 1st. The tent teachers is already too large ; therefore let no one preparation without causing the awful anxiety spoken much before the public which are unobjectionable I thoughtful study. There are entirely too many so-called competition is open to all, without any restrictions. thoughtlessly increase its numbers. of above, and is right in a line with what they are all A STUpBIaEIl AND A GRUMSUER. will quote the Chevalier coster songs, certain of which piano instructors in this country endeavoring to eke out Articles of a historical or biographical nature will not As well might a person who knows nothing of mixing striving for, and has this further advantage: that it need (notably “ Old Dutch ”) have just claims to considera¬ a precarious existence at teaching when they could HELENA M. MAGUIRE. be considered. Essays in praise of music will not be of colors attempt to teach painting as one who is ignorant not be confined entirely to the more advanced or more tion as art products ; or “Two Little Pumpkin-Colored better employ their time in other vocations. I have de¬ The time for regarding the pupil through a musical any value in this contest. Let the topic _chosen be one of the rudiments try to give lessons in music. talented pupils, but may be taken part in by all. Coons,” which has the merit, at least, of harmonic in¬ voted considerable time and attention to this subject lens exclusively is now past. The music-teacher of that is practical, that bears directly on the work of the Of all instruments the piano is the most abused, and terest of an elementary description, and which is also within the past eight or nine months, my investigations to-day leaves thebeloved “atmosphere” when occasion music-teacher, and that will give him ideas such as will it should be the resolve of every one to do what he can written fairly correctly ; “I Loves Yer in the Same Old covering territory in the States of New York, New Jer¬ JR TEACHER'S INFLUENCE. demands, and casts a broad glance over the neutral life tend to make him a more capable and successful teacher. to stop this abuse. This can not be accomplished, how¬ Way,” which is analogous to the Chevalier songs, and a sey, Connecticut, and Massachusetts, the smaller cities AIMiE M. WOOD. of his pupil ; with what good results has been proven by While but four prizes will be awarded, we hope that all ever, until the number of incapable teachers is decreased. few others. Every one knows what the “best” in being the special objects of my research, for the reason the interesting “reminiscences” which are so rapidly the essays sent in will be good enough to be used at Bat this will be a difficult matter unless each would-be In striving to instil musical culture and intelligence music is, and I have always maintained that a person that I wanted to know just how matters stood in those swelling our musical literature. some time in The Etude. Stories will not be consid¬ teacher takes it upon himself or herself to ascertain the into the life of a child, a line of work moving side by who cares for music at all can easily be brought to an places. Besides, I wished to fortify myself so that I To imitate is the privilege of the humble, and some ered as available for prizes. The articles should not true office of this most important vocation. side, yet differing from it neither in quality nor degree, appreciation of that same “best” and a liking for it. could draw a comparison between the work accomplished one has dared to say that more intimate and telling contain more than 1500 words. A contestant may enter is often overlooked or disregarded by the teacher. But there must be no administering of antidotes. If in the sparsely populated districts and the success results are gained in the closer fellowship and quieter more than one essay. “ This ought ye to have done, and not to leave the you are endeavoring to cause an elementary musical achieved in the business centers. culture of a suburban or even a village music circle Address all essays to The Etude, 1708 Chestnut other undone,” might well apply to the majority who mind to appreciate Beethoven, you must not let him If one should base his conclusions on the number of than in those more scattered and disjointed ones of the Street, Station A, Philadelphia, Pa., being careful to give, The blind flutist Dulon knew 120 flute concertos by are pursuing a vocation that is second to none in its escape you and visit a vaudeville show, even for a single piano teachers in the cities, towns, and villages in the in full, the name and address of the writer on the manu¬ heart, which he had numbered, and any one of which opportunities and possibilities, and by whom the fact great metropolis. night, or you will find yourself the next day set back States mentioned, he would at once declare that the All this makes a rather pompous introduction to the script, and marking it “ For Prize Essay Competition.” he could play instantly upon its number being men- that the responsibility of the position is twofold is but weeks in your work. United States is the most musical country on earth ; and, tionedto him. very little experiences I am to relate, but it takes both The following prizes are offered : if there be the same number in proportion in other infrequently realized. These people have such a strange idea of what the large and broad thinking to obtain even little results. localities, no other nation can ever hope to catch up with Such recognition, however, and its daily outward word “melodious” means. They will claim in an One must think often to get a good thought, and First, then, if a pupil stumbles with regularity and First prize.$25.00 observance would accomplish wonders through co¬ obstinate fashion that Bach is unmelodious, and that the us. oftener to get enough good ones to count ; and he must Second prize. 20.00 operation with all efforts toward imparting musical persistence, it must be because of one of three things : works of the vaudeville composers are, to their ears, I used to think that New York was the cheapest place think on many subjects to think well on one. Too many Third prize. 15.00 instruction—-a cooperation obtained through the effect of either she has not practiced, or has practiced carelessly, very tuneful; but this is merely a question of degree. in which to secure piano lessons, for it is no unusual are thinking tor thoughts to have much value unless Fourth prize. 10.00 the teacher’s influence upon the child’s mind and char- or she has a foolish consciousness of the teacher’s pres- You should have little difficulty—if you go about it in thing to see advertisements stating that instruction can they are many and strong.—1“Self-culture.” THE ETUDE 55 THe etude takes notice of many elements, such as the work of the 54 cut my regular price in half, and as receipts were less MAKING MISTAKES. the keyboard, what kind of a tone it will bring out of composer, the artist, in all the details possible, while the it was pretty long, ^explained to him that this was ts than expected, I had to make another cut, and after my the piano and what kind of training it wi-ll need. Un- THE TRANSFORMATION OF A GENIUS. untrained musical enthusiast is attracted by the most way musicians dressed in Germany. Both father an expenses were paid I had just $5.00 left. Mr. Small pianistic hands can accomplish as much as the real piano BY MADAME A. FUPIN. salient point, the melody that is being sung or played. mother remained unsatisfied, and thought such ou an „ets more than that from a day’s teaching. I hope my hand, but at the cost of greater labor and patience ; still, The one is apt to think, while the other simply feels. From a Musician’s Diary. ish ways might do for “furriners,” “Roosian anar¬ manager will Ipe more successful in making lucrative this enforced patient effort develops capacities in the But when it comes to expressing the degree of feelmg, I chists, ’ ’ and such people, but not for Sam Gardiner s y A FEW months ago Mr. S. N. Penfield had a para¬ individual which bring him valuable results. There engagements. . ., . very much fear that weak human nature yields to the in a New England town. Yet I thought mother seemed November 10th.-We have arranged to give a recital graph with the above heading in the columns of The have perhaps been few persons who have had more to September 15, 189-.—Just lauded this evening in New temptation to exaggerate its sensibility to musical im¬ a little proud of my “get up ” when she looked at me to introduce me to the New York public. We shall Etude devoted to “Thoughts, Suggestions, and Advice.” conquer in the natural limitations of their hands than York, after a fair voyage. It is pleasant to hear one’s pressions and thus magnify itself. and father did not see her. Mrs. Lee and her i aug i e have a big orchestra, and I shall play my own It was observed that he assigned no cause for the per¬ Mr. Wm. H. Sherwood ; but the indomitable persever¬ native tongue after having spent three years in a German I fear I take a too intellectual view of art, but I know Mary came in the evening. The old folks have always concerto I shall practice hard for two weeks. My sistent mistakes of the pupils, though he suggested one ance necessary to fit his small hands to the requirements city. Of course, there were a number of other American that I have never been ready to faint owing to the over¬ expected me to marry Mary. But they will be disap¬ landlady seems to be a little suspicious. She wants me remedy, and that was dash—the dash that carries all of the keyboard developed in him the power to conquer students at the great Conservatory, yet I spoke but little powering sensations superinduced in my nervous system pointed. She has no ear for music, while I must to .five music lessons to her daughter in exchange for before it. This dash might not be possible to a timorous all other difficulties which lay before him—verily a English during my stay in-, since my most inti¬ by musical performance. I will not say that I have not have a musical wife. The lark mates not with the my board—two lessons a week. That is $1.75 a lesson ; pupil who was tormented by the fear of making mis¬ triumph of brain over muscle. mate friends and associates were Germans. I was bent attended some performances when I would even have wren. a little better than Mr. Small gets at home. I will either takes. It is obvious that if we wish to find a cure for on learning the language and acquiring the characteris¬ been willing to faint if I had not been able to get out tics of the great masters of music, and as I paced the September 18th.—I was asked to play the organ m the have to settle that bill or change my boarding place-it certain ills, we should search for the cause and try to some other way. • bif Congregational church this evening. The regu ar I can. But my concert will put me in funds again. deck of the great Atlantic liner, I knew I was a good uproot that. AM I MUSICAL? Well, my reverie ended. I had not determined organist had played, at the morning service, some grace¬ My manager is making demands on me constantly. There are two causes for these persistent mistakes, and copy of the original type one sees among German musi¬ whether or not I dared consider myself musical in the ful nothings, piano-pieces transcribed, all froth and the first is they are practiced into the piece—that is, at cians, in dress and manner of wearing my hair and beard November 15th.—Practiced eight hours to-day and am ground sense of the word or only a musician by force of nothing solid, which the people liked very much, as I each repetition of the passage the same mistake or dif¬ One of those cold nights that we had in the early part as well as general bearing. I had even Germanized my worn out. Suppose I had taught so long as that, where training. I shall not miss the chance to appeal to all could tell from remarks I overheard. In the evening I ferent mistakes are made, and the habit of making mis¬ of December I sat in my comfortable easy chair and name, or, rather, my friends had done so. When.I left would I be? On the verge of insanity. I could not to be honest with themselves, and not try to say how my New England home my name was Gardiner, a good gave them pure organ music—Bach’s great A minor takes is formed. It is not reasonable to think that such listened to the howling of the wind outside. A warm stand the everlasting rattle of keys and the jingle-jangle much they feel, but be content to know that music can old name, which became transformed into Gaertner, a fugue and some of Rinck’s wonderful contrapuntal practice can result in accuracy. It does not occur to room, pleasant surroundings, and no work that I cared of sounds from a keyboard suffering under the hands of and does make them better men and women, and that it form I had retained, with the idea that a foreign treatments of chorals. But they failed to appreciate it. students generally that a thing can be played correctly to do caused me to let fancy have full sway, and one a beginner. lightens the toil of the day and the burden of life. I heard some one say to another that he liked a piece the first time, and also each subsequent time. The teacher thought that came up in my mind led to a train of name adds prestige to a musician. I knew from my November 25th— One hundred persons were present at own experiences with teachers and from reading of with some tune to it. Tune, indeed ! Why Bach is should bring the pnpil to see this for herself. Let him ideas that took something like coherent shape. my concert ; how many of them on complimentary American papers that a foreign label covers a multitude filled with melody to those who can understand him, set the metronome at the rate of speed taken by the What is a musical nature ? Have I one, beyond any tickets I am afraid to ask my agent. I can’t bear to of shortcomings, and that “ made in Germany ” is a an “ endless melody,” equal to Wagner’s great discovery. pupil, and ask her to repeat the passage a number of room for doubt ? What are the distinguishing charac¬ think of the horrible fiasco. And that is not all. It WHAT THEY WOULD LIKE TO SEE. first-class trademark. It is strange how old Father Bach anticipated his sue- times, while he sets the metronome one degree back teristics of a musical nature ? Does it depend upon took $800 to pay off the account with the manager for I did not make many friends on the steamer. As a cessors. (slower) at each repetition. At last the pupil arrives at degree of sensibility to musical impressions ? Is it to hall, advertising, and orchestra. I had to pay rent even graduate of the-Conservatory, and as one who had September 28d.