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

12-1-1920 Volume 38, Number 12 (December 1920) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 38, Number 12 (December 1920)." , (1920). https://digitalcommons.gardner-webb.edu/etude/39

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PRICE 25 CENTS DECEMBER 1920 $2.00 A YEAR Thirty-Second AnnuaWJay Offer of Musical Gifts A ™S™AS POLICY OF THE THEODORE PRESSER CO. THAT YEARLY AIDS THOSE DESIRING TO CHOOSE ~ A G1FT F°R A TEACHER- STUDENT OR LOVER OF MUSIC. THE BEST IN MUSICAL LITERATURE AND PeTc^0^^^0 CASH PRICES ™AT IN M°ST CASES ARE FROM TWENTY-FIVE PI^ O^Sto FIFTY PRESSER’S MUSICAL MAGAZINE EflrTr™ PV,fE ,SHER S PRICE> AND- IN ADDITION. TRANSPORTATION CHARGES ARE. PREPAID. THE PRICES GIVEN ARE FOR CASH WITH ORDER. THIS OFFER POSITIVELY EXPIRES JANUARY I. ,1921. SEND ALL ORDERS TO THEODORE PRESSER CO. :

MUSICAL LITERATURE

, MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by James Francis Cooke Vol, XXXVIII No. 12 DECEMBER 1920 Entered as second-class matter Jan. 16, 1884, at the P. 0. al Philadelphia, Pa ., under the Act of March 3, 1879. Copyright, 1920, by Theodore Presser Co. for U. S. A. and Great Bnti

The World of Music

The Fortnne Gallo Se«»un of Gr ‘•Dante and Beatrice,” a new opera by a Hem Opera at popular prices at the Manha an English composer, Stephen R. Philpot, is Opera House in XT— reported to have been a -“ - -“** pel in great success. The San Carlo Com- the C 29th, 30th and 3,=,. .--- - - Ingale” and Toni* Wise as the redoubtable at the La Salle Hotel. A reception to visit¬ Phineas Taylor Barnum. The celebration is „r. Hollis F. Daiin has resigned his ing members will be given at the Art Insti¬ reported to have been as great a success in a position as Professor of Music of Cornell Uni¬ tute by the American Musical Society on the big way as was the delightfully unique cele¬ versity to take that of Director of Music of evening of the 29th. Among the tentative bration in Philadelphia at the Musical Fund mold, dlrec the the Department of Public Instruction of the plans are special programs by the Chicago Hall, given under the auspices of Mr. John Catholic Oratorio Socii of Nev State of Pennsylvania. A better man for the Opera Association and by the Chicago Sym¬ Braun, at which Mabel Garrison was the York; and an opera_ singer ... distinction, work is inconceivable. Musically speaking, phony Orchestra, Frederick Stock, conductor. Jennv Lind. The fascination of the actual died "_ H_ ”-FrancisM Hospital in New he put Cornell University “on the map.” A large local committee has been made up room in which Jenny Lind had Bung was October 9th. She sang the leading The new Pennsylvania Director of Public of representatives of the different Chicago heightened because it was lit with gas jets roles in the first American performances of Education, Dr. Finegan, evidently intends to musical organizations and their, plans are and furnished with the same orchestral stands Cavallcria Rusticana and I Pagliacci. have a staff of the finest experts in the coun¬ being rapidly worked out. The slogan of this used by the players years and years ago. try. Pennsylvania deserves it. meeting will be “Music and the Educational mil ton Harty, the System of the United States." This is cer¬ _ ; of The Monthly tainly a timely subject and one which should Musical Rccortl, of London, puts in a plea for be given the attention of all musicians. the direction of William R. Chapman, proved lower rates on the railroads for traveling .been secured as a baritone for the Metro¬ Charles N. Boyd, of Pittsburgh, is the new to be the appearance of Percy Grainger as musicians. He shows how the young artist politan Opera House. His voice is said to be chairman of the Committee on Organ and the solo pianist. The reception given to Mr. must make his reputation in the "provinces, extremely rich. Choral Music; Osbourne McConathy, of Grainger is said to have been one of the and if the rates are prohibitively high, repu¬ Evanston, Ill., of the Committee on Public greatest in his career. tations will not be made, etc. Fine, Mr. “Der Sizillanner,” an opera by Dr. School Music, and Halils Dome is a new Hartv, we shall be pleased to carry your Hugo Leichtentritt, has been produced with member of that committee. The preliminary Mignon Nevada, daughter of the famous propaganda over here, where distances arc success in Freiburg, Baden. The interesting announcements will be sent out shortly. In¬ prima donna of other days, Emma Nevada, measured by entirely different dimensions part of this piece of news is that the com¬ quiries concerning the coming meeting is reported to have an even more beautiful from those ' employed in Europe. Already’ poser was a student at Harvard and received UC addressed to P. C. Lutkin, president, voice than her mother. She has recently many artists have found that the cost of an important part of his musical education Evanston, Ill., or to R. G. McCutchan, secre- been engaged for leading rflles at the Opera traveling in America robs them of a large tary, Greencastle, Ind. Comique in Paris.

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ss »r, jjxstsk rs H- M,”‘* ,ssa&,sa«rt so. DECEMBER 1920 Page 795 Page 79.4 DECEMBER 1920 THE ETUDE THE ETUDE GUjirtg-^wottii Annual lioUimit (Jj)ft>r of (Sifts for JHusir ICoorrs

THE PRICES GIVEN ARE FOR CASH THE PRICES GIVEN ARE FOR CASH SPECIAL HOLIDAY CASH PRICES=THIS OFFER POSITIVELY EXPIRES JANUARY 1, 1921 WITH ORDER—TRANSPORTA¬ WITH ORDER—TRANSPORTA¬ Early Shopping by Mail Means a Saving of Time and Money TION CHARGES PREPAID TION CHARGES PREPAID Many Suggestions for the Teacher, Student and Lover of Music None of These Publications Will be Sent “On Sale’* at These Special Holiday Prices Send All Orders for These “Holiday Offers’* to Theo. Presser Co., Philadelphia, Pa.

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*Gvt £ -ANNUAL SUBSCRIPTION, $2.00- Page 796 DECEMBER 1920 TEE ETUDE ; THE ETUDE DECEMBER, 1920 Single Copies 25 Cents VOL. XXXVIII, No. 12

Joy to the World The Day of Justice Christmas time is always a pleasure to those who have Yes, the teachers are getting a little more income, but to do with the making of The Etude. Not merely in our how insignificant it is in comparison with what they give! The little family of three hundred and more, working at the home Etude ha,s taken pride in the fact that for many years it has of The Etude, but to the thousands and thousands of fine spared no time or effort in its campaign to educate the musical friends who for nearly four decades have added to our Christ¬ public for the need of more liberal terms for worthy teachers. mas happiness by the fine spirit of good cheer which we read This, in our minds, is most needed in the case of the “average” between the lines of their welcome letters. Sometimes we think music teacher—not the specialist in the great metropolis or that this publishing business is different from any other irt the in the great school who by right receives a premium for his world. There seems something far more intimate than ink and services, because there will never be enough great specialists to paper in the splendid bond that exists between you and us. supply the demand for those who will have nothing but the It took some mighty stiff optimism to keep one’s spirits so-called “teacher at the top.” up during the black years of the war. We knew the great A recent visitor to The Etude office was the manager of power of music at that time, a large school for girls in the and we felt inspired by the South. He was a thoroughly fine letters received, to go on practical business man as and on inspiring others to well as an educator. Re¬ use music to “key up” the cently, the father of one of great cause. We shall never the young ladies attending forget the support and en¬ the school wrote, informing thusiasm of our friends at its president that his daugh¬ that time. ter could not continue. The A visitor from England manager, knowing that the asked recently: “How did gentleman managed to keep The Etude acquire its a fine automobile, wrote the great circle of subscribers?” father to this effect: We answered: “By helpful¬ Dear Friend: ness and friendship.” We Your daughter, a have tried for years to make highly gifted and capa¬ each issue of our journal so ble girl, one of the most attractive, so inspiring, so promising in our insti¬ practical and so helpful that tution, informs us that Hear Rachmaninoff on the New Edison you have decided to have our Etude enthusiasts NOW you can make a straightfor¬ tration is reproduced, was taken in Mr. would continue doing what her discontinue after this year. She has only one ward comparison and find out which Rachmaninoff’s home, in New York City. they have always done—con¬ Edison tinually bringing in new more year to go to finish is the best phonograph. Rachmaninoff It shows the great Russian pianist playing Rachmaninoff RE-CREATIONS friends. That is the only her course here. We himself, the great Russian pianist, gives the Second Hungarian Rhapsodie (Liszt), secret. Our sincere hope is have appreciated your Now on Sale confidential note telling you this opportunity. while the New Edison Re-Created his that for many, many decades us that your business He has made recordings for one of the previous rendition of the same composition. No. 82169 Second Hungarian Rhap¬ to come the spirit of The sodie (Liszt) Part 1 Etude—the sincere desire, reverses make this neces¬ standard talking-machines. We are very sary, but is it really The three music experts who listened No. 82169 Second Hungarian Rhap¬ above all mercenary thought, necessary to cut down in glad that he has done so. For now you from behind the screen, were amazed and sodie (Liszt) Part 2 to advance the cause of musi¬ cal education by helping the this direction? 