—Father thinks I should stay here at a tempo where every note is played with ease and accu¬ any great extent a particular intellectual endowment ? BY FRANK L. EYER. for the piano I used. My landlady and her daughter gained distinction for composition, I considered myself home in our little inland city and teach. Yes, teach . racy. Now, this is the tempo in which the pupil must How far is intellect involved ? were present. I had to give them tickets, and this as a member of the Brahmin caste of artists, a candi¬ Imagine my disgust. I, a virtuoso, with the powers of practice until the habit of correct playing is formed. These are some of the questions that came in the train evening she again broached the subject of my giving The Teacher. date for the inner circles of the adepts. It is true I had a Paderewski in abeyance, and a creative faculty that This progressing backward has been known to cure of my first thought. I wish I could get away from lessons to her daughter—this time three a week. My Piano covers without tassels or fringe to fall down not yet won fame, but that was certain to come. I shall one day place mein the front rank as a composer ; many obstinate cases ; it shows the student just where aualysis sometimes, and simply revel in pure emotion¬ stock seems to be on a toboggan sliding scale. I fear 1 over your music. could not afford to make friends at random, lest they yes, I shall stay here and teach for $1.00 a lesson, which alism, without wondering what it is that makes me feel, shall have to give the girl lessons or marry her to settle the fanlt lies and how to overcome it. Pianos kept iu the warmest and most comfortable room should prove embarrassing in the future. Like some of father says Mr. Small, the church organist, charges for and why I feel a certain way and not another. that board bill. I don’t know which is the milder fate. The second cause is found in the formation of the in the house, instead of in the front room where the tem¬ my artist models, I paraded the deck in an abstracted, his instruction. Mr. Small and I are, of course, on a hand. It is a common thing to hear the remark, “ You This is how it started. I had been to an opera per¬ December 1st.—Father has been here. What a boon to perature in winter is like that of a barn. Also, pianos moody maDner, made sketches for motives of wind, level with each other—Mr. Small, who was never in have a splendid hand for the piano ; you have such long formance with a friend who has never, by any one, have a sound head for business ! He went over my ac¬ kept in tune. wave, and sea in my notebook as material for my Europe, and only had one year in Boston, and one in fingers.” This is a great mistake. When I was in the been deemed musical. We listened to one act. During counts and found that the agent had cheated me to the People who will not say, “ How many pupils have “Ocean” symphony, which should surpass that of New York under William Mason, who has some new Leipzig Conservatory, where there were several hun¬ the wait between acts he hummed part of an air that extent of $100. We sold my expensive studio furniture, you, Professor ? ” or, “ Who is your best pupil ? ” Rubinstein and excel Tschaikowsky’s “ Tempest Fan¬ system of technic that is far superior to what is taught dred pupils, I made a thorough study of hands, and my the baritone had sung, and yet I could not have done so pictures, rugs, wall decorations, and bric-a-brac, and Pupils who will take fifty-two lessons a year and tasia,” and in other ways showed my artistic nature. I abroad. Poor deluded people ! As if any but the Ger¬ had I been asked. Now, if I am musical, why should observation contradicted the general belief that long never ask to be excused for any cause except that of longed, Oh, how I longed for a storm, that I might catch paid all my bills—not even neglecting my board bill. mans can be leaders in musical matters. Lessons are an fingers are best adapted to the piano. When a hand the case not have been j ust the reverse ? I can memorize I wish I had a better head for business. But I will not illness. the spirit of the wild shrieking of the wind and the hour long, I find. a piece easily ; I can jot down a melody played, sung, with long fingers is thrown carelessly on the lap, the Parents who will take sufficient interest in their chil¬ tremendous diapason of the wild hurricane, setting the have to give that girl music lessons. The sword ot or whistled to me, and, at times, even catch the pro¬ There was consternation when I said I intended to fingers generally lie parallel with one another. Such a depths of the sea into powerful vibrations ! The storm Damocles has been removed. dren’s music lessons to see that they practice diligently locate in New York as a concert player and composer. hand has to work to conform itself to the keyboard. The per key ; yet when I hear a melody played or sung it came, but other motives claimed my attention—motives December 15th.—I have begun to teach, and have three and who will never dispute the teacher’s methods of in¬ It was a hard tug. Mother cried and father stormed. real piano hand has short fingers, rather plump than does not stay with me unless I consciously determine which can not be expressed by any means that man has pupils,—not including my former landlady’s daughter,— struction. I had already cost him a “ pretty penny,” and now I slender, and when thrown carelessly on the lap, the to possess it. And then I get not only melody but har¬ at his command. and I get $1.50 a lesson, two lessons a week, paid in mony as well. Now, which is the more truly, funda¬ The Pupil. wanted to spend a lot more in trying to establish myself little finger falls far apart from the others. This hand One evening, as a concession, I played for the ship’s advance. I have written home that I am working up a mentally musical nature, my friend’s or mine ? I must in a big city, instead of getting to work and earning a has no trouble in playing correctly. When taking a chord Teachers who will not ask us to play scales or studies, company, assembled in the saloon, one of the most diffi¬ livelihood where I was certain to have friends. But I good clientele. I like that word better than that horri¬ concentrate my mind to get what he seems uncon¬ position,—as, for example, C, E-flat, A-3at, C, the fin¬ but will give us pretty pieces instead, and never insist cult pieces in my concert repertoire, and was applauded was firm as adamant. My whole artistic future was at bly ruralistic term, “class.” I can get along by the sciously to absorb. Am I only intellectually musical ? gers fit the keys as perfectly as the corresponding parts of upon our learning anything we do not like. in a most forced rather than forcible manner. Imme¬ stake. I was not cut out for a teacher of finger-exercises, help of another money-earning opportunity just come to Then another thing. Many persons will atiend con¬ a chainless bicycle, which are said to be as perfect and Teachers who will not be cross and rap us over the diately after me a young lady played that airy tintinna¬ Czerny’s “Velocity Studies,” and so on, counting “one me. I “show off ” pianos for a Filth Avenue dealer. certs and tell you how agreeably or disagreeably, how accurate as art can produce. This hand will play right knuckles with a lead-pencil. bulation, Gottschalk’s “Last Hope,”—a misnomer, and, two and, three and ” to children without one spark January 6, 189-.— To-day I commence new duties as exquisitely or how torturingly, the music worked upon Teachers who will not be continually running down the first time and every time. surely, for it would never save a man’s life, musically of the divine fire in them. My soul soared far above teacher in a fashionable school for girls. I will have them. They can weave a whole chain of sensations, A tightly knit hand or a hand with “ wobbly ” fingers our former teachers ; who will not say to us, 1 If you and artistically, rather drive him to despair,—and was these sordid things into the higher spheres and purer beginners—Plaidy, Kohler, Bertini, etc. Thank heaven, highly colored enough to make the most gorgeous of will find a difficulty in hitting the keys that the other had come to me at first,” etc. We get tired of this. most enthusiastically recalled. I left in disgust at this realms where art and art alone is known and worshiped. the days of Richardson are past! Oriental rugs, and this, they say, is what goes on in their Teachers who will meet us on our own level, and not manifest inability to appreciate the victories of technic hand never experiences. There is no certainty to the No ! I will live and die for art, free and untrammeled April 1st.—The past three months have been so vexa¬ minds when they listen to music. It rasps them, it talk way above our heads about things we know nothing and the power of great works of art, and played no “ wobbly ” fingers, any more than there is to the parts by the chains of teaching beginners ; my soul can not tious and trying that I have written in my journal but ravishes them, it captivates, it titillates every nerve- of and can not know until our minds mature. more during the voyage. The passengers respected my of a rickety machine which has all of its screws loose ; descend into the Averno where all is grind and where seldom. But 1 can not keep away now. I must write, fiber of their sensory system as no other excitant can. Teachers who will show us how to do every little feelings, and did not ask me again. As I could not go on these fingers never come down on the keys twice in the the true principles of art are unknown. since I have no confidant to whom I can speak. I am Is this to be musical ? Then I fear I am not musical, thing and give us a reason for it; who will make the home after landing, I came to the Fifth Avenue Hotel same way ; at each repetition of the passage the motion October 1st.— In New York. Was at the office of “The in love, and with a pupil, too ! Oh, how charming she and, what is more, I never can be. study of music so interesting that even with a modicum for the night, and here I begin my journal, which is to of the fingers varies. The owner of such a hand is very Mercury ” to-day and left a “ write-up” for a full-page is! and what is more,—although I do not allow it to I like music, and I enjoy—at least hitherto I always of talent we shall be filled with a zeal for practice and a contain my experiences as an American artist in search of likely to get discouraged ; he does not realize that the reading notice and my photograph, from which a cut is influence me in the least,—wealthy. If only she could thought I did—listening to music as much as any one love for the art. fame and wealth. I am terribly ambitious, and nothing fault is in his hand, and he wonders that he does not to be made to go on the first cover page. The bill is be made to return my affection, how happy we would be ! else Tbut I confess I have never been so emotionally dis¬ The Public. but the heights of Parnassus will content me. always hit the key when he wills to do it. There is $500. -These things come high, but it is merely an in¬ turbed as some of my friends in our private musical con¬ Our life would be perpetual sunshine, and I might only one thing for such a person to do ; he must practice Fewer long-haired musicians. September 16th —Reached home this morning and fessionals have owned to have been. If one dares believe vestment on which I will realize later. We artists must carry out my dream of becoming a composer virtuoso. his passages a great many times consecutively, playing We do not like lo be bored. Will musicians please found father and mother anxiously waiting to see me what they say, there is no more potent agent of good or have the support of the press. I thought the pTice Relieved of the sordid necessity of earning my daily very slowly and with great care, making the motion of remember not to make their programs too heavy. after my long absence. Like my German friends, I evil than this abstraction which we call music. pretty steep, but the editor said he was not “ working bread, I could rise to the loftiest heights of technical the fingers uniform ; he will be assisted by a law of Players and singers with more ability and less conceit. called mother “ Mutterchen," but she did not like it. the public ” for fun, but for money, and artists and For my part, I am disposed to be incredulous when I power. nature which has revealed itself as follows : when, a cer¬ Singers who pronounce their words distinctly. Father thought my loose coat, soft hat, and tie with hear such remarks. Every person is something of a budding geniuses must pay the piper if they wanted May 17th.—I have spoken! She laughed at me ; at the tain motion has been consciously repeated a number of An absence of mannerisms in singers and players. long, streaming ends rather “furrin appearin’” or the public to dance. I am afraid my money will not poet, and the latter-day race of musical enthusiasts sug¬ idea that “ a musician could entertain so preposterous a times in exactly the same way, it will at last repeat Less feeling of jealousy among the profession. <‘ play-actor like,” and suggested that I should shave off last very long. Mother gave me a little from her own gests to 'the cynically disposed doubter the question notion” 1 What had I to offer her? Oh, the pride itself unconsciously in the self-same way. Broader-minded musicians who will give credit where that little “ goatee ” on my chin and take off that week’s private hoard, or I fear I would have been badly off. I whether or not the early rhapsodists did not leave pos¬ and arrogance of wealth and social position ! I know Here let me suggest a little secret which has great credit is due. growth of hair on my cheeks. He supposed a man have just about $1000 left of my little legacy from my terity or have undergone reincarnation. now how Wagner felt in his early days. I know why results. Aim for the middle of the key. If you aim at N. i>.—As Artemus Ward would say, some of this is didn’t dare to shave on board ship for fear of cutting aunt. When that is gone I shall have-to go to father It seems to me that a thorough musical training must he threw himself into revolution after revolution. If a black key, you may hit it on one side or the other and “sarkassum.” himself. What a reflection on my Vandyke beard, of again. I must see a manager and try to get some en¬ take away that lively sensibility to the surface elements which I am rather proud ! It is very artist-like, you socialists and anarchists were not such a dirty, inartistic tumble off; butif you aim at the middle of the key, you gagements. of music and compel the mind to take cognizance of the set of people I believe I would join them. will probably strike it true. know, and had been trimmed to fashionable proportions intellectual elements in a composition. The musician November 1st.—My manager has not done anything June 5th.—School is over, and I am truly glad, Many persons do not understand that there is an in¬ —It is by teaching that we teach ourselves, by relat¬ or disproportions by an artist—even the knights of the looks for man’s work, not spirits’ work ; hence he must for me yet, and funds are getting shorter. I made an although I do n’t know where I am going to find work dividuality in hands, as much as in persons, and that ing that we observe, by affirming that we examine, by razor and scissors use the word—by an artist barber. concentrate in order to take in certain things that a non¬ engagement, under my real name, at a small town some this summer. different hands must have different training. I can showing that we look, by writing that we think.—Amiel. Then he added that he guessed the barber around the musical person takes up at once. The trained musician corner would cut my hair for the regular price, although fifty miles away. In order to get the chance I had to {To be continued.) generally tell, by looking at a hand before it is placed on 57 THE ETUDE THE ETUDE 50 of others, until we are fairly burning with a desire to The palmy days of the old school were the days of CONVENIENT MAXIMS, FORMULAS, ETC., are generally self-made. It would seem that little, if anything, is done in the vocal studios to develop this look at the man as well as at the composer. coloratura singing—of the flexible, florid style. Hence FOR VOICE TEACHING. So we do, or should do, the following things: First freedom of action and emotional impulse were developed, side of the subject. consult the encyclopedia; then Groves’ or Riemann’s which largely accounts for the success of that school. BY FREDERIC W. ROOT. These remarks do not apply to those who have attained dictionary ; then repair to the best reference library to With the advent of the nineteenth century a change to training for dramatic purposes, for in that, objectivity find what has been written of his life and works in book came over the vocal world, so slowly and so quietly that XI. is the main purpose ; but this class hardly includes one form, and read up on the subjectand what will we dis¬ it had the vocal profession in its grip, had it literally by Having paid our respects to the subject of addition in a thousand of those who put themselves in the hands cover? First, that the happiest, most contented person the throat, before it awoke to the fact; and many, alas, and subtraction, let us take a brief survey of some of the of voice-teachers to be trained in a department of art. in the world is the one who sits with a good encyclope¬ are to-day sleeping and slumbering in blissful ignorance other pairs mentioned in the second article of this It is necessary that the pupil should be conscious of dia or musical dictionary in his hands. Second, that of the fact that they are slowly but surely being done series. the physical processes up to the point of knowing how to use the vocal organs to the best effect; but this should not before he has left his work he not only knows all that to death. Two of these may he treated together. They are : the books afford of the composer under consideration, objective and subjective, and principle, not personality. be so long a process as it is usually made. Many teachers tion of this feature of his work ? Probably he will not, By honest, hard study and research that which is CHATS WITH VOICE TEACHERS. One who has occasion to examine pupils who have plume themselves on holding pupils to exercises exclu¬ for he claims that his tone is the only safe one to teach. but has had his attention called to a number of other known as the science of voice, the phenomena of voice, been under all the different schools of instruction may sively during the first year or two of their training, But is not that the proof of his narrowness ? If others persons and things which caught and riveted his atten¬ was being discovered, not so much by practical vocalists— III. find wide differences in tone production and execution ; during which time they feel themselves particularly safely vitalize the upper register, why can not he ? And tion, the salient facts pertaining to which will stick by singers and teachers—as by learned scientists ; men who It is the duty of every teacher to get as far away from but, if he note carefully, he will, for the most part, conscientious in that they never give a song. If during in view of his pupils, it is his responsibility. He is him’ and to that extent broaden him generally, which is devoted their best energies, and their very lives, to their himself as possible, and as often as possible, if he would this long period of attention to physical action they also simply too deeply grooved in the rut of his everyday-and what I mean by incidental knowledge, above alluded work. Scientists of all ages, as at the present day, were observe a striking similarity in one particular. Before form a just estimate of himself and of his status, or if to. Finally, he will know Franz. He will have seen a describing this particular, however, let us realize for a keep the pupil’s mind upon petty personalities of all hour work to realize fully his weakness, and needs must all right so long as they devoted their talents /and he would keep abreast of the times. There is no quality sorts,—rivalries, jealousies, triumphs,—they will prob¬ get up, out, and away from it before it will strike him picture of him, and knowing somewhat of his develop¬ energy to their own line of work. But scientists of all moment how great a change is taking place in the atti¬ that is desirable but what can either be gained or im¬ with corrective force. Of course, this is only a technical ment and mode of life, will be more deeply in sym¬ ages, when they attempt to invade the domain of the tude of teachers toward their problems in general. The ably, at the end of a year or two, find that they have proved by giving thought to it. There is no quality in point, but it has a practical bearing, and may possibly pathy with him in his efforts to express himself through practical vocalist, have, almost without exception, to teachers employed in public school work instead of set¬ made a very perfect job of the pupil’s subjectivity. a teacher which is more worthy of cultivation than serve its purpose better than a page of generalities. his songs. Is it not a satisfaction ? use a slang phrase, “put their foot in it.” So with ting their pupils the formal tasks of yore, now study Now, this is wrong from every standpoint. It is as breadth. It is sure to be commented on, and a man’s Undoubtedly, teachers of the art are more conspicuous In such a process the pupil finds an added stimulus the vocalist: when he attempts to base his system upon with intelligence and scientific interest to bring a pupil’s requisite to develop mental conditions as it is to give usefulness and influence are measured by it whether he because of their success than because of apparent ob¬ to conscientious and artistic work ; he feels his own the theories of the scientist, he is sure to put his foot in mind to the point at which it reaches out with interest due attention to the actions of diaphragm, glottis, etc. will or not. It is no less true that nearly every one is stacles to a larger measure of it; but our constant aim reason for things. His teacher may tell him that a pas¬ it. Thus we find that that which should have had a for the instruction which it is proposed to impart. The teacher who is wise will include in his course such sure that he is broad, and that all other men are narrow ; should be to bring about our highest possibilities, which sage should be phrased so and sung so, which instruc¬ wonderful influence for good on the vocal art has been Those who read what piano-teachers have to offer in work as in a year’s training will result in decided imagi¬ and this explains my assertion that it is the first duty of will never be accomplished by passively accepting credit tion, as such, the pupil is bound to respect; but he is no in reality a hindrance and hurtful. these columns will realize that the time has come when nativeness, magnetism, sympathy, or, comprehensively, teachers to get away from themselves as far as possible, for our present standing without constantly striving to longer as clay in the hands of the potter. The living All through the earlier years of the nineteenth century, more importance is attached to the condition of the objectivity. Our public is not yet educated to a proper in order that just this question of breadth may be con¬ win greater respect by increasing our efficiency. To be sense of musical comradeship and understanding is also as at the present day, when scientists discovered, or pupil’s mind than to the exact curve he gives his fin¬ appreciation of this, and listeners to musical performance sidered. broad, one must first be generous, for that is the only in¬ doing its work ; the spirit of the composer has reached imagined they had discovered, what is known as the gers, or to the number of times per diem he strikes one are, for the most part, satisfied with subjective perform¬ Let us question as to the meaning of the word breadth. variable adjunct of receptivity. Generosity first shows his own, and he is lifted into an atmosphere of idealism phenomena of voice, numerous vocalists, who were note with the ring fiDger. Indeed, the first lessons for ance, an exalting of personality over principle, if the The men and women who think they are the only itself by inviting one’s own errors to depart, and its next as fascinating as it is gratifying, not only to the teacher, piano-playing are now sometimes given without touch¬ personality be an interesting one. A handsome, well- teachers who know certain points about the voice and longing for something tangible, immediately based their and higher office is to prepare the mind to see and to but to all who are able to recognize the spell. ing the piano. gowned soprano, with a fascinating manner, or an ador¬ voice-training are not broad; they are narrow. Those who systems upon the theories thus advanced, true or false. Another result is sure to follow. He will be interested In the domain of voice culture the appeal to the able tenor who poses effectively, answers the require¬ find themselves adhering to principles which they recog¬ accept good from outward sources. Indeed, how much The general tendency of all the systems thus formulated we owe to our fellows, and how little we become if we in his composer’s poets; will discover who was his mind is, of necessity, constantly made, and oftentimes is ments of most listeners without recourse to genuine art. nize as such because they received them as such when was to compel the phenomena of voice—a direct violation greatest inspiration by the frequency of his settings of quite correct, according to pedagogic rules; as, for in¬ The singers and voice-teachers can, if they will, help they were students are not broad. Such a reason is not fail to acknowledge it and profit thereby ! of nature’s laws. Result, the prevailing local-effort In closing I would like to give this question a practical his verses, and the student, too, will be led to a knowl¬ stance, that the pupil should conceive the pitch and the pubUc to a desire for something better. a sufficient one for the acceptance of principles. They muscular systems of the present day. Result, throat edge of the authors as well as of the composer. Indeed, general conditions of a tone clearly before attempting must be modified by or survive the test of a varied ex¬ test, and I am going to make you an offer. Take notice specialists are numerous and rich all over the land. that to the young man or woman pursuing the study of rightly pursued, the study of the vocal art can not he the emission of the sound. But even those pupils who perience, and that from both a near and a distant view¬ Artistic tone is the result of certain conditions de¬ QUESTIONS HflO ANSWERS. vocal music who will send me the best essay on Robert exceeded in opportunities for culture or in resources for manded by nature, not by man. These conditions are have been under the training which makes constant point, before one can pin his reputation to them. Mrs. B. C.—The Tonic Sol Fa System of sight-sing¬ Franz, not to exceed 1200 words, I will send four vol¬ pleasure and refining tendencies. By all means, young appeal to the thought on this plane are, for the most Those who follow certain composers, to the exclusion dependent upon form and adjustment. So far all ing will probably not become generally used for teaching part, uniform with others in the particular under con¬ of others, because they answer all the demands of their umes of his songs, handsomely bound, with the name friends, when you take up a composer, take him up vocalists, all teachers, agree; but here is found the vocal music in the public schools of America. We sideration. Whether the mind of the pupil has been own natures, are not broad ; they are in a rut, and see of the successful essayist stamped thereupon, together seriously. Do n’t he satisfied with the dates of his birth parting of the ways. assume this from the trend of activity. While the Tonic Sol Fa literature is increasing, other literature for the with the words, “ A Prize from The Etude for the and death, but know him. If he is not worth knowing, The local-effort schools study to compel the phenomena directed by a teacher, or whether it has followed its own only that which is reflected by their own preferences. same purpose is increasing with even greater rapidity, Best Essay on Robert Franz.” If the paper possesses his music is not worth singing. There you are, with a inclinations, it will almost always be found turning They do not take sufficiently into account other natures of voice. They study, by direct vocal manipulation which places that system at a disadvantage. There is no inward rather than outward during singing. In phil¬ and individualities. The musical horizon is a broad sufficient literary merit, it will also appear over the principle to which you will adhere with safety, and by and control of muscles and of the parts, to do that question, however, but that the principles of that sys¬ osophy the term “subjective” is used to denote a con¬ expanse, and is dotted by every conceivable type of ideal, author’s signature in the Vocal Department of The adherence be saved much loss of time and unworthy which nature alone can do correctly ; and this they do tem, in the earlier grades of public school work, are sciousness of one’s own processes and states, while becoming better understood and appreciated, and incor¬ which must be met and appreciated, virtues applauded, Etude. Each paper, to be accepted, must be indorsed effort. under the name of science. It might be interesting to by the present vocal teacher of the sender. All papers “ objective ” denotes a fixing of the attention on some¬ porated so far as possible into the work. If this ques¬ and evils condoned before one can presume to measure state a few of the devices resorted to in order to compel tion was asked to aid the teacher to decide as to whether thing external to one’s self. It would seem that, for the himself by comparison with them. They who confound must be sent to H. W. Greene, No. 487 Fifth Avenue, SCIENCE AND THE VOCAL ART. the phenomena of voice. Locally shaping, puckering, or not time would be well expended in learning the Bys¬ New York, must be accompanied by postage if they are most part, whether the instruction be obtained from tem, I should emphatically answer, yes ; on the princi¬ emotion with expression, who sacrifice truth for effect, EDMUND J. MYKR. and controUing the lips to form vowels ; holding down who fight progress with prejudice, who make art con¬ to be returned, and will not receive attention later than the tongue with a spatulum or spoon, lifting up or pull¬ high or low sources, from established schools or fledgeling ple that every system of value has strong adherents, April 1, 1899. If a general interest is developed in this For a century or more the science of voice—or, rather, professors, in a musical center or in a remote locality, and the more thoroughly one is equipped, the more serve only financial ends, who fail to distinguish between ing down the soft palate ; putting sticks or corks in the successful they must become in a competition for leading work, prizes for essays on other composers will follow. that which is called the science—has “ run riot,” as it and in whatever country, the result is almost invariably motive and attainment, are narrow ; they are wanting in mouth to hold it open ; singing with a lead pencil be¬ positions. were ; and never more so than at the present day. It subjective singing. The pupil’s own personality is the qualities that go to perfect the ideal musical charac¬ tween the teeth ; locally raising or lowering the larynx L. J. G.