1 know can compare. Second Hungarian Rhap¬ astounded at the absolute fidelity of the No. 82170 you well enough to sodie (Liszt) Part 3 individual teachers, students Your Edison dealer will gladly play Re-Creation to the artist’s original per¬ point out a comparison which seems to me appropriate. (With Mr. Rachmaninoff’s Cadenza) and music lovers, to progress along the most sensible and pro¬ Rachmaninoff’s Re-Creations on the formance. Once more, the New Edison’s gressive lines—will always be the guiding inspiration of this You have an automobile which you told me cost No. 82170 Pastorale publication and all its future editors. $3,600.00. An automobile is a fine thing to have. It New Edison for you. Watch for his perfect Realism triumphed in the test of ( Scarlatti - Tausig) We realize that this is a very intimate kind of an editorial increases a man’s efficiency and puts a lot of pleasure into announcements in your local newspaper. direct comparison. Prelude in C Sharp Minor, No. 82187 but then we must remember that we have said that The Etude his life. But your automobile cannot cost you less than You must hear this most astonishing pho¬ Op. 3 (Rachmaninoff) Be sure to look for your Edison dealer’s has a peculiarly different clientele. We are glad to have this $100.00 a month for upkeep. Every day you own it the nograph comparison,—before you buy your announcements. Hear Rachmaninoff on No. 82187 Polka de W. R. h-:i friendly meeting. Our representatives when they go about the machine is decreasing in value. (Rachmaninoff) country always come home enthusiastic over the cordial Your daughter’s education, on the other hand, costs Christmas phonograph. the New Edison. Thomas A. Edison, you $600.00 a year, or half as much as the automobile. The photograph, from which this illus¬ (Others to be released later) welcomes the^ have received from Etude friends everywhere. Inc., Orange, N. J. Surely joy has come to the world this Christmastide with She is an investment which will increase in value every the subsiding of the tornado of hate, malice, horror and crime year. Does it not seem to you that the better investment that war. blasts through the world. If we lost our faith in at this time is education? ‘Phe ^Phomt things for a moment during the last six years let us now bargain Not until the business men of the country take a sane, again to build up those wholesome and beautiful relations which far-sighted, common-sense view of education as an investment the Master sought to bring to the world. What better time (not as a charge, as many view it now) will teachers get what could we begin than at Christmas time. they are worth. DECEMBER 1920 Page 799 THE ETUDE ....I.! Self-Study in the Art of Singing Make It Concise Music Teachers’ Licenses The music teacher should remember that this is the age An Interview with the Distinguished Diva A year or so ago one of The Etude readers sent in a copy of directness. Make your lessons concise. Come right to of a license issued by the City of Los Angeles to music teachers the point. Some teachers think that they gain interest by M me. AMELITA GALLI-CURCI in that city. We could hardly believe our eyes. Were musicians approaching subjects indirectly. There never was a greater to be licensed like fish peddlers or pawnbrokers? Here is a Secured Expressly for The Etude mistake. Children are bored by such a proceeding. They copy of the license issued: want the facts, and they want them in' the most palatable and direct manner in which they can be sferved. Yet the musical training of the child must not be skimped. One of the reasons CITY LICENSE January 1920 why a great deal of the musical education of the young in America is poor is that the teacher, prodded on by mistaken parents, jumps from grade to grade before the child has a Received her general education at the Liceo Alles- chance to get his feet firmly fixed on the ground. Remember [Editor’s Note: No success in the recent history to hear her in opera, recitals and through records. sandro Manzoni, Milan, and at the International In¬ into the City Treasury, is hereby graced License to transac of the Art has equalled that of Mme. Amelita Galli- Now that she has been before the American public the warning of Epictetus, stitute at Milan. Her musical education was re¬ Curci in its apparent suddenness or in its brilliance. for four years and has become established by a long “Practice yourself, for heaven’s sake, in little ceived at the famous Milan Conservatory, where ofLos Angeles for the term of THREE MONTHS from Ulefirst^ay of I#^*. J>20, » One moment she was “unknown” in America and chain of triumphs, American musicians are anxious she was a pupil of Vincenzo Appiani, graduating as st of April,l, xyw,1920, in conformity «uuwith the«.* provisions o^ Ordinance ifntnt(cr 38430, (N< things and then proceed to greater.” the next she was heralded as “the only successor of to know something of the preparations which made Ordinances araert^tory then a pianist. Mme. Galli-Curci is a gifted linguist, Mme. Patti,” “the wonder voice of the new century,” it possible for her to take the rank which she so speaking several languages with fluency.] etc., etc. Naturally the public was only too anxious splendidly deserves. She was born in Milan, Italy. Train your will. Immanuel Kant, the great philosopher, _CITY AUDITOR. quality of a tone, the intonation (pitch), the shading, despite a frail body, boasted that his servant had never called “Just what influence heredity may have upon the purity of tone that she possessed. Mascagni called N A CONSPICUOUS PLACE the purity and the resonance are what they should be him twice in the mornings during thirty years. He always arose musical art and upon musicians has,( of course, been a upon us at that time, and I asked him to hear me to insure the highest artistic results, it will be next to instantly. In music there are innumerable disagreeable things much discussed question. In my own case, I was for¬ sing. He did so, and threw up his hands, saying, ‘Why A recent number of the Pacific Coast Review (San Fran¬ impossible for him to secure these. This is what is tunate in having a father who, although engaged in an¬ in the world have you been wasting your time with that can only be overcome by “will energy." meant by the phrase—‘singers are born and not made.’ cisco) contains an editorial upon the introduction of the license other vocation, was a fine amateur musician. My grand¬ piano playing when you have a natural voice like The power of discrimination, the judgment, etc., must plan in that city. The editor of that paper feels that the license father was a conductor and my grandmother was an that? Such voices are born. Start to work at once be inherent. No teacher can possibly give them to a opera singer of distinction in Italy. Like myself, she to develop your voice.’ Meanwhile, of course, I had is a very good thing, as it makes the musician feel that his pro¬ Luck and Music pupil, except in an artificial way. That, possibly, is the was a coloratura soprano, and I can recollect with joy heard a great deal of singing and a great deal of so- fession is part of the tax-paying population of the city. There reason why so many students sing like parrots; because Of course you do not believe in luck as the basis of success her voice and her method of singing. Even at the age called voice teaching. I went to two teachers in Milan, they have the power of mimicry, but nothing comes from the tax is regulated in the following manner: Anyone with an in music? Neither do we; that is, altogether. Luck does have of seventy-five her voice was wonderfully well preserved, but was so dissatisfied with what I heard from them within. The fine teacher can, of course, take a fine sense income of $3,000 a year or less pays $3.00; thence up to because she always sang with the greatest ease and with and from their pupils that I was determined that it a part, of course, but it usually enters to escort only those who of tonal values, etc., and, provided the student has a none of the forced throat restrictions which make the would be necessary for me to develop my own voice. ' $5,000 a }rear, $4.50, thence to $7,500 a year, $6.00. The have worked hard to prepare themselves to ascend the ladder really good natural voice, lead him to reveal to himself work of so mani singers insufferable. Please do not take this as an inference that alt vocal editor then explains that the existence of this license is due to the ways in which he can use his voice to the best ad¬ of success. “My own musical education began at the age of five, teachers are bad or are dispensable. My own case vantage. Add to this a fine musical training, and we the fact that the City of San Francisco sustained great losses Many of the greatest performers attribute their success when I commenced to play the piano. Meanwhile I was peculiar. I had been saturated with musical tra¬ have a singer. But no teacher can give to a voice that in revenue when Prohibition stepped in. sang around the house, and my grandmother used to say ditions since my babyhood. I had had, in addition, to some fortunate incident, when, as a matter of fact, their velvety smoothness, that liquid fluency, that bell-like in good humor: ‘Keep it up, my dear; perhaps some day a ve y fine musical training. Of course, without this I If this license grants any worth while protection to the fortune was in being ready when the opportunity came. Tet¬ clarity which the ear of the educated musician expects, you may be a better singer than I am.’ My father, how¬ could not have attempted to do what I did in the way of teacher or serves to establish his worthiness to practice his pro¬ razzini, for instance, happened to be in the audience one eve¬ and which the public at large demands, unless the stu¬ ever, was more seriously interested in instrumental music, self-training. Nevertheless, it is my firm conviction that dent has the power of determining for himself what fession, as the bar examination does to the lawyer, we can see ning, after many years of waiting a-dreaming, when the and desired that I should become a pianist. How for¬ unless the student of singing has in his brain and in his is good and what is bad. the advantage. However, the privilege of paying the state or soprano of the opera company was taken suddenly ill. This tunate for me. Otherwise, I should never have had that soul those powers of judging for himself whether the the city two or three dollars a year just because another body gave Tetrazzini her chance, and she made the best of it. Harold thorough musical drill which gave • me an acquaintance with the art which I cannot Four Years of Hard Training of citizens have foregone their highballs is hardly a just reason Bauer, who had trained himself to become a violin virtuoso, was believe could come in any other way. Mas¬ “It was no easy matter to give up the grati¬ for shouldering the burden upon music and music-teachers. forced to become an accompanist on a tour through Russia. cagni was a very good friend of our family fying success which attended my pianistic ap¬ We cannot for the life of us see how a license of this kind The pianist of the party was taken ill and Bauer (who had and took a great interest in my playing. He pearances to begin a long term of self-study, really benefits the teacher, and we would be glad to have our previously played second piano parts to Paderewski, when the came to our house very frequently, and his self-development. Yet I realized that it would advice and inspiration naturally meant much hardly be possible for me to accomplish what California friends explain it to us. Again, it seems a pity that older virtuoso was practicing, and thus was virtually a pupil to a young impressionable girl. I desired in less than four years. Therefore, musicians should be singled out to pay the penalty for pro¬ of Paderewski) had built up a repertoire all his own. He went I worked daily for four years, drilling myself on as the solo pianist, and made a bigger hit than the man of hibition, unless it is for the reason that musicians will gain General Education with the greatest care in scales, arpeggios larger reputation. It is said that G. Campanari, the great more income by the introduction of prohibition. We honestly “My general education was very carefully and sustained tones. The colorature facility I baritone, was playing as a ’cellist in the opera orchestra when feel that prohibition is constantly creating a larger and larger guarded by my father, who sent me to the seemed to possess naturally, to a certain ex¬ demand for more music and better music. But why transfer some singer was indisposed, and he thus got his chance to make best schools in Milan, one of which was un¬ tent; but I realized that only by hard and the license from the barroom to music ? a great name, for himself. der the management of Germans, and it was patient work would it be possible to have all There are dozens of such instances -which we might quote, there that I acquired my acquaintance with my runs, trills, etc., so that they always would but remember that it is not luck that did the trick in itself, but the German language. I was then sent to be smooth, articulate and free—that is, unre¬ stricted—at any time. I studied the roles in rather the fact that the artist had worked for years to prepare the Conservatorio, and graduated with a gold Put sunshine into the lives of others or you will never have medal as a pianist. This won me some dis¬ which I aspired to appear, and attended the himself. Luck provides the opportunity, but it does not pro¬ any in your own. Put music into the lives of others or you will tinction in Italy and enabled me to tour as opera faithfully to hear fine singing, as well vide the preparation. never have any real music in your own. a pianist. I did not pretend to play the big, as bad singing. exhaustive works, but my programs were “As the work went on it became more and made up of such pieces as the Abeg of Schu¬ more enjoyable. I felt that I was upon the The Musical Renaissance in Spain Too late at forty-five! Too late? Think of Julius Caesar. mann, studies by Scharwenka, impromptus of right path, and that meant everything. If I At that age anyone could have proved that his 'whole previous Chopin, the four scherzos of Chopin, the first had continued as a pianist I could never have Spain, while not undisturbed as yet by the great war, life had been the opposite of what that of a general should have ballade, the nocturnes (the fifth in the book been more than a mediocrity, and that I could was in a peculiar position regarding music. The musical been. Yet he became one of the great generals of history. You was my favorite) and works of Bach. (Of not have tolerated. workers of Catalonia have for years shown a most interesting may never be a great virtuoso but there are countless things in course, I had been through the Wohltemper- “About this time came a crisis in my fa¬ development. Their composers, particularly of intricate choral music in which you may be successful after forty-five if you will ites Clavier.) In those days I was very frail, ther’s business; it became necessary for me to only go after them hard enough. teach. Accordingly, I took a number of works, have produced compositions which indicate a notable and I had aspired to develop my repertoire so that later I could include the great piano pupils and enjoyed that phase of my Renaissance. Mr. Kurt Schindler, whose initiative is respon¬ r ,vorks for the piano requiring a more or less work very much indeed. I gave lessons for sible for bringing much of this excellent music to America, exhaustive technic of the bravura type. four years, and in my spare time worked A Christmas Blessing with my voice, all by myself, with my feels that the condition in Spain is more hopeful than in any “Once I went to hear Busoni and after Rev. J. H. Jowett, M. A. friend, the piano. My guiding principles other country striving to produce music of its kind. All over the concert it came to me like a revelation, the country the works of native composers are being promoted, May Xmas be with thee all the year round! May its ‘You can never be such a pianist as he. Your and we may be sure that in years to come the world will have music sing on in thy soul! May its flowers bloom on in thy hand and your physical strength will not per¬ “There must be as little consciousness of ef¬ fort in the throat as possible. treasures from this old-world land which may be known as the mind! mit it.’ I went home in more or less sadness, “There must always be the Joy of Singing. Spanish School of the Twentieth Century. Unfortunately, May the Xmas bells hush all our discords. Impart unto knowing that despite the success I had had in my piano playing, my decision was a wise one. “Success is based upon sensation, whether apart from the few works of Albenez, Granados and others, us the spirit of self-forgetfulness, and may we find a holy de¬ Figuratively, I closed the lid of my piano upon it feels right to me in my mouth, in my light in other people’s triumphs. Grant that the sacred light this music is not of the character that will become widely known my career as a pianist and decided to learn throat, that I know, and nobody else can in a very short time. of Xmastide may shine throughout the year. Amen. how to sing. The memory of my grand¬ tell me. mother’s voice singing Bellini’s Qui la Voce “I remember that my grandmother, who ; * - x v ~ "s was still ringing in my ears with the lovely Mme. Amelita Galli-Curci ir ' '"A" ' ULc-k <- ._: THE ETUDE DECEMBER 1920 Page 801 Page 800 DECEMBER 1920 THE ETUDE and the debut in Rigoletto came. The applause as¬ in the United States just then. By merest accident I sang Una voce poco fa at seventy-five, always cautioned tounded me; it was electric, like a thunder-storm. No ran into an American friend (Mr. Thorner) on Broad¬ me to never force a single tone. I did not study exercises one was more astonished than I. Engagements and way. He had heard me sing in Italy, and immediately like those of Concone, Panofka, Bordogni, etc., because offers came from everywhere, but not enough, I hope, took me to Maestro Campanini, who was looking then they seemed to me a waste of time, in my case. I did not to ever induce me not to believe that in the vocal art for a coloratura soprano to sing for only two perform¬ one must continually strive for higher and higher goals. require musical knowledge, but needed special drill. I ances in Chicago, as the remainder of his program was Laziness, indifference and lassitude' which come with knew where my weak spots were. What was the use filled for the year. This was in the springtime, and it success are the ruin of Art and the artist. The normal of vocal studies which required me to do a lot of work meant that I was to remain in New York until October healthy artist with the right ideals never reaches his Rubinstein, Master of Tone and only occasionally touched those portions of my voice and November. The opportunity seemed like an unusual Zenith. If he did, or if he thought he did, his career which needed special attention? Learning a repertoire accident of fate, and I resolved to stay, studying my own was a great task in itself, and there was no time to waste voice all the while to improve it more and more. October would come to a sudden end.” By AUBERTINE WOODWARD MOORE upon anything I did not actually need. Because of the natural fluency I have mentioned, I devoted most of my Personal Recollections of the Famous Pianist by a Well-known Writer time to slower exercises at first. What could be simpler than this? Harsh Chords in the Bass and What to Do With Them Molding a Genius muscles, and employed them to give utterance to his lofty It was always a matter of interest to me that the first inspiration, controlled by a titanic will and intellect. In public concert of importance given by Anton Rubinstein his marvelous crescendos and other dazzling effects he By E. H. Pierce took place in 1841, the year of my birth. He was twelve was aided wonderfully by his artistic use of the pedals. years old, for, according to his own statement, he was His magic tones, of which I had not thought the piano A pianist who possesses a keen sense of.beauty of had a much thinner and lighter tone, especially in the bom in 1829, not in 1830, the usual date given. It was at capable, rang in my inner ear, as they still ring, when I tone is apt to be shocked and disappointed occasionally, bass, these thickly-bunched chords really did not sound this concert in Paris; among the celebrities present was met this wizard of the keyboard and talked with him. perhaps even more than he dares confess to himself, at bad at all. This is not mere theory; the writer has had Franz Liszt, who, folding the boy in his arms after the His Bach performances had peculiarly taken possession “These, of course, were sung in the most convenient the unmusical distribution of the tones of a full chord opportunities for playing on several ancient instru¬ performance, exclaimed: “He is the heir of my playing.” of me, for he exemplified in them what my teacher, Carl range in my voice. The more rapid exercises I took found