—I would advise you to get Abt’s “ Singing is strange that, in this last decad of the nineteenth more interesting to him or her than the art of expres¬ ter ; they are, in short, unreceptive, prejudiced, and cast according to the belief of the teacher, regardless of the Tutor” for your baritone voice, and use it with Sieber’s sion, and physical achievements assert their claims to shadows when they should give forth light. All such CHATS WITH VOICE STUDENTS. century, when the trend of the best thought of the laws of nature. Also, by direct and local effort, setting, “ Eight Measure Exercises ” for the same voice. If the printed syllables, known as Graun’s syllables, contained may be well-meaning, thoroughly in earnest, and, in a vocal profession is in the direction of a more natural, fixing, and controlling all the breathing muscles of the attention more easily than does the imagination. III. in the latter (which you must buy in a foreign edition) measure, successful; but they are unconsciously robbing a more rational treatment of the singing voice, the A gentleman of education and capacity who had body ; “ take a good breath, hold, and get ready,” etc. occasion you any difficulty in the pronunciation, a per¬ My “ Chat with Students ” this month will be along scientists—I should say, the so-called, or rather the self- learned to sing after a fashion, away from centers of cul¬ themselves of the luster which always accompanies a Hear what has been said with regard to the tongue : sonal letter will gladly be answered, making the way broad-minded, liberal attitude to professional effort in the line of the proper literary accompaniment to musi¬ called, scientists—should become more scientific, hence “Science has proven that for correct tone effort the ture, recently came to a large city to pursue his vocal easy for the pronunciation. studies. At first he displayed a great deal of eagerness the field of musical art. cal study. I am too wise to expect the impossible of less useful, less practical, and more hurtful. tongue should be drawn to a center position by the A. H. M.—I should first take the young lady to a It is not my purpose to discuss matters with teachers young students of singing, but it is only a step from I would not have the readers of The Etude think for proper contraction of the muscles. Place the tip of the to hear the singers of the city, a privilege which he had physician, and ascertain definitely whether or not the long looked forward to. However, he soon manifested health of the mucous membrane had been impaired by from a personal point of view, but a fair illustration of that to the possible and the probable if one thinks for a one moment that I am opposed to the science of voice. forefinger of the right hand on the surface of the tongue the catarrh. If not, half-voice use of any of the stand¬ the unhappy effect of prejudice upon the career of a moment of the real pleasure and profit afforded by a I recognize the indisputable fact that true science is the a growing coolness in his desire to attend musical per¬ just inside of the last back under tooth of the left side ard solfeggios and vocalises, the latter to be sung with judicious course of reading. Young people are too formances. Upon being questioned as to his impres¬ well-known teacher will serve to emphasize the point underlying, the fundamental principle upon which all of the jaw. Press directly downward, and observe syllables rather than the vowel “ah,” will eventually sions, he replied, “lam much disappointed ; everybody under discussion. This teacher has risen to commendable prone to allow others to do their encyclopedia work for art is based. whether the tongue yields itself under the pressure with tone up and strengthen the vocal condition to your satis¬ seems bent on showing you how it is done.” This heights in some features of his work, but is in error them. It is a lazy habit, and is destructive of memory It is generally conceded that the ‘ ‘ old Italian mas¬ little resistance. ” After a great deal of such instruction, faction. The Behnke & Pearce book, properly under¬ concerning the mode of treating the upper register of the as well as of much that might be called incidental ters ’ ’ made singers, though they knew but little or meant that where he looked for mnsic and expression, stood and taught, is the best work for such a case. as to pressing the finger down and pressing the tongue | [Further questions on this subject solicited.—Editor. ] female voice. His pupils all sing a perfectly safe and knowledge. Let us get clearly at my meaning by illus¬ nothing of the science of voice as we know it to-day. up, etc., the pupil is told, when the result is satisfactory, he found mechanism and Belf-consciousness. He asked exceptionally fine middle and low tone, but the upper tration. They did know, however, much of the art of singing; to sing a tone. Think of it! The same process is gone for bread and received a stone. The singing that he U. M. F.—The writer has never used any particular author in teaching his pupils sight-singing. Those he extreme notes are lifeless, devitalized, and colorless, Let us suppose that we are studying a group of songs the art pure and simple, founded upon natural laws. through with the soft palate, except that the ball of the heard was subjective, not objective. In his view the thumb is pressed against it. Then there is that which has taught by the old “movable Do ” method have usually by Robert Franz ; probably the name at the top of the singers were thinking primarily of themselves, of their where they should properly serve the requirements of They made great singers, which proves that one may is called the secret spring of the diaphragm ; the panting had their early exercises written for them and printed stress and climax. His ideas of an even scale are im¬ first page will appear as “Franz” or “R. Franz.” know the art of singing and yet know little or nothing movement; tearing up paper into bits and throwing technical achievements, and of the impression these exercises selected to meetthe requirements of individual perfect, or his method of getting such a scale is at fault. How little a name suggests to us until we accumulate of the science of voice. Artistic singing is more mental them upon the floor and making the pupil pick them made upon the listener, thus asserting personality fatal cases from a very extensive library of solfeggii, vocalizes, up while holding. and repertory. The success of a sight-singing teacher de¬ Now, should he notice my observations in this particular, facts which bring out the individuality of the man ! than muscular, and more emotional than mental. The to that unity of spirit which it is the artist’s business to A gentleman studying in Boston was asked by a friend pends not upon the teacher, but upon t he pupil; those who After we have grown a little in appreciation of the bring about between himself and his audience, and in naturally he would say that I am the one who is narrow ; old Italians were an emotional and impulsive people, what his teacher taught him. He told him about having desire to learn to read will do so with even very meager but the facts as applied to this case are against him, for beauty and charm of his songs, the name, which at first and their inner, higher, truer, their emotional nature to pick up the bits of paper from the floor. “Well, what which alone the principle of art can thrive. This is the material. Unless pupils are industrious, sight-singing all of his pupils give evidence of this defect, while the was only an empty sound that perhaps we had heard and temperament was the real motor power of the voice, else does he teach you? ” asked the friend. “ He makes mental attitude which is all but universal. There are, will not be acquired, even though a library of excellent helps and methods were at their disposal. The most con¬ voices of the pupils of scores of his confreres are better often, becomes personal to us ; we wonder who and what as it is to-day with all great artists. The old Italians me hold my breath and move the piano around the of course, exceptions. Sometimes an honest, earnest, room.” “ Did you learn to sing ? ” “ Well, no ; I can’t venient book yet published for giving the pupil a clear he was ; what is his status in the world of music ; enlightened soul shines self-forgetfully forth during in this regard. His pupils fail where theirs succeed, were slow but sure. We now know more of the true say that I did learn to sing much ” said he, “ but I did idea of the application of the “movable Do” to the and his reputation at large suffers from this fact. The through what experiences he had passed to equip him so science of voice than they did ; hence accomplish more learn to move the piano like the d-.” musical performance, and you perceive the glow which different keys is called “ Primary Elements of Mnsic,” thoroughly for a special field. One song invites a study by Dr. H. R. Streeter ; published by Oliver Ditson. question is, Should he not institute a rigorous examina¬ in a given time. {To be continued.) comes of imagination and feeling ; but these exceptions THE ETUDE 59

musical are satisfied. But a really musical family never Do not delay sending in your advance orders for vol¬ is not found in songs so frequently as can be desired. It 58 done by Schmoll in these studies. They will be pub¬ feels satisfied with what their children can do; they ume II, as it will not be a long time before it is on the is also a song to be used apart from any more teaching lished in a number of books. We will make an advance ever look forward to a better musicianship and finer market. offer on them, so that every one can have an opportunity value. It is artistic. playing. The former will employ a music teacher a Volume i is grade I and II ; Volume n will contain of examining them without much outlay. For 20 cenl s “The Dancing Sprites,” by Carl Bohm, is one of term or two, the latter for from five to ten years for material in grades II and III. we will send one dollar’s worth at retail, and pay those melodious pieces which this popular composer each child. The music journal comes in here and helps •% postage When the amount is charged, we do not pay never seemed to have failed to produce. All the quali¬ to enlarge the numbers who belong to the cultured class. postage Those of our patrons who receive regularly our We have recently come in possession of the plates of ties which have made the compositions of Bohm so popu¬ new music “on sale ” will receive them in our monthly the “ Voice Training Exercises” of Behnke & Pearce lar are to be found in this graceful piece. It is a picture packages. We only desire to state that we have some¬ We are constantly receiving letters, and in nearly (soprano edition). These exercises are, perhaps, the most in tones. thing valuable, and teachers should know of it. every issue of The Etude we answer, in the Question popular of any among the best teachers. special offer price, but in such cases transportation The following is a list of the names of teachers of and Answer Department, questions about advanced The work we can thoroughly recommend to all voice HOME NOTES. Mason’s “Touch and Technic” that have been received charges will be added. teachers. They form the very first exercises for the The prize contest for essays is on, and will soon close. work ti the reed organ. We publish four volumes of since the appearance of the January issue. We will development of the voice. The retail price of the work The “Presto,” of Chicago, has issued a splendid “Presto Year- The details of this can be found in another column. It melodiouj studies, fully annotated, with minute direc¬ continue these lists from time to time as names accumu¬ This is the best month in which to work up clubs for is 60 cents. We will, however, make our usual special Book,” which is particularly valuable to the music profession and is open to every reader, and more than one essay can be tions for all the special reed organ effects, edited by late. If you use Mason’s “Touch and Technic,” send The Etude. Our liberal premium list was publisbe offer on the work for this one month at 20 cents each. trade. A very excellent feature is the comprehensive record of sent by the same writer. It is contended by many that Charles W. Landon. Send for copies. musical events in 1898. It is profusely illustrated with portraits of in your name, also the names of any teachers you know in the December and January numbers, and should This offer will positively be withdrawn at the end it is the duty of every musician to cultivate two things, musicians, cuts of buildings devoted to musical purposes, and pic¬ who are using the system : appeal to many of our subscribers. Our deductions o of the present month. even if no great talent for either exists: One is to com¬ tures of fancy. clubs are most liberal. Thus, two subscriptions, whic Valuable results come from inducing advanced Mr. E. R. Kroeger, of St. Louis, received very flattering notices R. W. Jackson, 67 Lenox Road, Brooklyn, N. Y. pose something, simply to test his mettle ; the other is to Mrs. Carrie E. J. Heaton, Pomona, Cal. are regularly $1.50 each, can be had for $2.70 ; a clu o pupils to read The Etude. They find that the very from the local press on the occasion of the performance of his over¬ write of his art. Every musician nurses this secret MUSIC IN THIS ISSUE. Miss Julia C. Hall, Cartersville, Ga. twenty, for $1.00 each. Those who are interested can things that their teacher is presenting to them are in¬ ture “ Thanatopsis ” recently. The work employs a solo viola, and ambition. The greatest good derived is personal devel¬ is intended to be a representation in tone of Bryant's celebrated Paul McFerrin, Cameron, Mo. have a premium list sent to them. The Etude has dorsed by the leading musicians. This gives them faith St. Clara Academy, Sinsinawa, Wis. opment. If a subject is not clear to you, the best thing poem. never been more popular than to-day. The increase m in their teacher. Richard Wagner is a melodist—even if some critics Seattle Conservatory of Music, Ravenna, Wash. to do is to write about it. Investigation will clear up Frederic W. Root, of Chicago, has arranged several lectures of Mrs. Fannie E. Miller, Stillwater, N. Y. circulation this winter was much larger than at any time seem to doubt it—as truly as any who pose under that great value to students of music and to musical organizations. Two any doubtful points. The matter of publicity is sec¬ Augusta Wilson, Unionville, Mo. in the previous history of the journal. Pupils realize term, but he did not write in that style at all times. of the topics treated are “The Real American Music” and “The ondary. If the productions never see the light of day, Vesta E. Wood, Aledo, Ill. the benefit of the music pages ; teachers feel that it is Almost three hundred pages of the best music are The“ Prize Song ” from the popular opera, “ Die Meister- Resources of Musical Expression.” Mabel Simonds, Watertown, S. Dak. they have nevertheless served their purpose ; at least given in The Etude every year, and these pieces are an The Brooklyn Oratorio Society, Mr. Walter Henry Hall, Con¬ Mrs. John C. Owens, Southard Street, Trenton, N. J. an advantage to urge their pupils to subscribe, while singer,” is an example of Wagner in his happiest vein as so far as their author is concerned. The contest, to ductor, is to give a performance of Verdi’s “Manzoni Requiem,” economy to pupils and a help to teachers in giving them a writer of melody that remains with the hearer. The Miss Carrye Fair, Elmer Street, Trenton, N. J. they themselves are able to gather new and valuable February 1st. A strong quartet of soloists has been engaged. A which all are invited to contribute, is an opportunity or sufficient music for teaching purposes, enough to keep Mrs. Mary B. Skillman, 48 Ewing Street, Trenton, N. J. ideas on teaching. Every music-lover ought to read transcription in this issue is condensed from the complete biographic and analytic program has been prepared by Mr. J. incentive to those who require a little urging. M. Elcock, Boonton, N. J. The Etude. We have a number of special attractions the pupil interested and advancing. Parents appreciate aria, and gives the leading themes in a simplified Francis Cooke, a frequent contributor to The Etude pages. Miss Mary Simpson, Rutherfordton, N. C. this feature from its economical side. Mrs. C. E. Hageman, Farmer, N. Y. for our readers in preparation. The standard hitherto arrangement. This air is considered one of the most Mr. Charles S. Skilton, of the State Normal Schools at Tren¬ maintained will be adhered to most strictly. What we The work of W. T. Gates, “ In Praise of Music,” is beautiful ever written, and will prove a favorite with all ton, N. J., has arranged a series of recitals on “Modern Russian desire is that every teacher and every pupil of music one of the neatest books ever issued from our press. It players. Music,” “ Eighteenth Century Music,” and “ A Midsummer Night’s We desire responsible agents to solicit subscriptions Dream,” with Mendelssohn’s music. To those of our subscribers who would like to have may know of The Etude. We are now offering the has 365 quotations from the best authors on music—one “Danse Ukraine,” by Th. Kirchner, is a splen¬ for The Etude, those who can give all or the greater Mr. W. L. Calhoun, who was abroad for some time, studying the gems of Grieg’s music we make a most excellent most liberal inducements to subscribe. Let every teacher for every day in the year ; just the book for a table in a did example of the characteristic musical spirit of the part of their time preferred. We offer liberal cash com¬ under several eminent teachers in Berlin, has reopened his school offer at this time. We have an “Album of Grieg’s call a meeting of his pupils and present the matter to studio where pupils gather and wait for lessons, for a Slavonic race. In the days when Poland was the bul¬ for piano instruction in Carthage, Mo. missions or premiums, furnish free sample copies, and Music,” published abroad, which is gotten out in the them. This can be done at the regular pupils’ recitals. prize at a pupils’ recital, or for a gift book. wark of Christendom against the Mahommedan Turks, Mr. Walter N. Dietrich, who makes a specialty of Russian aid you in every possible manner. Write to us. finest manner, with an excellent portrait of the author We will send a number of sample copies for this pur¬ the Ukraine was inhabited by the war-like Cossacks, the music, has been engaged as a teacher in the Philadelphia School of Music, Miss Kate H. Chandler, Principal. on the fly-leaf of the work. The volume contains sixty- pose. The Etude is a journal that can go into every finest horsemen of their day. They were a wild, turbu¬ During the past month we purchased the entire Edward Baxter Perry left Boston in October for a concert five pages of music. Only the most popular of Grieg’s family. When ordering any of our publications not directly lent race, given to drink and wild revels, in which the stock of W. A Pond & Co., of New York city, with the trip of forty dates, beginning with Providence, R. I., and ending at compositions are in the volume. The “Norwegian '.*• dance played a prominent part. Strongly marked exception of their own publications. This is one of the from us,—that is, from your local dealer or through any Omaha, Neb., including points in New York, Michigan, Illinois, Bridal Procession,” the “Album Leaf,” the “Humor¬ rhythms and a prevailing minor character are almost We are now in perfect condition to fill orders for any most important transactions in the sheet-music trade for other channel more convenient to you,—be sure that Kansas, Nebraska, Iowa, and Missouri. Last month he started on a esque,” and the very best of his lyric pieces appear in invariably found in the music of the Slavonic people. Southern tour, which will occupy him until the middle of March. piece of music. Our stock, now that we have added many years. Pond & Co. will, in the future, devote you mention that you desire the Presser Edition, as a it. In all there are twenty one pieces. The remainder of that month and April he will devote to a number that of William A. Pond & Co. to our own, is one of number of our works, owing to the care and manner “In Fair Poland,” by T. L. Rickaby, is written in We have only a limited number of these albums, themselves to selling only their own publications, just as of short trips in the vicinity of Boston, playing upward of a hun¬ the most complete in the country. We can fill orders with which they have been published, have been suc¬ one of the most popular dance forms of to-day—the dred concerts before May 1st. which sell for $1.50 retail. So long as our lot lasts we the great majority of the large publishing houses are with the greatest rapidity and accuracy. We open cessful ; and successful things always have imitators. mazurka. It will be found full of characteristic feat¬ Mr. E. A. Smith, Fargo, N. D., and a number of his pupils gave will send them postpaid for 50 cents only ; if charged on doing at this time; among them, John Church Co., accounts with all teachers in good standing ; we protect H. T. Gordon, and S. Brainard’s Sons Co., who have ures, both in melody and harmony. The Poles were the eighty-sixth musicale of Fargo College, January 10th. Mr. account, the postage will be additional ; but if 50 cents Smith gave a short talk on musical topics in connection with the the interests of the profession in every way in our power; all given up the retail business. the inventors of this dance. We feel sure that this piece cash is sent, the postage will be included. All of the supplements which have been given in the recital. we reject accounts from pupils and do not accord them The tendency in the music trade at the present time will be very popular. Grieg is becoming more and more popular as a com¬ A student’s concert will be given at the National Institute of any special privileges ; the best editions only are sent; past with The Etude are to be had from ns, printed on poser every day, and this is a rare opportunity to become is to separate the publisher from the dealer, thus follow¬ “ Fascination,” by C. Weber, is in the ever popular Music, New York city, February 15th, at which Mr. Frederic Bran- our ’£ on sale ’’plan is a great benefit to our patrons. heavy plate paper from the original, 22 inches by 28 acquainted with the gems of his music without very ing the custom of the trade in Europe, where the pub¬ gavotte rhythm, and well deserves its title, for the mel¬ deis’ “ Impromptu in C Major,” which was awarded the prize for inches. composition in the contest instituted by The Etude last year, will We solicit the patronage of all music-teachers, whether lisher is seldom also a dealer. ody progresses in such a way as to accentuate the pecu¬ much outlay. These are the most suitable ornamentation which it is be rendered. one or a thousand miles away, feeling confident that we The stock purchased from Pond & Co. is one of the liarly attractive lilt of this dance. It calls to mind a possible to get for the musician’s studio or home. We The “Sunday Herald,” of Baltimore, Md., recently gave a note can give satisfaction. We can save six hours and more group of merry dancer’s with no thought but for the mo¬ largest and most varied in the country. To make room on Mr. Henry Schwing’s work as a teacher and musician. Mr. to customers in the South, Southwest, and West over sell them for 50 cents, well packed in a roll. Riemann’s “Dictionary of Music” is still out of for it we have taken another entire floor over our present ment of enjoyment. It is to be conceived and played Sell wing came to this country in 1846. New York service. Send for our catalogues and terms. We can furnish the pictures framed from $2.50 up, or print. We are in hopes that we will be able to fill all rooms, thereby almost doubling our capacity. Me have in such a mood. Mr. Carl Faelten’s work in Boston is meeting with marked we can furnish simply the four pieces of the frame all back orders during the present month. this stock all in order, and are ready to fill orders from it. success. Six new classes have been organized since the holidays mounted, ready to be put together, for 60 cents and 80 “Elfin Dance,” by A. Jansen, is a beautiful example This large increase to our previously ample stock will and the hall used for recitals has been remodeled, now having a We have just received a large stock of Grove's “ Dic¬ cents,—the first a two-inch plain oak frame, and the of the poetry and grace of this composer’s work. Those seating capacity of about 150. Mr. Faelteu gave the first recital in enable us to fill orders with the greatest promptness and We will soon publish a new “Sonatina Album,” tionary of Music.” This work is in four volumes with latter a two-inch ornamented oak frame. Transporta¬ who have read “A Midsummer Night’s Dream” will the new hall January 5th. despatch, since we now have on hand everything that is edited by Mr. Maurits Leefson, the distinguished pianist an extra volume of index. The retail price is $25. tion is not included in these prices. have no trouble in picturing, in fancy, the revels of the The Los Angeles Conservatory of Music held its certificate and in demand. We can, without any hesitation, affirm medal concert during the Christmas holidays. The prizes were pre¬ and teacher, who has gained a justly-deserved reputa¬ We make most liberal terms to any one desiring the set. fairy people. Delicacy and the utmost poetry of ex¬ that our stock is one of the most complete in the country. sented by Mrs. Emily J. Valentine, principal. tion for careful, thorough and practical work in editing It is the very backbone of a musical library. pression must be woven into the playing of this piece. A few figures in regard to this music will no doubt Several of Mr. Wilson G. Smith's pupils gave a successful reci¬ the classics. The aim of this new work is to present to The “Sight Reading Album,” by Charles W. Lan¬ prove interesting to our patrons. It required five rail¬ One of the gems of the opera “Aida” is the “Tri¬ tal at his studio, in Cleveland, recently. It is a great advantage teacher and player something pleasing, and yet of real don, is meeting with a large and growing sale. It sets when a teacher’s room is large enough for informal recitals. Pupils road cars to bring it to Philadelphia. If the pieces which umphal March. ” In this number we print a very pleas¬ We have in press a set of “ Studies for the Piano,” fed much more at home than when they go into a regular concert practical value. The old-beaten track of Kuhlau and forth a new idea in a most practicable manner, which is ing and simple arrangement, by the popular composer, by A. Schmoll, whose works are considered by many make up the entire lot were placed on top of one another hall. Clementi sonatinas has been avoided. Newer and fresher expressive reading at sight. The introduction to the H. Engelmann. The melody of this march is one that they would make a pile 1500 feet high. If the pieces were Mr. William H. Sherwood played with the Paur Orchestra in material has been selected, and at the same time the competent critics as the most useful and pleasing of any work fully explains the workings of the mind in sight “sticks” in the mind of the bearer, and as arranged New York last month, giving the Schumann Concerto in A-miuor, of the modern writers. The contents of the volume laid end to end they would cover a distance of 780 miles. idea kept in view was a work less difficult than the sona¬ reading, and the music pages are, perhaps, the finest The value of this stock at retail price is $390,600. presents a piece that will please in the family circle or Op. 54. He also played recital engagements in New Brunswick, N. J., tina albums now available. were selected from Sehmoll’s complete works, and and Poughkeepsie, N. Y. His series of recitals in Chicago, which music in the easy grades which has ever been gotten in recitals. edited by Mr. Ernest R. Kroeger, of St. Louis, one of began in December and will close in March, introduces compositions A short account of the sonatina form has been included together. They have been selected with a view of the best of our American musicians, teachers, and com¬ “When Love is Kind,” an old melody, arranged by Dr. S. N. Penfield and Frederic Brandeis, whose names are well in the work, with suggestions in regard to analysis, the The Etude for March wiU contain an interesting making sight reading easy, and also to give a superior posers. They are carefully graded, beginning about by A. L., who is the mother of Liza Lehman, the popu¬ known to the readers of The Etude. whole design being to supply teachers with a good work¬ account of Leschetizky’s special ideas on teaching, by collection of easy pieces. grade II or III, closing about grade Y or YI, on a scale lar composer of the music to “ In a Persian Garden,” The faculty of the Bollinger Conservatory of Music, Fort Smith, ing introduction into the classics and classical forms, Miss Mary Hallock, of Philadelphia, a pupil of the cele¬ The work is meeting