occasionally in the piano composition of Haydn, ments, both pianos and harpsichords, which have been The earliest teacher of young Anton was his mother, Gaertner, had endeavored to impress upon me—the ro¬ from C to F above the treble staff. Mozart and even Beethoven, not to mention the lesser restored and put in good order and good tune, and a woman of broad culture and an accomplished pianist. mantic Bach. Imagine my consternation when the great, lights of the same epoch. Such chords as finds this to be the case. It is surprising to see how She started him at the piano when he was about five, much-revered Rubinstein actually compelled me to play much better a Mozart sonata sounds on a piano of and took great pains with him. A musical friend of the for him the Bach Prelude and Fugue from the Well- Mozart’s day; how well some of the preludes of Bach’s family, referring to the young prodigy in his eighth year, Tempered Clavichord, Book 1, No. IS. Although I Well-tempered Clavichord sound on a really-truly clavi¬ wrote: “He was a charming child, and astonished every¬ played my worst rather than my best, he was gracious chord 1 one with the precocity of his talent.” enough to say I had the right idea of Bach, and he would RTJBENSTEIN AT THE KEYBOARD What, then, shall we do with these old pieces when The teaching of this mother, as recorded later by her now show me how the idea might be expressed. we play them on a modern piano? . son, was strict and well-grounded; but she soon felt that Taking his seat at the piano, he indeed presented to my bined with technical methods that are entirely his own, “Even to this day I sing up to high F every day, in What does a good organist do when he has occasion in view of his great musical endowment, the boy needed eager senses the romantic Bach. The merry children, one secret of the deep impress he leaves on his hearers. order that I may be sure that I have the- tones to E to play piano music on the organ? He arranges it for more training than she was able to give him. A guide to whom I had tried so hard to make frolic through the Rubinstein’s manner of playing the octave accom¬ below in public work. Another exercise which I used the organ—none but the veriest bungler would attempt this she found in Alexander Villoing, the best pianoforte sunlit garden of the Prelude, became at his touch pulsat¬ paniment in the Schubert-Liszt Erl-King is thus de¬ very frequently was this, in the form of a trill. Great to execute it literally as written, the nature of the two teacher in Moscow at that time, who, because he loved ing, eager youngsters. The invigorating voices of the scribed: “He curves the middle fingers and raises the care was taken to have the intonation (pitch) absolutely instruments being so entirely dissimilar. Why then to mold genius, undertook the gifted child’s education delightful group, conversing so cheerfully and politely wrist, so that the fingers which play the octaves instead accurate in the rapid passages, as well as in the slow should we not arrange ancient piano music for the mod¬ free of charge. together in the Fugue, became life-giving as a draught of falling sideways on the keys, strike with their tips as passages. ern pianof , Correct Hand Position from the Fountain of Ydpth. Through a long life I with a hammer. By this method the octaves are played with ease and freedom.” There are at least two ways in which chords such In his autobiography Rubinstein says: Villoing de¬ have endeavored to play this composition as Rubinstein The highly regarded Hanslick says: “We always fol¬ as we have mentioned could be treated without doing voted much time to the correct position of my hands. He did, and although my efforts naturally have been in vain, Ex. 3 low Rubinstein’s playing with a sense of delight. His any violence to the composer’s idea; one way would be was most particular in this regard, as well as in the care I have had great joy in them. youthful, untiring vigor, his unequaled skill in bringing to redistribute them (as in Example II), making use he bestowed on the production of a good tone. To him, Rubinstein had a large experience with life, and long out the melody, his perfection of touch in the torrents of of the pedal; the other way, to strike them as written, and to no one else, am I indebted for a thorough, firm before his triumphs came he had known disappointment, holding the outer notes of the left hand their proper foundation in technic, a foundation which could never be passion, as well as in the tender, long-drawn notes of do not strike the ear altogether pleasantly, it must be deprivation and even hunger. All had served to pathos, his wonderful memory, and his energy that value, but letting the inner notes be cut short, thus giving shaken. In all my life I have not met a better teacher. strengthen his character and enrich his genius, and be¬ admitted. Chopin, Schumann or Liszt would have He insisted on certain details which proved of the utmost knows no fatigue—these are the qualities which amaze the full percussion effect of a heavy chord, but without cause he felt deeply himself, he was able to make others probably written instead importance to me as a student of the piano. A patient, us in Rubinstein’s playing.” the sustained harshness. feel. No piano artist ever touched tfie popular heart as although strict master—the latter quality no less essential he touched it, and yet he never descended to the level of Sayings of Rubinstein “When I had reached a certain point, I determined Ex.n Ex. IV than the former—Villoing was soon on such intimate a crude andience, but rather lifted it to his level. In a little volume entitled “Music and Its Masters,” that it might be possible for me to get an engagement. terms with me that he seemed like a friend or second Rubinstein belonged to the class of beings whose out¬ many gems from the musical creed of Rubinstein are I was then twenty, and my dear mother was horrified father. He was indefatigible in his instructions. I can¬ ward appearance is a revelation of the divine fire within. preserved. He has often been called the subjective at the idea of my going on the stage so young. She was not call them lessons—they were a musical education.” _ This master had accompanied his pupil to Paris, in You would pick him out anywhere as a personality. His artist, and of this he said to his interviewer, “I do not afraid of evil influences. In my own mind I realized view of placing him in the Conservatoire, but being re¬ lofty brow, brooding eye and majestic head, with its know what people mean by the objective in performing. that evil was everywhere, in business, society, everywhere, luctant to part with the budding genius, whom he re¬ shaggy hair, recalled Beethoven; and yet his impressive, Every performance, if it be rendered by a person and not and that if one was to keep out of dirt and come out garded as his own creation, he never entered him there. powerful form had that striking individuality which gave by a machine, is, within itself, subjective. To do justice clean, one must make one’s art the object first of all. to the object (the composition) is for every performer a which are much more sonorous and at the same time Villoing remained the young Anton’s only teacher of the him a distinction all his own. He was indeed a superman. Art is so great, so all-consuming that any one with a piano, although he also studied with Dehn, the famous duty, but, of course, each in his own manner, and hence ^ deep reverence for its beauties, its grandeur, can have less harsh. Of course, one should not take these liberties too Huneker on Rubinstein subjectively. How is anything else conceivable?” ■ It is a well-known principle of acoustics, as applied master of harmony and counterpoint, and Marks, the but little time for the lower things of life. All that an carelessly, nor without a due appreciation of the com¬ “No two persons have the same character, the same to harmony, that the lower voices of a chord should be well-known theorist. Other views on Rubinstein are those of the brilliant artist calls for in his soul is to be permitted to work at poser’s probable intention. The close of Beethoven’s But genius appropriates from every conceivable source, nervous system, the same physical constitution. The dif¬ more widely separated than the upper voices. The fol¬ and original critic of art and letters, James Huneker. Sonata Op. 110 presents an example in which it would ferences of touch in the pianist, of tone in the violinist his best in his art. Then, and then only, is he happiest. lowing example illustrates what may be called the and Rubinstein never ceased to learn from his own in¬ In his essay on “The Grand Manner in Piano Playing,” be sacrilege to change a note—all the more’ so, because or violoncellist, the quality of voice in the singer, the Because of my mother’s opposition, and because I felt “chord of nature,” which is specially harmonious be¬ tuitions and from the artists he met at home and abroad. he pronounces Rubinstein the greatest pianist in his long in his later works, Beethoven shows a keen appreciation difference of character and disposition in the orchestra I was strong enough to resist the temptations which she cause the upper voices already exist in the lowest bass One of the most powerful influences exercised over him and varied list, and declares that no one could forget conductor, necessitate subjectivity in performance. If knew I might encounter, I virtually eloped with a copy tone as its overtones or “upper partials.” and understanding of the functions of the pedal, as is came from the Italian tenor, Rubini, whom he early heard the music one heard when the great Russian’s lion-like, evidenced by his minute and frequent directions. In in St. Petersburg. Of this great artist he says: “The the conception of a composition should be objective, of Rigoletto under my arm and made my way for the velvet paws “caressed the keyboard.” charm of his voice was quite beyond description, and there could be but one correct way, and all performers Teatro Constanzi, the leading Opera House of Rome. the passage quoted, the chord of A flat is gradually Referring to Rubinstein’s delivery of the theme at the Ex. Ill his power of overcoming difficulties was marvelous. He would have to adhere to it. Is there only one correct “I might readily have secured letters from influential built up by the use of arpeggios sustained by the pedal; opening of Beethoven’s G Major Concerto and the last when it has arrived at the utmost fullness the sudden took his listeners by storm. Rubini’s singing produced way of impersonating Hamlet or King Lear? And is it musical friends, such as Mascagni and others, but I de¬ page of Chopin’s Barcarolle, he compared it to the sound necessary that every actor should ape one Hamlet or striking of the final chord gives a climax of great power, so powerful an effect on my senses that I strove to imi¬ termined that it would be best to secure an engagement of distant waters, or horns from elfland. He considers King Lear in order to do justice to the object? There¬ like the sudden clash of the drums and cymbals in an tate the sound in my playing.” upon my own merits, if I could, and then I would know Rubinstein the “supreme stylist,” and writes: fore I can sanction only subjective performances of orchestra. In such a case as this the player has nothing whether or not I was really prepared to make my debut, Personal Memories “It was in 1873 I heard him, but I was too young to music.” else to do than to obey the composer’s indications lit¬ or whether I had better study more. I went to the man¬ In my much-prized interview with Rubinstein, during understand him. Fifteen years later he gave his Seven Bach (Johann Sebastian) represented to Rubinstein a erally. ager’s office and, appealing to his business sense, told the period of his concerts in Philadelphia, in the season of Historical Recitals in Paris, and I attended the series, high ideal in music. In the Well-Tempered Clavichord What was the reason for this apparent callousness him that, as I was a young unknown singer, he could 1872-1873, he spoke of Rubini, and told me how he had not once, but twice. He played many composers, but he found the epitome of that master’s greatness. “Its to good effect on the part of the older composers? secure my services for little money, and begged for per¬ passed hours in listening to this Italian tenor’s voice, for me, he seemed to be playing the Book of Job, the fugues,” he said, “are of a religious, melancholy, sublime, Their orchestral compositions contain nothing of the mission to sing for him. I knew he was beset by such Apocalypse and the Scarlet Sarafan. He had a ductile serious, humorous, pastoral and dramatic character. In sort, but are perfect models in the proper distribution with its purity, sweetness and power, and m trying to requests, but he immediately gave me a hearing,, and I tone like a golden French horn (Joseffy’s comparison), one respect are they all alike, and that is in beauty. of chords, so it could not have been from any lack in reproduce its timbre in his playing. “It is only with was engaged for one performance of Rigoletto. The and the power and passion of the man have never been And then the Preludes! Their charm, variety, perfection the sense of beauty. labor and tears bitter as death that the true artist is de¬ night of the debut came, and I was obliged to sing and splendor are absolutely entrancing!” Piano technic was not so highly developed at that veloped,” he said. “Few realize this, consequently there equaled. Caro Nome agaita in response to a vociferous encore. “Anton Rubinstein played every school with consum¬ Of Beethoven also, he spoke with reverence, and de¬ time, except in the matter of smooth-running rapid are few artists.” clared that the most marvelous of his master’s works This was followed by other successes, and I was en¬ passages, and chords exceeding the grasp of an octave The radiant splendor of the tone Rubinstein succeeded mate skill, from the iron certitudes of Bach’s polyphony dated from the period of his deafness. “His absolute gaged for two years for a South American tour, under would have offered very serious difficulty to players; in producing, its infinitely varied nuances, from the soft¬ to the magic murmurs of Chopin and the romantic rus¬ concentration, his imagery, his tuneful soul, his com¬ the direction of my good friend and adviser, the great also the powers of the damper pedal' were only just est whisper of the human voice to the fullness of big tling of the moonlit garden of Schumann. Beethoven, plaining never before expressed in music, his tragic operatic director, Mugnone. In South America there beginning to be realized. On the harpsichord, which orchestral effects; the combined flexibility and strength too, he interpreted with intellectual and emotional vigor. earnestness, this bound Prometheus can be explained only was enthusiasm everywhere, but all the time I kept work¬ was still in use in Mozart’s day, though the piano was of his touch, never can be forgotten by those into whose by his deafness. It is true he produced beautiful un¬ ing constantly with my voice, striving to perfect details. beginning to take its place, no such device .existed, and consciousness these qualities have once Entered. “I play Opinions of Others “At the end of the South American tour I desired to rivaled works before this period, but the highest and composers would scarcely be so bold as to write chords as a musician, not as a virtuoso,” he once said, and every The Russian critic, Levenstein, says that the playing visit New York and find out what America was like. which demanded an obbligato damper pedal for their most wonderful of his works date from his deafness. note he sounded made the sympathetic listener recognize of Rubinstein creates an impression not unlike that pro¬ Because of the war Europe was operatically impossible proper performance. But the chief reason, after all, duced by some magnificent display of the elements. He Just as the seer can be imagined blind, that is, blind to the musician, “by the grace of God.” (it was 1916), but I had not the slightest idea of singing was the fact that on the instruments of that day, which his surroundings and seeing only with the soul’s percep- He had phenomenal hands, with perfectly trained considers the spontaneity of this man of genius, com- THE ETUDE DECEMBER 1920 Page 803 Page 802 DECEMBER 1920 THE ETUDE from that of the Messiah! He realized to make him a birthday present of a new experience at home and abroad, he had succeeded, with Ten-Toned Scales tion, so the hearer can be imagined deaf to all his sur¬ that their propaganda was being spread edition of the Diabelli Sonatas, and what the aid of the Grand Duchess Helena and a few other roundings and hearing only with the soul’s perception.” with a real zeal, almost fanatical—spread joy they had had playing them together! enlightened people, in establishing the Russian Music Schubert, he pronounced a remarkable personage in By Elizabeth A. Gest every day in the year, in all parts of his What a funny world it was! Whence came Society, which resulted in having music schools estab¬ music, whose productiveness in a short life he ascribed native land, his America, land of John all these skyscrapers, giant snow-clad to the fact that the man “sang as the birds sing, always lished in St. Petersburg, Moscow and Kiev. In spite of the fact that teachers spend a large amount Alden, William Brewster, Benjamin Frank¬ ghosts ? How everything had changed! By 1852 the music school at St. Petersburg had de¬ As he moved toward the subway entrance, and incessantly from a full heart, simply voicing his of energy and time on teaching scales, pupils do not lin, Thomas Jefferson, George Washington, veloped into a full-fledged conservatory of music. Rubin¬ he caught sight of a figure of a man en¬ inspiration.” always have a very clear understanding of them. This Abraham Lincoln and Theodore Roosevelt! stein was appointed its first director, and held the office tering Liichow’s famous restaurant. At His tribute to Chopin is most illuminating and should is partly because children begin the study of scales with What were Americans doing to meet such be read complete. He says, in part: “Chopin is the bard for five consecutive years, resuming it again, for a time, first he thought he was mistaken in the a sort of traditional dislike for them, and partly because alien propaganda? How shall we keep the of the pianoforte, the rhapsodist, the spirit and the soul after a long period of absence devoted to concerts. unthinking in that state of wholesome san¬ identity of the individual, but his curiosity Among the earliest teachers in this conservatory were the teachers spend their energy teaching such things as of it. I do not know whether this instrument inspired ity which had been the basis of the one led him to enter the eating-house. It was that G# follows F# in the scale of CC instead of teach¬ him, or he the instrument. But only a thorough identi¬ Leschetizky, later the well-known piano pedagogue of hundred and forty odd years of happiness unquestionably Arnold Streponski. He ing the theory of the scales in general and letting the The Revolutionary Etude fication of" both could produce his compositions.” Vienna; Mme. Nissen-Salomon, the Swedish singer, a and prosperity in “God’s Country?” could identify him positively, despite the Every student of the pianoforte and its literature pupil of Manuel Garcia, and Wieniawski, who later ac¬ child build his own scales. This is particularly necessary Within a hundred feet of the crowd of fact that he had cut his long black hair. should read this book, which overflows with helpful sug¬ companied Rubinstein to America, and whose wonderful with the minor scales, which are a stumbling-block to A Christmas Story of Music and the Great Unrest malcontents, a blind beggar stood in the There was no mistaking those ophidian gestions and descriptions. Rubinstein, the man of warm, violin-tone rang out with Rubinstein’s piano-tone as so many. A short explanation of scale-theory should be shelter of a little doorway, playing lovingly eyes. What was he doing in' America? sympathetic heart and great intellect, seems to have been though both were produced by one spirit. given, bearing on present-day scales, major and minor, By CAROL SHERMAN upon his fiddle. His tincup, around which How could he have reached here so soon absolutely free from narrow prejudices and petty In the first graduating class were Tschaikowsky, the from the old Greek modes, and showing not where the someone had hung a Christmas wreath, jealousies. held