with a hearty reception, and is of X. They form a most agreeable supplement to Mr. is a song within the reach of the average voice of me¬ Ark., gave an interesting concert recently. and, at the same time, music that can be played and brated Viennese master. The story, “ The Transforma¬ being adopted by leading schools and the leading teachers Mathews’ “ Standard Graded Course.” Schmoll is a dium range, and will be found well adapted to teaching The musical department of the Virginia Female Institute, Staun¬ enjoyed for its own sake, and not because of mere didac¬ tion of a Genius,” will be concluded, and another series as a standard work in their teaching. delightful composer, always refined, always interesting. purposes. The words and music will be found well ton, Va., is doing good work, judging from the programs received tic value. Not one dry page will be found between the of very interesting replies on the subject, “How to Volume I contains eighty pages, and retails for $1.00 ; from Mr. F. R. Webb, director. suited to each other. covers of this book. His fund of inspiration is marvelous, many of thestudies Treat Pupils Who Have Previously Studied With volume ii is being prepared, and until it is on the Mr. Louis C. Elson called at The Etude office last month, on his being genuine poetical gems. The technic of these “Forever Mine,”by Mr. H. W. Greene, editor of As usual, prior to publication, we make a special offer Another Teacher ” will be given. The regular depart¬ market, which will be within a month or so, we will way to deliver lectures at Wilson College, Chambersburg, Pa., on studies is always shrouded in lovely music. Horace of a low price on the book, which offer will be good for ments will be found up to the usual high standard. send, postpaid, to all those who send cash in advance, as the Vocal Department of The Etude, is thoroughly “ Folk Music,” and at Cornell University, on “ The Orchestra.” said, “You must make the useful agreeable,” and that but a short time. We will send a copy of this “ Sona¬ many copies as desired for 25 cents each. If cash does modern in style, and will be found very useful to teach¬ Miss Alma Powell has won some very flattering notices for her seems to be Herr Schmoll’s motto. There is no reason V tina Album,” postage paid, to every one who sends 25 not accompany the order, then postage will be charged ers in developing the power of clear enunciation on singing of Erkel’s difficult aria for soprano in his celebrated Hunga¬ why the drudgery of acquiring facility on the keyboard When the children of the home can play a few gospel cents for the book. Customers having good, open ac¬ additional. tones in the medium part of the voice, a quality which rian opera, “ Hunyadi Laszlo.” counts can order this book and have it charged at the can not be made [pleasing. This, we claim, las [teen hymns and two or three marches and dance , the less

* THE ETUDE 61

J^ECEHTLiY PUBLISHED- 2654. Leybach, J. Valse Brillante. Grade TfiE ETUDE III... 30 60 The logical sequence and synthetic plan of Schung’s In waltz tempo, very brilliant and effective, of a I have been taking The Etude for eight years, and “New Exercises in the Construction ot Melodies” are military character. May be used for the reed organ. „ LL : rahle The student who follows the directions given ph/e Excellent... 2655. Engelmann, H. Op. 332. Society eoold not grt.*>«“* P»P» work—which assumes that he be equipped with OF . . . fn The Gbe.. March. Four Hands. Grade II. 60 me harmonic knowledge-and will continue his studies sssssri,b«f. •“'‘scss ^_Piano Pieces. Very brilliant and effective, both parts contributing the taste in pure music, and gives one something to loo in harmony along with the discipline offered by the Ex¬ THEO. RESSER, to work out the design, thus adding to the player’s Xatest... P interest. Will suit recitals or entertainments. ercises ” will be amply repaid for his labor. Setting out forward to each month with the “s^plea^ure.^^ By B. L. WHELPLEY. with the invention of the melodic germ, combining one 2656. Bassford, W. K. Op. 121, No. 2. with another, successively causing to grow out of these Ipubltcattons 1708 Chestnut St., I wish to speak a good word for The find^t 1 Albumleaf, - - $0.50 3. Dance of Gnomes, $0.80 Carnival Fancies. March and higher and higher forms, till the evolution of a short 2 Through Brake 4. In the Forest, - .50 PHILADELPHIA, PA Two-step. Grade II. 50 not know how I have gotten along wi ’ t piece is reached, and at every step paying attention to and Brier, - - .75 5. Onder Bright Skies, .75 4**a*(a*a** such a help. I have tried a miml.erofjoiiaisl^ A useful teaching piece in a popular rhythm. It is the rhythmic, mensural, and motional changes which none seemed to come up to my ideal. The Etude see These five brilliant and clever character pieces stand out Any of the following sent post just such a piece as the average pupil likes. he divisions of a melody may undergo, the student I am Principal of the Music Department in a large to be what I have been looking for fo^a number of yea . pre-eminently as gems. They are written in simple classic paid on receipt of marked price. 2657. Bohm, C. Op. 99. Cheerful and conscientiously working out the unique Exercises” school, where I have taught eight years, having in my form lightly organized, but spontaneous and natural in Complete catalogues sent fre< Serene. Grade III. 40 can not fail to have acquired, at the end of such a department over forty pupils. I have read your etude effect, every piece being singularly “pianistic.” They are on application. To responsible teachers we will send 01 I am much delighted with The Etude, and consider course a responsive technic in this' particular field, In rondo form, with brilliant and pleasing themes. a long time. It has become an indispensable treasure. heartily recommended for study or concert, and being very examination any of our publications at special prices. A good representative of this favorite composer’s style. Mrs. Sallik Sloan Cobb. it the best musical journal published^ ^ Hkeman. and in a minimum length of time. It is just such varied in character, any or all of them may be used in a Mail orders solicited and filled to all parts of the country 2658-2662. Schmoll, A. Op. 102. Five technic which the would-be composer must possess if group. They have only to appear on a few programs when I have been a subscriber to The Etude for nine Miniature Songs Without Words. The supplement I ordered with the last Etude is fine his soul shall flow forth into tones unimpeded. all of these selections will become popular. 2570. Engelmann, H. Op. 340. The Re¬ years, and I now could not do without it. I have taken I shall recommend the work wherever an opportunity Grade II. many other musical journals, but The Etude surpasses The Etude I like more and more. My PPP'1®. “JOy turn of the Heroes. Grade III. 40 for doing so presents itself, and urge my own pupils not ADAM GEIBEL. Cuckoo’s Call. 20 them all, both in literature and the excellently edited much the duets. Mrs. M. M. Gelzer. A good, modern march, with a vigorous, attractive to be without it, as the “Exercises ’’form an important melody, and rich harmonies. It is well adapted for After the Carnival. 20 music, the latter making The Etude of more than ordi¬ Allow me to congratulate you upon the great improve- chapter, for the most part but vaguely touched upon in FROM FIELD AND FOREST. entertainments or the family circle. The Swallow. 20 nary value. I am a graduate of the Boston Conservatory ment, both literary8 and musical, of The Etude in the treatises on composition. They will doubtless be incor¬ 1. What the Brook 3. Dance of the Elves $0.30 Pouting Johnny. 20 of Music, and in Boston and vicinity have a large class 2576. Read, H. L. Valse Brillante. Grade past five years. It is far superior to any Aniericanp porated in every thorough course of instruction as soon Said, - $0.30 4. The Echo, - - - .30 Laughing Jenny. 20 of pupils, among whom I never lose an opportunity to IV. 65 lication of its kind. Mrs. L. H. 2. The Bee and the 5. Hark, Hark, the Lark .30 This set is one of the most interesting that we have as they become generally known. Nathan Gans. An effective concert waltz, full of character and advertise this valuable paper. 6. Rustling Leaves, .30 published. Each one has some characteristic feature Clover, - - - .30 brilliant, while at the same time not very difficult. Miss Minnie L. Owens. I think Mathews’ “Standard Graded Course” one of expressive of the title. We cannot too strongly com¬ It is just the piece to give an ambitious pupil for I am a late subscriber to your magazine, The Etude, mend these pieces to teachers who are looking for the most thorough courses I have ever examined. incentive to work. Allow me to express my pleasure in reading The Mrs. Bessie H. Ting. but you may count me a life subscriber, as I have never esting, encouraging, and uncommonly useful series of dis¬ teaching material of the very best kind. Schmoll is a fascinating writer and musicianly in the highest Etude. The supplements I have received I hung above seen anything in the line of a musical journal to com¬ guised (dudes for inexperienced performers in the first and 2587. Henselt, A. Love Song. Four Many thanks for the copy of “Masters and Their degree. my piano, Rubinstein being an incentive to my sons pare with it It is being sent to me as a birthday present, second grades. A “something to play” style of compo Hands. Grade III. 40 Music ” which I consider an excellent work. 2663. Rendando, Alfonso. Song of the practicing. Mrs. Myron A. Mahan. and I am assured $1.50 could not have been invested in sition is the pervading quality of the set, yet without the A fine arrangement of Henselt’s celebrated piece, Mignonette Dobyns. Peasant. Grade II. 30 anything that could give me half the pleasure, to say slightest sacrifice of artistry, melody, or instruction. Each and not difficult. It is one of the most beautiful I can not begin to tell you how highly I prize The melodies ever written. We have received “Ear Training,” by A. E. Heacox ; nothing of the profit, it will be. I have been in the of these little two-page pieces embodies one elementary In the “ song without words" style, the main theme Etude. I could not do without it. The duet feature being a solo in the bass and tenor register, with an “The Pronouncing Dictionary of Musical Terms, by music school all winter, and will teach this spring. If technical point or more, and is, at the same time, so sug¬ 2601. Zitterbart, F. Curfew. Song for of last year was fine. Mrs. H. F. Mohrman. accompaniment in the right hand. The piece can be H. A. Clarke, and also “ Harmony,” by the same author. successful in making up a class, hope to be able to get gestive of its title as to be very helpful in developing the Medium Voice. Grade III. 25 played on the reed organ. “In Praise of Music,” by W. F. Gates, I find to be They are all the most useful publications for teachers you some subscribers during the time, as I am consci¬ imagination of the child-beginner. A song that will repay study. It is melodious, 2664. Engelmann, H. Op. 360. The Ar¬ replete with the most helpful, suggestive, and inspiring well written, and full of contrast in sentiment and ever offered. We could not get along without them, entious in saying The Etude is worth twice the price expression. rival of Santa Claus. Four Hands. thoughts pertaining to music, from all classes of our now having used them. W. H. Richmond. asked for it. Blanche D. Corbin. Grade III. 40 best minds, both ancient and modern. Being arranged 2603. Marks, E. F. God is Love. Duet I am very much pleased with “ Landon’s Organ A descriptive piece, indicating the spirit of Christ¬ in short selections, one for each day in the year, makes “ In Praise of Music ” is a masterly effort, and reflects ATTRACTIVE SOROS. for Soprano or Alto. Grade III. 40 Method,” also with “School of Four-hand Playing. mas jollity and the traditional helter-skelter galop it convenient from which to choose quotations, and so much credit upon the compiler. The many beautiful ... BY ... A very useful duet for the church or social meeting. with bells jingling on all sides. ’ Maude Beaman. quotations will certainly do much toward impressing the Both voices are given interesting work and the soug delightful to pick up for a few moments’ reading. ETHELBERT NEVIN. will be found thoroughly attractive. 2668. Zitterbart, Fidelia. The Secret Roberta Kent French. We wish to testify our appreciation of Sefton’s “ How true worth of music upon the average careless musician. Wish. Waltz. Four Hands. I wish this valuable work might fall into the bands of The Rosary, - - - $0.50 A Life Lesson, - - $0.50 2638. Bassford, Wm. K. Op. 132, No. 1. I received your new work, “In Praise of Music,’ to Teach: How to Study,” Mathews’ “Mastera and Grade III. 60 every lover of music. h. E. B. Reverie. Grade'll.. 25 yesterday, and am very much pleased with it. The Their Music, ’’and the games ‘ ‘ Elementaire ’’and The It is high praise, yet no more than to tell the truth, to A pleasing waltz, of moderate difficulty, suitable Great Composers.” Sisters of Mercy. pronounce “The Rosary’’the most beautiful and impas¬ A piece that exactly conveys the idea of the title. for the ensemble class. Both parts contribute to the musical library would be incomplete without it. I have received Dr. Riemann’s “ Dictionary of Music,” It is simple in design aud sweet in melody. A. E. Grimshaw. and find it a very valuable book for ready reference. I sioned song yet written by Mr. Nevin. The words are ex¬ general effect. I have derived the greatest enjoyment from reading am very well pleased with it. quisite, and the music of absorbing interest. “ A Life 2039. Harper, W. H. Queen Anne. Old 2670. Schubert, Franz. Scherzo. B-flat The daily readings of “In Praise of Music ” are most “Music: Its Ideals and Methods,” “The Masters and Eva May Kinsley. Lesson” (better known as “ There, Little Girl, Don’t Cry!”) English Dance. Grade III. 30 Major. Grade III. 25 Their Music,” and that exquisite little volume, “Music helpful to the musician and the Christian. has a simple and lovely melody that haunts the memory A piece that should prove as popular as the well- A classic piece, yet very popular and pleasing, which William Reginald Walker. Talks with Children,” by Tapper. Received Clarke’s “Harmony,” and am very much and enhances the pathos of the poem. known “ Dorothy.” Both hands have interesting work. shows Schubert’s great power as a melodist. John J. Bailey. The general rhythm is similar to that of the gavotte. pleased with it. It is just what is wanted. 2671. Bubna, Karl de. Wilhelmina. Grade You are always so prompt to fill orders, that I prefer Mrs. Grace Hebb. sending to you instead of going to local houses. I have received the “Choral Class Book,” and find it CH. GOUNOD. 