more snow than coin. His white hair great Russian composer, and the favorite pianist, Mme. half steps occur, but the succession of whole steps and Four times around the iron-fenced debut, which was scheduled to occur i 'J'his giant of tonal art, this Russian nYriot, philan¬ Essipov, a pupil and later the wife of Leschetizky. The streaming down under his hat, blew gently half steps. To tell a pupil that the half steps come square of Gramercy Park, Thaleon Mar- year hence! thropist and musician, wielded a mighty influence in the degree of Bachelor of Music was conferred upon the in the wind. No one stopped to listen to between three and four and seven and eight is not as shall walked kind of delirium of joy Thaleon was twenty-seven, but he had musical world of both Europe and the United States. graduates, and the Russian musician acquired the same his beautiful message save a newsboy To this day students of the piano owe him a great debt good training as to tell them that a major scale is built such as he had known before. As the buoyancy of a youth of seventeen and social position that had for a century belonged to the “stuck” with a few last editions. of gratitude. The value of the impulse he gave to music of two whole steps and a half step then three whole he passed the Players, the National Arts the intellectual maturity of a man of forty, Russian painter. in Russia cannot be estimated. steps and a half step. Then tell them that the upper and other clubs of which he did not know As he walked on toward Union Square, he “Silent Night, Holy Night, The life of Rubinstein was truly consecrated to music, When he returned to the homeland, in 1849, after his half of a scale becomes the lower half of the next the names, there were unmistakable signs remembered how years ago his mother had All is calm, all is bright, and through music to his fellow-creatures. His bene¬ several years of association with music-makers and per¬ related scale. of celebrations of the “Day of Days.” In taken him to old Steinway Hall to hear Round yon Virgin Mother and Child, factions were enormous. He accumulated a large for¬ formers abroad, he found so little conception of the A clear way of presenting the relative minor, which every window circles of holly and ever¬ Rafael Joseffy, to hear Dr. William Holy Infant, so tender and mild; tune ; gave away an equally large fortune for charities worth of musical art that his music manuscripts, the confuses so many pupils, is to consider a series of ten green silhouetted against the light pro- Mason and other men who were masters ii Sleep in Heavenly Peace, and various good works. During his retirement in his fruits of long and conscientious toil, were confiscated at tones from. A to C, the upper eight (C to C) give the claimed Christmas. But Thaleon had even his childhood. All his life had been dedi- Sleep in Heavenly Peace.” beautiful villa, Peterhof, he continued to shed his light the frontier for fear that what purported to be notes major scale—the lower eight (A to A) give the minor forgotten the Day, since the moment he cated to music. might contain some dangerous secret code. Here and afar until his death, November 20, 1894, and its glow is scale. And this can be again compared to the Greek had walked down the high stoop of one of It had been a hard struggle for his proud Thaleon dropped a few coins in the cup, there he encountered groups of excellent musical ama¬ not yet extinguished. modes. But then add that to give the minor scale a the few fine homes that had not been mother. a difficult thing for a cleared his mind of pessimism, and looked teurs, but music as a profession held so low a status that His last appearance on the concert platform, January, more familiar ending of finality, the seventh or leading stamped out by the march of skyscrapers woman _of_ her ^eage. unex^ctedy even Glinka, considered at the time Russia's greatest 1899, was in Moscow, where he had given his first child tone was raised a half step. This presents the subject ; he ap- thrown upon her c up Fourth Avenue. Every back to the golden hour of his childhood. musical genius, owed his standing in his native country concert. As he made his final bow after the perform¬ of relative minor scales and their signatures in a clear proaciied the house he stopped for a second stenography at the age of forty, secure a Here on the corner once stood the Everett to being a member of the nobility and a public office¬ ance, the grand piano was closed and locked, and with a way, and has proven helpful. or so, and a new thrill came to him. The position as a court stenographer and earn House—home of many famous men. There holder, rather than as a musician. pathetic gesture of farewell he disappeared from view. night’was crisp and sharp. The thought of sufficient income to educate her son. What One of the most valuable legacies he left to musicians once had been Tiffany’s, Schirmer’s, Dit- Young as Rubinstein then was, he resolved to employ what had just happened almost took his if she could have known of this wonderful is the advice in regard to musical education and music son’s. How well he remembered the day his best powers in effecting a change. By the season of breath away. night! How she would have loved Mary schools, which is to be found in his autobiography. The Harmonious Blacksmith his mother had taken him to that very plac 1858-1859, having continually enlarged his knowledge and Years back in Vienna, he had secretly and how Mary would have loved her! hoped that when Mary Stapleton returned Perhaps after all his mother was looking By H. E. Zimmerman ...... , < i_ i_ a—__- —_t. to America he might be able to know her down upon him i, through the deepen- again, but he also realized that her father’s ing curtain of , blown around by the Environment and the Child’s Musical Life great wealth and her long-established social air currents and sweeping down through position placed between them that chasm the brick and steel canyons. By the Eminent Eurythmic Specialist E. Jaques-Dalcroze h is rarely bridged, even in fiction. At Union Square and Fifteenth street a She had consented to wait until after his “soap-box” orator was haranguing a crowd, II. debut, and then—well, then if he could partly in Yiddish, partly in broken English, The influence of environment plays an important role. repeat too often—musical instinct does not always reveal even make enough to live in a little cottage Thaleon heard him mutter something about after the war? Had he come in the role of We know how rapidly a child acquires an accent. I itself spontaneously. In many cases it must be sought in the suburbs—she would be his wife! capital, something about our brothers in a virtuoso, or in the role of a Mettemich? knew, in London, a little English boy who spoke French after and brought out. After that he did not know how many Petrograd, something about enlightening Thaleon remembered his own one appear¬ and English with a Swiss accent, because his nurse was Twenty years ago I wrote some little songs for chil¬ times he walked around the square just the world, the rights of the poor, the reve¬ ance at the great Saal in Graz—remem¬ Vendoise (Swiss). dren, which I had them act out by movements of the to look at the red brick house, that all his lation that was to come, Soviets, labor, bered how all the papers but one had A governess with a poor voice or a slovenly enunciation body. And they proved beyond a doubt that even chil¬ life would be a shrine to him and to Mary freedom, liberty, the wicked rich, the v praised his playing to the skies, and the can have a very bad influence upon a child’s ear. Too dren who do not like music, and who dislike to sing, are Stapleton. derful to-morrow, when all men should be discovery that the bitter and unfair criti¬ much emphasis cannot be placed upon the importance of enticed into enjoying music by their love for bodily A fleecy snow commenced to fall, and cism had been inspired by his rival, Stre¬ having the child hear musical speech from his baby¬ movement. For, since the two essential elements of soon the trees and bushes were covered ponski. He remembered how Streponski hood. “The education of a man begins at his birth,” music are rhythm and sound, anything that calls into with true Christmas raiment. Thaleon had followed Mary from Vienna to says Rousseau. And Fenelon wrote, “The first habits are willing activity either element in the child, will aid in its strolled down Irving Place on his way to Munich, from Munich to Geneva, and from the strongest.” Montaigne writes: “I find that our musical development. Then too, feeling is in direct rela¬ the subway. The muffled ground made all Geneva to Paris. He knew only too well greatest vices take their bent from our earliest infancy, tion with the sensation of sound. Part of musical sensi- other sounds ring out on the night air with how Mary loathed him from that night and our strongest' governmental powers we place in the tivenes's is the appreciation of the pitch of a tone, of its especial clearness. He paused in front of when he had forced his attentions upon her hands of the nurse-maid.” dynamic energy, and the greater or less rapidity of the shop of a Jewish tailor, working cross- at a concert in the Trocadero. Albert Lavignac wrote, “Many children fail to become rhythm. kneed on his table in the basement. At his Then came the great war, and Strepon¬ musicians because the negligence of their parents stifled Berlioz once wrote an interesting chapter upon the side was a talking machine, from which ski had tried to emphasize the fact that he their first instincts. A father who destines his daughter importance of devoting a part of the musical drilling came the plaintive notes of Kol Nidrei, was born in Lyons, in order to escape being to the career of dancing, would from her first steps, to the study of rhythm. But he preached in the desert! sung by a famous Moscow cantor. What suspected of having Teutonic sympathies. watch carefully that her legs might not be crooked. And that was a great pity. For there is a certain moral joy that little machine was bringing people The scheme seemed to work for a few Just as important is it to guard against any deformity value in the study and perception of rhythm. It lays :he world over! A little further on he equal—all jumbled together in a kind of weeks, and then Streponski “disappeared.” . of the hearing apparatus.” —even deeper than we know—an orderly foundation for passed the doors of a famous German hysterical frenzy that seemed like reason How? Ask Monsieur le Prefect of the It is easy to devote a few minutes every day to the mental character of the child; and there is a veritable restaurant, and as they opened there was a to the crowd of listeners. The pent-up Paris police. There was quite a story— having the small child imitate with his voice a note and highly beneficial reflex of the nervous system, physi¬ blare of saxaphones, muted trumpets, persecutions of the speaker’s race came but it was the same as hundreds of others played upon the piano, to sound A and have him find cally. And this fitting of bodily movement to music has RESTING PLACE OF THE HARMONIOUS drums, banjos and trombones roaring out forth in torrents of abuse against a thou¬ that cropped up in Paris during those ex¬ with his fingers the same note on the keyboard. A a marked tendency to the development of temperament, BLACKSMITH “jazz.” What a change the war had sand oppressions, imaginary and real. citing days. great many such exercises can be given to very young without which no one, however talented, can become a made! Where were the enticing ca¬ Thaleon wondered, wondered why those Thaleon had planned a concert in Paris, children. They are really necessary, because—one cannot true artist.—Le Menestrel. dences of the Blue Danube or Man Lebt men and women stood in the wind and one at St. James Hall, in London, and nur Eimal? storm of that Christmas night and listened perhaps the usual tour through sympathetic In the pretty little church yard that surrounds the Further down Seventeenth Street, he to that rehearsal of misery, in a year when Scandinavia or Holland. Such things, his church at Edgware, immortalized by the famous com¬ looked up and realized that he was stand- workmen were more prosperous in our American sponsors had told him, were es¬ poser and musician. Handel, stands an old tombstone front of an apartment house where country than ever before—when American sential to a debut in New York. But who The ETUDE extends its Congratulations to Warren G. Harding, the first erected to the memory of a blacksmith named William once had lived one of his former teachers, day-laborers were earning far more than could think of concerts when the Red Powell. According to the story, Handel took shelter Cross needed men of intelligence and ac¬ “musician” President of the United States. England has had a modern parallel the unforgettable R. Never since the skilled craftsmen in other countries of the one day from a heavy fall of rain in the village smithy famous pianist’s death had he heard such a world, when most of the people of the land tion? Four years in that inferno of the in the Right Hon. Arthur James Balfour, ex-Prime Minister, who was an exel- at Edgware. and was so struck by the effect of the sing¬ touch, such a faultless execution, such were celebrating with joy the Birthday of Marne, Verdun and the Argonne had ing of the smith to the accompaniment of his own anvil, brilliancy combined with such delicacy; the “Prince of Peace,” of the House of lent amateur musician, and the author of hooks on music. Our coming president broadened his manhood, decorated him that he went straight home to the Cannons, near by, runs like chains of diamond dew, octaves David, who came nearly two thousand with a few “scratches,” and, most of all, and wrote the score of that well-known composition, The has manifested an interest in music since his youth and has a wide circle of like volleys from a machine gun, sonorous years ago with “glad tidings of great joy.” brought him nearer to Mary, as she went Harmonious Blacksmith. The stone has been raised to chords and wonderful sustained tonal ef- Why did these messengers of discontent from camp to camp, singing Irish, English, musical acquaintances. commemorate this event. At the top, above the inscrip¬ fects. Oh, if R. were only living now! ever come to America if they could have Scotch, Welsh and American home-songs. tion is carved a blacksmith’s hammer, anvil, and floral How he could help him for the great found better conditions in the land of their How the boys had cheered when they heard design and a bar of music. musical event of his life, his New York origin? How different their message was DECEMBER 1920 Page'805 THE ETUDE THE ETUDE Page 801+ DECEMBER 1920 “Yes, there may be many of his kind,” which she possessed, “Mary Stapleton, her sweet, sympathetic voice ring out with statesmen whom she had met during those admitted Thaleon, “but who is there that what a goose you are! You are only do¬ unforgettable days. What was it about will stoop as low as Streponski and who Over There, Way Down Upon the Suwanee ing what every other girl in the whole Thaleon that made him so irresistible to has the ability to do what he can do? His River and the Long, Long Trail! No man world has always done about the man she Getting Results in Pianoforte Study traveled more or worked harder than Mary, her? He was only one of the many who idea of getting ahead is to ruin anyone mm had asked her the great question, but now who stands in his way. I should have —“Our Little Queen,” as the men had As she fell asleep that night, her lips nn that she had answered him “yes,” she called her. To think that she was now to thought that the war would have taught By the Successful American Piano Virtuoso could hardly realize what had happened. pressed tenderly the sweetest, dearest be his queen 1 Christmas present any girl can possibly him a lesson.” The little kodak picture showed him talk¬ “I wonder whether we are right or Thaleon, reverting to the German of his have—a little circle of gold holding a bril¬ AURORE LA CROIX -— student days, ordered a “belegte Brochen.” ing earnestly with a slightly wounded wrong in shipping these people back to liant white gem. Would Streponski recognize him from the poileu who had lost his way to the dress¬ Europe,” mused Pyle. “They are plead¬ ing station. There was something so ing a cause that simply feeds on martyr¬ table on the opposite side of the room? The following morning Thaleon awoke In Vienna he had seen very little of Stre¬ fine, so compassionate, so aristocratic, so dom, and I sometimes think that our best broadly human in his face that everyone after a night broken by many dreams. ponski, except at recitals and on those days Dreams of enthusiastic crowds at Aeolian weapon is ridicule.” , La Croix ha, boon .ucc.M in h,r rrci.ai. in Non York and on ,.«r with ...ding .reh.,tra^ Th. following ar'fcl. who had seen this picture had commented “Yes,” interrupted Thaleon, occupied in when the Austrian had strutted up and Hall, dreams of Mary when she rode with down the Ring Strasse with a huge Great upon it. First of all, he was American- breaking an egg, “and every attempt on is the second and last of two articles of a very practical and enlightening nature all American, clear-eyed, clean-minded, him on the front seat of the ambulance to Dane. The crowd was gradually thinning sing to the boys who had just come back our part at curbing any dangerous radical out, and Thaleon was afraid to remain unafraid and practical, with all his ideal¬ is put down as a violation of the principle ism. Her own father had admitted that from the front lines, dreams of the joyous the size and peculiar acoustics of the hall. Direct pedal longer. He arose to go, when, to his of free speech.” an octave below the other, we would have the different he liked him because “he had his feet on days before the war in Vienna, when the Art in Fingering and Pedaling is also used at the beginning of a measure to sustain the amazement, he saw the street orator enter “Precisely,” assented Pyle, “and you timbres of the registers, but a perfect legato in each. the ground.” Thaleon had never deceived kindly gemuthlich folk had charmed him An important point for consideration in the study of and go directly to the table where Stre¬ and I would be among the last to inter¬ Now granted that a better legato is produced in the pedal-point and mark the accent. himself into believing that he was some¬ in a way that no hatred of war could ever a piece is the fingering. Where the finger development It is sometimes well at the beginning of a piece to ponski was sitting. In a few minutes they fere with so sacred a principle. Our upper voice by an interchange of 5-4 or 5-4-3, what thing which he was not. obliterate from his memory, dreams of is at its maximum the fingering requires least thought, have the foot on the pedal before beginning, where a were deeply engaged in a whispered con¬ fathers fought for it and we would fight happens to the lower voice ? It must be played through¬ Mary laid the album down upon her Streponski and of his anarchistic compan- for in such a case the thumb is as light as the fifth rich resonance is desired. In a phrase which is purely versation, interrupted by many emphatic for it again. It is not free speech that we out by the thumb. Therefore, you do one thing with dressing table. As she looked at herself icns undermining the very foundation of finger, the fifth as strong as the thumb. But with every harmonic it disturbs the line to take more than one gestures of clenched fists. Something was object to, nor do we claim to be perfect the lower voice and quite another with the other, and in the mirror, a smile of introspection his beloved country—for which four hand certain natural characteristics of the fingers must wrong; there always was where Strepon¬ here in America, for our social organiza¬ you destroy the perfection of your unison singing. pedal. came over her wholesome, interesting face million men gladly gave their services and be considered. Set rules cannot be made, since individual ski was concerned. Even his own good tions can never be improved except If in a piece where there is so much repetition or so —a countenance in which an indescribable their lives when the great hour came. hands vary so greatly, but, in general, there are traits friends in Vienna not only mistrusted Stre¬ little substance that, for variety, you resort to the rather charm and intelligence compensated for Just as the salmon rays of the dawn came through the free and open discussion of peculiar to each