2641-2645. Armstrong, W. D. Album of III.j.. 30 Mrs. F. B. Wilson. unusually good. The manner in which it is arranged I am very much pleased with Dr. Clarke s 1 Har¬ Hold Thou my Hand. Sacred Song. Four Keys, Five Pieces for the Young Pianist. A delightful piece, using in one of the principal can not fail to be very helpful to the teacher and inter¬ mony ” and have found it of great assistance in teach¬ Grade II. themes the wrist staccato. It is very melodious and I thank you very much for the attractive calendar B-flat, C, D, E,.$0.75 is well adapted for use in recitals. esting and instructive to the pupil. ing. ’ Mrs. Kate J. Roberts. 2641. Prelude in C. 25 sent in December. It hangs in my studio just below One of the most effective and valuable ehurch solos that Mrs. Della C. Peterman. 2642. Court Minuet. 30 2672. Rathbun, F. G. Love’s Yearning. a picture of Liszt, supplement of The Etude. These I hope Mr. Mathews is preparing a V and VI grade have appeared in years. Dramatic and sombre at the begin¬ 2643. Slumber Song. 25 Song for Medium Voice. Grade III, 25 supplements I have had nicely framed. They are. a I think the Landon “ Writing-Book for Music Pupils” book of pieces. The others are so successful. ning, this scena works up to a thrilliqg climax. It is superbly 2644. Gavotte Antique. 25 A fine song that is suitable either to a teacher’s or a great help to me in my work, making my pupils familiar fills a long-felt want for the progressive, thorough Mrs. J. P. Annen. vocal, and has the syncopated accompaniment so character¬ singer’s use. It is quite modern in style. 2645. A Spring Greeting. 25 with the faces of the great composers and pianists, and teacher. I also am much pleased with the “Harmony The “Choral Class Book ” came some days ago, and istic of this great master. The song is published in four 2673. Lange, Gustav. Flower Song. Grade surrounding them with a musical atmosphere. Simplified,” and the Landon “ Organ Book ” is the best I keys, and is well adapted to all voices, but especially to con¬ A set of teaching pieces, suitable for recitals, of is in use in my class. For a class of beginners I con¬ sterling worth. We urge every teacher to make use III. 35 Mrs. T. L. Johnston. have ever seen. I find everything that I order from your traltos. Orchestra accompaniment iB available in C, D, and E. sider it superior to any work that has ever come into my of them. A new edition of a sterling piece, carefully edited, house just as represented, and am pleased with all. I have been using Mason’s “ Touch and Technic ” for hands, and I have examined a great number of books. All works mentioned above sent for examination. 2646. Scammell, A. D. In the Swing. fingered, and phrhsed. some time with excellent results. I am so pleased with Landon’s “Foundation Ma¬ Mrs. Y. A. Brown. Song for Medium Voice. Grade II, 25 Mrs. Carrie E. J. Keaton. terials, ’ ’ for beginners. Mrs. S. S. Black. A pleasing little song, modern in style, that will be AN ATTRACTIVE AND VALUABLE GIFT BOOK I have used Mason’s system of “Touchand Technic” The Landon’s “Foundation Materials” received, and THE PIANO TEACHERS’ GUIDE, useful particularly for encore purposes. for some time, and can not praise it too much, on ac¬ is in use by my nine-year-old son. It is certainly the ... AND ... 2648. Karganoff, G. Op. lO, No. 2. Petite count of the artistic results which attend its use. It is most delightful book I have ever seen for beginners. A Valse. Grade III. 20 In Praise of /VLusic the surest road to intelligent playing, and without in¬ musical kindergarten, I should call it, combining the THE SINGERS’ GUIDE. A beautiful piece by a popular Russian composer. BY W. FRANCIS GATES telligence in playing there can be no music. work and pleasure ; the desired development easily fol¬ Two attractive booklets (containing graded and classified A good study in artistic playing. Paul McFerrin. 12mo, Attractively Bound; Price, $1.00 lows. Mrs. Fred. W. Moulten. lists of recent publications), useful alike to teachers, pro¬ 2649. Karganoff, G. Op. 10, No. 1. Sou¬ fessionals, and amateurs, sent to any address free of I am highly pleased with all your special offers, but Sefton’s “ How to Teach : How to Study ” is a book venir. Grade III. 30 This interesting work comprises three hundred Riemann’s “ Dictionary of Music ” stands as acounselor of rare value to all teachers as well as pupils, and is charge. _ The general character is somewhat of the nocturne in my library. Warren J. Ayer. deserving of many readers. Lynn B. Dana. style, a flowing melody with arpeggiated accompani¬ and sixty-five selections, one for each day of the ment and richly contrasting harmonies. year, by writers of many ages and countries, Many thanks for the precious “Encyclopedia,” by I can not recommend the “Standard Grades ” and the THE BOSTON MUSIC COMPANY Notices for this column Inserted at S cents a word for one insertion, 2650. Grainger, Alfred. At Eventide. expressing their ideas of the purpose and scope of Riemann. It is certainly very fine and far surpasses “ Technic ” too highly. I am prepared to teach Mason’s payable in advance. Copy must be received by the 20th of the G. SCHIRMER, JR., Grade II. the musical art. These sayings are mostly short my expectations. Just such a book of reference is “ Touch and Technic.” Mrs. G. W. Crozier. previous month to insure publication in the next number. 26 West Street, Boston, Mass. A sort of reverie, musicianly in construction and needed for the teachers and students of the day. interesting from the standpoint of melody. Can be and all are clear and incisive. Nowhere can one Sister M. Elphage. I have carefully studied your manual “How to OR SALE—VIRGIL PRACTICE CLAVIER, F Eastern Depot for the publications of G. SCHIRMER, N. Y. used for the reed organ. get a better idea of the scope and limitations of Teach : How to Study.” I find it interesting, and it is octaves, in good condition, cheap. Address Benj. After several days’ examination of Dr. Riemann’s written in excellent language. music as expressed by the world’s most interesting Isaac, 327 Fifth Street, Louisville, Ky. 2651. Grainger, Alfred. Sunshine on the * ‘ Encyclopedic Dictionary ’ ’ and use of the work, it This booklet is indispensable to young musicians. It Prairie. "Waltz. Four Hands. writers than in this beautiful volume. The author seems to me to be all that could be desired, either by aids the scholar who strives onward. RGANIST AND DIRECTOR DESIRES A Grade I... spent much time in their selection and has made teacher or student, in a work of its scope. Not the least It teaches teachers how to win the scholars and draw O position. Teacher of Piano, Organ, Harmony. A simple little waltz, with pleasing melody, useful a book that appeals to all readers of musical feature seems its concise but full biographical features. them into the higher regions of the noble art—music. for the younger pupils, one part being of the same Eight years’ experience. N. E. Conservatory graduate. Hebron Gleason. To old-experienced teachers who have, through years difficulty as the other. literature Piano and Organ Recitals. Best references. Recital TWEKTY THOUSAND DOLLARS of teaching, acquired a certain course, it gives fresh ROYALTY has, within a short time,been paid “ Riemann’s Dictionary ” is what you advertised it to programs on application. Address C. H. E., care of 2652. Concone, J. Op. 47, bis. Sixteen Published by THEO. PRESSER, Phila., Pa. ideas and again awakens the faculties that long have been to two authors, on compositions selected by Light Characteristic Pieces. Grade be. I am delighted with it. Miss Mona Duncan. Etude. one of the members of this music publishing sleeping to new life. R. E. Gutterman. company. We will publish on royalty or II .-. 1 Ppf fpn t is the Profit “ade by music teachers in sell- The “Dictionary of Music,” by Riemann, received. It'U i Cl Uvilli ing our transparent Adhesive Parchment RGAN POSITION DESIRED BY A LADY, IN buy outright. We wish to examinetbe very best A collection of little pieces introducing the various To say that I was delighted does not half express it. No I desire to thank you for your promptness in sending O manuscripts of every grade and character of forms of technic in a thoroughly pleasing style of Paper to their pupils. The convenient, ready-to-use way in which church, in Philadelphia or vicinity. Address E. it is put up. combined with perfect transparency, make it a most de¬ musical library is complete without it. me the copy of Landon’s “Sight Reading Album” so both vocal and instrumental music. We also music. They will interest the pupil and are such as soon after publication. The “ Album ” is indeed filling desire the permanent address of all authors and to commend themselves to teachers. sirable addition to an up-to-date teacher’s list. Blanche Mason. M., care of Etude. Can you not work up a trade among your scholars ? We offer a long-felt want, as nothing of the kind was ever the names of their most successful compositions, bend stamps for the return of manuscripts if 2653. Scholz, H. Op. 4. Minuet. Grade you special rates. The Etude grows better every number. brought before the public, to my knowledge. The sug¬ ANTED—POSITION AS ACCOMPANIST TO you wish them returned if not accepted. W III . Sample Envelope for 15 Cents, Postpaid. Frances H. Flinn. gestions made by the author in regard to each piece con¬ Vocal Teacher. M. P., care of The Etude. THE ALBRIGHT MUSIC CO. A very effective piece in one of the old classic forms, tained in the “Album ” area school in themselves, and Gaylord Bros., Dept. E, Syracuse, N. Y. Dr. Riemann’s “Dictionary of Music” is really a Mention this paper. 195 WABASH AVE., CHICAGO! carefully edited and fingered. most admirable work. It is very ably written and the the pieces can not fail to promote not only the pupil’s WILL PURCHASE CHEAP A SEVEN-OCTAVE facts are clearly stated. The binding, paper, and print¬ reading ability, but also interpretation. The “Album ” Virgil Clavier. No attention unless description ing are excellent. No music student should be without can not be too highly recommended. and price is given. Address No. 132 Nassau Street, this “ Encyclopaedia. ” M. A. Goodnough. J. Sauermann. Room 1421, New York City. * THE ETUDE 63 THE ETUDE 62 THE S. BRAINARD’S SONS CO., PUBLISHERS, CHICAGO. A NEW TRY THEM FOR SPECIAL OFFER Goughs, Colds, FLETCHER MUSIC METHOD Asthma, Bronchitis, FOR VIOLIN AND PIANO (SIMPLEX AND KINDERGARTEN) Hoarseness To Composers. Originated by Evelyn IshtonFletcher, and endorsed by Geo. W. Glut - and Sore Throat. wick Y. 0. D. Parker, Mine. Hope Kirk, Thomas Tapper, M. Anagno" Twelve Piano Lessons Fac-Simile s t sy ?n everY Director of Perkins Institute COLLECTION Music Teachers Only. ON for the Blind, Samuel W. Cole, In response to many requests The Yaroslaw de Zielinski, Signor OLASSIOAL AND MODERN MASTERWORKS JUST ISSUED BY Musical Record has decided to extend Roto to, and many more promi¬ nent musicians, and by the BY the time in which compositions will following conservatories: E. T. Pauli Music Co.’s J. FISCHER & BRO., Pronouncing be received in competition for their Metropolitan School of Music, EMU* LtlEfiLtlflG. Toronto; Toronto College of Publications. ^ ** $1000 prizes, as follows: Manuscripts Music; Toronto Conservatory Dictionary of of cantatas must be received before of Music; New England Con¬ servatory, Boston; Temple Every successful artist and teacher develops in the May 1st; Manuscripts of songs and College, Philadelphia, etc. course of time certain views in regard to the proper rendi¬ We want every Music Teacher in this country tion and interpretation of musical compositions. These All the materials re¬ Musical Terms. compositions for the piano must be individual experiences, if properly elaborated, are mani¬ 7 Bible House, New York. quired in teaching chil¬ who uses a good grade of popular music-teaching received before April 1st. festly of the greatest service to students and professionals. . . BY . . dren are protected by pieces to have copies of the following. The present work presents twelve practical music les¬ THE YOUNG VIOLINIST'S REPERTOIRE The judges are Prof. Horatio W. Par¬ patents, and can be obtained only by taking the course of sons on standard compositions by Emil Libeling, whose Hugh A. Clarice, (Vlus. Doc Miss Fletcher herself. No. 1. BEN HUH CHARIOT RACE MARCH. successful work in every line of musical art is well known A Collection of Easy and Pleasing Transcriptions (University of Pennsylvania). ker (Yale University), Mr. Arthur Foote For information apply to (in First Position) for Violin and Piano. By E. T. Pauli. everywhere. The student who is located at a distance (Boston), and Mr. Reinhold L. Hermann MISS EVELYN A. FLETCHER from musical centers will find, in the remarks accompany¬ Composed by L. KRON. Revised by B. HAMMA. Price $1.00, Sound in Cloth. ,125 Madison Ave., New York This is without exception one of the best and most ing each selection, the most detailed hints as to the proper popular marches of the present day. A splendid teach¬ execution and phrasing of each number. The fingering, TWO VOIS. . EACH 75 CENTS. (Conductor of the Handel and Haydn or to the Corresponding Secretary of the Fletcher Musical Association HERE has been a great need for a first-class, up-to ing piece, now being used by thousands of teachers. A T marks of expression, and the use of the pedal are carefully date dictionary, and we have had this made by.ont Society of Boston). No prize will be Miss Southard, 22 Huntington Aye., opp. Public Library, Boston universal favorite. Fine Bass Solo. Try it. CONTENTS OF VOL. I. indicated, and the whole collection in its entirety is thus of our most prominent musicians and theorists. made very accessible to serious students and inquiring 1. Russian Folks Song.—Der rothe Sarafan. divided. No. 2. CHARGE OF THE LIGHT BRIGADE 2. Know You How Many Stars?—Weisst du wie viel Sternlein stehen? There are included many new and important features not THE jjuEYliOUR. minds. Some selections, like Schumann’s “Bird as 3. The Good Comrade.—Ich liatt’ einen Ivameiadeu. found in any similar publication. No matter how many For full particulars regarding this MARCH. By E. T. Pauli. Prophet,” have never before appeared with the correct 4. O Sanctissima (Sicilian Air). dictionaries your library includes, it will not be complete phrasing, and the publishers conhdently hope and expect 5. Silent Night, Boly Night.—Stille Naclit, Htiligo Nacht. Prize Competition address This is a companion piece to the Chariot Race, about 6 Longing for Home —Wenn ich mich nach der Heimat sehn. without this one. A Collection of Piano Duets. No 4 Grade. A magnificent piano piece; splendid intro¬ that this publication will prove of the greatest benefit to 7. Farewell, My Peaceful Home.—So leb’ denn wohl du stilles Hans. Some of its more prominent features are: 8. Thou, Thou, Dear to my Heart.—Du, Du, liegst mir im Herzen. duction ; very brilliant throughout; great finale. A copy the musical profession at large. The meaning, derivation, and pronunciation in phonetic Following is a list of contents; each number is accom¬ 9. Ah ! How Can I Leave Thee.—Ach I Wie ist’s moglich dann. THE MUSICAL RECORD, of this piece should be in the hands of every muBio 10. Almost Thirty Years.—Sctier dreissig Jahre bist du alt. spelling of Italian, German, French, and other words. PRICE $1.00. panied by a practical music lesson by Emil Liebling. 11. Loreley —Die Lorelei. The names, with pronunciation, of all the mow teacher. 12. The Mill and the Brook.—In einem kiihlen Grunde. 90 and 91 Equitable Building, - - Boston. Andante from Sonata, Op. 14, No. 2.Ludwig von Beethoven 13. May Bree7.es.—Das Mailiifterl. prominent musicians of the last two centuries, with dates An Matin (In the Morning).-...Benjamin Oodard of birth and death, and nationality. The compositions contained in this work are all No. 3. NEW YORK AND CONEY ISLAND 14. Annie of Tharau —Aennchen von Tharau. Bird aa Prophet. Op. 82, No. 7.Robert Schumann A list of English terms with their Italian, French, and MARCH AND TWO-STEP. By E. T. Oaprice. Op. 16, No. 1.Felix Mendelssohn CONTENTS OF VOL. II. of a good standard and of a moderate degree of diffi¬ Eighth Two-Voice Invention and Gavotte..JoAn Sebastian Bach 15. The Watch at Midnight.—Steh ich in finst’rer Mitternacht. German equivalents. Pauli. Invitation & la ValBe. Op. 66.Oarl Maria von Weber 16. The Fir Tree.—0 Tannenbaum. A list of the most celebrated operas, with the composer’s culty. Every one is melodious, and the work will This piece is written in six-eight time, having a bright Nocturne in F minor. Op. 66, No. 1-.Fr. Chopin 17. The Huntsman’s Delight.—1m Wald imd auf der Haide. name. Paasacaille..George Frederick Handel 18. The Birdling's Greeting — Ivommt ein Vogel geflogen. surely please. No better collection of four-hand The sale of this work so far has been unprecedented 1 fance /Vlusic catchy swing to the melody. A special feature of this Second Humoresque. Op. 6, No. 2.„.Edward Grieg 19. University Student Song.—“Gaudeamus Igitur.” piece is a fine Bass Solo, probably one of the best found Serenata. Op. 15, No. 1.Moritii Mosskowski 20. Let Youth be Merry.—Freut euch des Lebens. Send for a copy to examine. pieces has ever before been published. Subject to ^ E, J*w********** in any popular composition; apiece that everybody likes. Slumber Song (Berceuse). Op. 23, No. 7.Ludwig Schytte 21. The Hussar's Reveille.—Was blasen die Trompeten. Turkish March.W. A. Mozart 22. The Last Rose ot Summer.—Des Sommers letzte Rose. a liberal professional discount. 23. The Little Drummer Boy —Ich bin der kleine Tambour. No. 4. SWEET MEMORIES WALTZES. By PUBLISHED ONLY IN BOOK FORM. 24. LoDg, Long Ago.—Lang ist es her. 25. Song of the Plane.—Das Hobellied. Pocket Dictionary of Musical Terms Herbert Clarke. THEODORE PRESSER, PRICE, POSTPAID, $1.00. 26. Bertrand’s Farewell.—Beitrand’s Abschied. 27. German National Airs.—Deutsche Voikslieder. BY THE SAME AUTHOR. first Dance BIbum. One of the finest sets of waltzes published in recent 28. American National Air*.—AmerikaniBche Voikslieder. 1708 Chestnut Street, Philadelphia, Pa. years; a specially good grade and well adapted for teaching purposes. Mr. Clarke is one of the best Brie©, 26 Cents. JYTST TBS THING musicians in the United States. ORGAN BOOKS. PljlCH 75 CENTS. Not so complete as the large one, but all that is nect No. 5. QUEEN OF BEAUTY WALTZES. By EDITION LIEBLING. An Immediate Success! sary for a reference book for pupils. It is published ii ^ to^reserve^v' small form, suitable for vest pocket, and will be found » Otto Heinzman. REDUCED PRICES. most convenient reference book. Twice as much is cot YOUR COPIES OF THE ETUDE. This is without exception the prettiest set of waltzes L. MOURLAN’S tained in it as in any similar work. A collection of 80 pages of dance music of all kinds, published in years, about No. 3 Grade ; very melodious TflH FUSIHST Ifi TflE WOlRliD. and well written. We recommend this piece to the nothing of greater difficulty than the second grade. TP ETUDE BINDER attention of teachers, believing it to be specially well VOLUNTARIES FOR THE ORGAN Published by THEO. PRESSER, Carefully selected. For a collection of very easy music adapted for teaching purposes. We call the special attention of teachers to our “Lieb¬ (PIPE OR REED). ling Edition ” of Selected Studies from Heller and STATION A. PHILADELPHIA, PA nothing better can be had. Written on 2 Staves. Edited by G. BURTON. It is simple but complete, cheap but durable, No. 6. AMERICA FOREVER ! MARCH. By E. Loeschhorn, edited by Emil Liebling, who has added valuable and practical “ Bemarks” regarding each study. Bound in Flexible Cloth, $1.50 Net. Printed and bound in our usual fine and substantial and beautiful in appearance. T. Pauli. The following numbers are now ready: Although there seems to be a veritable supply of Voluntary Books Tmo jMeua Collections of style. _ It has a solid wooden back, which always keeps it The latest, greatest, and best march ever written by in circulation, we nevertheless feel encouraged to add others to this Mr. Pauli. Twenty thousand copies printed the first long list, simply on account of the steadily increasing demand for the Standard and Popular Songs. in shape, and it does not mutilate the contents. Opus 45, 46, and 47 of Heller Studies. issue; a bright, stirring composition ; good from start to select organ books which we have placed on the market. Published by The copies are instantly but securely bound by the Opus 65, 66, and 84 of Loeschhorn Studies. This work of Mourlan’s is destined to find a host of warm admirers finish. The finale gives a special treatment of the tune among those acting in the capacity as organists. The selections have thin slats which run the length of the periodical, and yet *' America,” that makes it thrilling and effective. Don’t PRICE OF EACH OPUS OR VOLUME, $1.00. been made with the greatest care, admitting only such pieces which THEO. PRESSER, 1708 Chestnut St., Philadelphia could be safely recommended to be played at any church service. can be removed at pleasure. fail to order a copy of this piece. We feel positive that no person seeking a pleasing style of music, Each Binder holds twelve copies, or a fall year’s sub which is suited for either Pipe or Reed organ (Pedal ad lib.), will have ^TANDARD ENGLISH SONGS... any cause for disappointment in the Mourlan’s Voluntaries. None of Bcription, of the Etude. the pieces contained in this col'ection have ever been reproduced in JUST PUBLISHED. any other work published in this country. Of all Music Dealers or the Publishers. Price, Postpaid, $1.00. SEE WHAT WE OFFER. MORRISON’S PIANO STUDIES. ^TANDARD SONGS @ BALLADS ^ THEO. PRESSER, 1708 Chestnut St., Philada. We believe the above pieces to be the best J. L. BATTMANIN. published in their class, and in order to introduce BY C. S. IWORRlSOfl. GEMS FOR THE CABINET ORGAN. MUSICAL GAME. them fully and give the readers of The Etude an Edited by O. BURTON. opportunity to obtain them at special low rates, Vol. I. 34 Marches.$1.50 Net. Students will find Morrison’s Scales studies indis¬ we agree to furnish any one copy selected for 25 Vol. II. 69 Voluntaries. 1.50 Pplee 75 Cents Hash. THE GREAT COMPOSERS pensable for execution, touch, easy graceful position, etc. cents, or any four copies for 75 cents, or all six The book contains all the major and minor scales in their T. MEE PATTISON. PRICE 50 CENTS. copies for $1.00. This is less than wholesale rates. relative order, together with arpeggios, the common 15 Voluntaries for the Pipe Organ (10 Intro¬ chords, arpeggio chords, and chromatic scales, with fall The first contains all that is good in English song liter The Most Important and Interesting Musical In making an order be sure to mention this “ ad ” ductory and 5 Concluding). Edited by E. explanation by the author. On the part of the publishers Came Ever Issued. in The Etude, otherwise the rate will be 25 cents J. Biedermann.$1.00 atnre—67 songs by the best writers. no expense has been spared to maintain that high degree The second contains popular songs by the best English Every card has an excellent likeness of a composer a copy throughout. Our editions are the hand¬ of excellence attained by them for sharp, clear plates, fine contained upon it. In addition to being a most interest¬ TH. DUBOIS. somest issued by any publisher; amounts for less paper, printing, and binding. composers, also such as Gounod, Pinsuti, Tosti, etc. ing game, it being like the well-known games of litera¬ than $1.00 can be sent in postage stamps. Make 10 Compositions for the Pipe Organ. Edited by Both volumes are embellished by beautiful title pages ture, “Authors,” it is instructive, familiarizing the PRICE, POSTPAID, - - $1.00. E. J. Biedermann. 1.00 players with the faces of the different composers, the out a sample order and write for full catalogue containing eight good portraits of the most celebrated dates of birth and death, and last, but not least, four oi containing 30 pages of music, sent free, postpaid. DR, WM. VOLCKMAR. song writers. Good paper and printing make the volumes the greatest works of each. The game is a large one, Address all orders and communications to the 14 Festival Compositions for the Pipe Organ. all that could he desired. seventeen tricks and sixty-eight cards in all, so that it Publishers. Edited by E. J. Biedermann . 1.00 can be divided in two or even more separate and dis¬ Address the Publisher, tinct games; in this way a large number can play at the THEODORE PRESSER, Our publications can be obtained through any first-class music house. same time. E. T. PAULL MUSIC CO., THEO.PRESSER, 1708 Chestnut St., Philadelphia Send for Catalogues of Sacred and Secular Music. 1708 Chestnut Street, PHILADELPHIA, PA. Write for our Catalogue of Organ Music. M0VELL0, EWER & CO., 21 E. 17th St , NewYof* Published by THEO. PRESSER, PHILADA., PA. 44 West 29th St., New York. Universally Adopted by the Leading Teachers STANDARD GRADED and Conservatories of Music. • • • • COMPILED BY COURSE OF MR. W. S. B. MATHEWS, . FOR THE ... The Leading Musical Writer and Educator STUDIES PIANOFORTE. of the Present Time.

Thousands of gonial, *. ta*. ev.rywh,,. h,« bssn r^ved. As to th, worth and efficiency of this 8raded Course, ~

authentic proof should be needed. . „pip(,tpd from the best composers, for the cultivation of This Course consists of standard Etudes and studies arranged ln ProgreSS^ ^ted and supplemented with complete directions for the Technic, Taste, and Sight Reading, carefully edited, fingered, phrased, ’ t ]ePIof playing. Mr. Mathews has had the help ipplE. of Mason’s “ System of Touch and TeoMc” for’ the ”*'“«c“d therefroi such a, a,. »». useful for „,etiog ^ ^ a. «««»£;*■“- »f ^ tod“-E,ery difficulty is prepared by being first introduced in as most simple form. The ourse is comp e e Mperjeuce could mate it. A year Every care ... exercised in the preparation and pnb!i<*t.on of this Course. It is all that taste, care, P expired between the appearance of the first and the last volumes. > 10 Grades. 10 Volumes. $1.00 Each Volume. Sheet Music Size. Our Usual Liberal Discount is Allowed.

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DO NOT WEAK I0UR MUSIC OUT BY .Kindergarten Music Building CARRYING IT IN A MUSIC ROIL. The Seienee of JWusie ^ot< Children. TT7HIS new and interesting method of teaching the rudiments of music *1* to beginners, either individually or in classes, is both simple and scientific in construction, and is highly endorsed by leading musicians. Its chief charm lies in its simplicity and truth. The practical proof of its utility is demonstrated by the pleasure and knowledge the children gain from joining the classes taught by teachers who have studied Kin¬ dergarten Music Building under Mrs. N. K. Darlington, author and originator of the method. . . , During the season classes will be formed in Boston, New York, and Philadelphia. Address MRS. N. K. DARLINGTON, 1BS Mightiest 1626 Chestnut Street, Philadelphia 86 Beacom Street, Boston, Mass., or writer^/ are those who do the THEODORE PRESSER, actual work in the 1708 Chestnut Street, Philadelphia vast correspondence of a nation. In this CHOICE CATHOLIC MUSIC. work one Ave Maria, Soprano or Tenor. R. O. Garland...$0 60 Smith Premier V This SATCHEL Is the very latest ant Ave Verum, Soprano Solo with Chorus ad lib. Bellini. 60 Typewriter f* f* t* most convenient manner of carryln; Creator Aline Siclernm, Bar. with Cho.adlib. Apolloni.. 50 O Salntaris, Contralto or Bass. R. C. Garland. 50 is equal to scores of music, and does not necessitate the roP O Salutaris. Soprano or Tenor. Hamilton Aide. 40 pens. The pen has O Salutaris, Mezzo-Soprano or Baritone. Morsell. 40 iven place to The Ing of It. It Is superseding all others o Veni Creator, Bass Solo and Chorus. Donizetti. 40 lodern Writer, The the market. . , Veni Creator, Quartet. Bellini.. 50 Smith Premier, the Usual Discounts. Write for Thematic Lists. machine typical of Made of Smooth-Grain Leather, un progress,the acknowl¬ HENRY WHITE, Publisher, Washington, D. C. edged leader in Im¬ lined, price $1.50. provements. Writing Primer for Music Students SEND FOR CATALOGUE. THE ▼ T V V V SMITH PREMIER ANOTHER NEW STYLE. A SERIES OF PRACTICAL EXERCISES FOR ACQUIRING A TYPEWRITER GO„ For carrying shet KNOWLEDGE OF THE RUDIMENTS OF MUSIC. music without anj 723 Chestnut Street, - Philadelphia, Pa. folding or rolling M. S. MORRIS. thus keeping it al NEW EXERCISES IN THE ways smooth and PRICE) 20 CENTS. CONSTRUCTION OF MELODIES fresh, or for bound It is a primer giving writing exercises to be done separately from the By Henry Schwing. Price, 75 Cents. volumes. Solid book, on paper or music tablet paper. We would recommend Clark e’i Music Tablet. No knowledge of music is presupposed, but the begin¬ PROBABLY no theoretical treatise has ever appeared which leather through ner is taught the rudiments of music by writing the exercises. Send met with such uniform, strong endorsements of the best out, handles ant for one copy for the next beginner you have. You will be pleased musicians and teachers as the above work. It is acknowledged to be with it. ‘‘new” indeed I From teaching the invention of effective motives, straps riveted THEODORE PRESSER, which no theorist ever attempted, it proceeds to build up melodies of four, six, and eight measures, and the entire form of all the short made for hardes 1708 Chestnut Street, Philadelphia pieces. Suitable also for self-instruction, besides it being an indispens¬ service. Both o able aid to every work on harmony and musical composition. Below follows a partial list of prominent musicians and papers, to the above can b “ CREDIT RATINGS ” - $25.00 whose examination the work was submitted and who strongly endorse of the Music Trade, it. _ had In either black or brown. Price $3.00. G. W. Chadwick, Director of New England Conservatory, C. v. Sternberg, Max Braun. Harry Rowe Shelly, Nathan Gans, The Etudk, Send for our complete Catalogue of Rolls and Satchels. “ DIRECTORY” - - 5.00 Musical Record, Berlin Klavierlehrer, Elb-Gau Pres*e (Dresden), Munker- of the Music Trade, zeilung (Vienna), Neue Wiirzburger Zeiluug, Pfaelzitche Lehrerzeiiuvg, Music Trades. DISCOUNT TO THE PROFESSION, THOMPSON REPORTING CO.,,0 BBSS."- Published by Monthly List of Delinquent Debtors. Collections made in the THEO. PRESSER, PHTTiA., PA. United States and Canada. THEO. PRESSER, 1708 Chestnut Street, Philadelphia.

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