finger which are common to all hands. ponski, but many despised him. It seemed obvious idea of bringing out either the upper voice or any lack of certain features which many through his window, Thaleon dreamt that. our great problems by men and women of This being true, the easiest fingering is not necessarily to be generally known that his mother, the lower, you may feel you should change fingers; but often mistake for beauty. She, too, was Chopin, in the glory of his exuberant character, honesty and constructive abil¬ once a famous ballerina, had fled from the the best. here, again, there are two very good reasons for not not deceived in herself. For months she youth, mounted upon a white steed at the ity; but what we Americans cannot have Leschetizky once said that if he had forty thumbs he Austrian capital after a scandal which had doing so. The first is that if you isolate at one time had realized that pleasing as was her head of a cavalcade, came rushing toward is free fights, free revolution or free mur¬ would use them all. It is a most useful finger. It is agitated all the courts of Europe. The the lower, at another the upper voice, you have inequal¬ voice, it just missed those necessary char¬ him as the tumultuous music of the Revo¬ der, as may be instigated by men whose not only strong, but being large, with broad flat side, a mysterious death of a member of the royal ity, for you must play the one with thumb the other acteristics which might have enabled her lutionary Etude was being played by count¬ motives are so at variance with the princi¬ most dependable finger to land on for dangerous black family had never been explained, but never¬ with the changing fingers. The other reason is that to live out her father’s dream—that she less trumpets, drums and cymbals. The ples of those who gave their all that our keys. However, thumbs must be used with discretion, theless Streponski was known as a useful which holds good for never changing fingers in octave should become a great opera singer. horseman stopped, and placing a golden country might endure.” otherwise the playing can sound “thumby”; though in man at any sinister game of intrigue played playing. Using the third or fourth finger m all but With him, music had been an all-absorb¬ banner in Thaleon’s hand, vanished in a “Now you are talking,” exclaimed Tha¬ a well-developed hand, the thumb has lightness and behind the curtains of Balkan politics. very large hands causes a'turn in hand and arm, and ing fad since his childhood. With only cloud. He awoke with a start and saw, at leon, “and do you know-” agility as well as strength. Not only is the thumb prac¬ Thaleon was one of the first to realize is dangerous, as it is inclined to produce an undesired the most meager musical training, he had the foot of his bed, the Irish janitor of the “Wait a moment,” put in Pyle, “you told tical for black keys, but it is also of esthetic value on the peculiar musical genius of Streponski. accent and break the flow of melodic line. A little building. me last week that it would be about all you When he sat at the keyboard a look of never been able to play or sing as he had an expressive melody note, as it produces, combined with “Sure, is it crazy ye are, Mr. Marshall, could do to get in the practicing required practice for sliding the fifth as one does the thumb, intense penetration came into his eyes, the desired. The piano-player and the talk¬ concentrated weight, a quality no other finger can give. with all this hollerin’ and yellin’ ? Me wife for your debut next year. You are getting with careful binding of the pedal, produces a near- world vanished from his mind, the bitter¬ ing-machine came as a blessing to him. In a rapid scale where an accent is essential it is often was just afther makin’ me climb up the on dangerous ground, Thaleon, if you legato, which is more satisfactory than the agitated ness of his own fate overwhelmed him, He boasted that he had the largest library advisable to use the thumb, as, for instance, in the sec¬ “In shimmery” modern music with a sustained funda¬ fire-escape to your bathroom.” think that you can get into any amateur change of fingering. and there was a fire of hate, remorse and of records of anyone in the town. In¬ ond section of the Menuet in the C major Sonata of mental, and while playing softly, the damper pedal must “Where am I?” exclaimed the half- detective game at the same time. I know Expressive Notes cynicism that made his playing of the deed, he had them all classified in books Weber, the little phrase: often be held down through phrases containing changes awake Thaleon. dozens of men who were nearly ruined Scherzos of Chopin different from any¬ like the briefs in his office, and he could The third finger is an excellent one for expressive of harmony. With concentrated weight a melody can be “Anybody to hear ye would think ye by neglecting their own business for this. isolated against such a blur of pedal with most exquisite thing that Thaleon had ever heard. Even turn as quickly to Caruso’s Vesta la Giuba notes on white keys. It has a wide pad and is strong were at a ball game lettin’ yourself loose Stick to your music and let the Govern¬ effect. In coloring with the pedal, half-pedals (an in- _ the master at one of the classes had said, as he could to Brown vs. Brown. He left The second is less often used, and the fourth is, of on Babe Ruth makin’ a home run.” ment take care of Streponski. I know it is complete lifting of the foot) are often used, in this way ' “He plays the Revolutionary Etude like nothing unspent to develop his daughter course, the weakest and the least expressive finger and “Don’t worry Dominick,” laughed Tha¬ fascinating to think that you can stall a dropping some, but not all, of the overtones. Be sure a Demon from Hell,” and everyone had into a diva, but alas! money alone does dangerous for use on a valuable note on the black keys. leon. “I just had a bad dream, that’s all.” game like that, but you really have no that your pedaling is clean in pure melodic playing, es¬ agreed. Now Thaleon had selected that not make prima donnas. Mary was seri¬ repeated many times in both hands in varying tonali¬ In passages of like construction in Varying tonalities “If I had a dream like that,” chuckled reason as yet to doubt that Streponski came very etude to play at his concert the fol¬ ously troubled about the disappointment ties. The fingering, right hand, should be 2 3 1 2 3, a uniform fingering is preferable wherever possible. . pecially below middle C. Dominick, “I’d be after seein’ the doctor. to America legitimately to give concerts, To secure an effect of dramatic stress a quick lifting lowing year. Once he had envied Stre¬ she knew was in store for her father. left hand, 3 2 1 2 3, ascending; 12123 descend¬ In scale passages, where a perfect legato equality is Mrs. Grogan and meself was real worried. just as you propose doing.” of the damper pedal at the end of a loud passage is ponski. Could an American ever possess Perhaps this might be softened by the ing. When the figure comes in in thirds the desired, the most comfortable fingering is the best. Sure there’s no one in the buildin’ as pays “That’s all right, Elliott, but you know as most effective; and a will-o’-the-wisp effect is produced that scintillating, rapierlike flash which news that Thaleon was some day to be right hand 34345 43543 In repeated notes, as the muffled drum beats in the their rent as regular as you, Mr. Marshall, well as I do, how he used his very ability in the same way at the end of a delicate passage. seemed at times to make the playing of his son, However, she knew her matter- 12 12 3, ascending; 21321, descending Beethoven Sonata, Op. 57, first movement, the monoton¬ and we’re thankin’ ye now for the beauti¬ as a pianist to get into French society, Pauses in music are often a welcome relief. Do not Streponski superhuman? What if Stre¬ of-fact father too well not to realize very left hand 12 12 3, descending ous call of Fate is better depicted by a dropping with ful present ye give us of a clock yisterday. carry your damper pedal through every rest, especially ponski were to play in America at the fully that Thaleon would stand but little and then how the secret of the forty- 3 4 3 4 5. the same finger with arm movement from shoulder than We could hardly go to sleep for wantin’ to in the classsics. Rests have musical value. same time he planned to give his con¬ chance until he had actually achieved a eights suddenly leaked out in 1915.” This fingering should be consistent throughout, in order by changing fingers, as the latter changes the quality. hear it tick. Go on now, Norah, ye can’t Variety can be obtained in the repetition of a section > cert? He recalled how Mary had told real success. This meant waiting for “Oh, it will do just as well to have him that there may surely be a metric accent. In the left Where repeated notes are light, rapid and varied in tone nearly a year. Thaleon had not touched come in—there’s nothin’ wrong with the of a piece, especially in light finger work, by abstinence him that Streponski seemed to realize that watched,” said Pyle getting into his coat. hand often a firm thumb, combined with dropping of quality as variations 1, 2, 3, Beethoven C Minor Varia¬ young gentleman. He was only out the from the use of the damper pedal. he was his only rival in the master’s class. the piano more than a few times during “I’ll send a code note to Washington at arm, can be used for a non-legato melody, where the night with a few friends and was keepin’ tions, they should be played with changing fingers. The damper pedal is used more liberally in modern And even the Austrian himself had been the war, and it would take at least a once, but my tip to you is to let the Gov¬ quality of tone is unvaried and bassoon-like. up the celebration, like I done meself For identical results use identical means wherever music than in the old. In polyphonic music, as in the heard to exclaim, “That American plays twelve-month to get his technic and re¬ ernment experts handle this thing. You The fifth finger, as the other outside support of the many’s the time. Good mornin’ to ye, Mr. practicable, whether it be in fingering or motion. In Bach fugues, the pedaling has to be very frequent and like a poet—like a great poet, while I pertoire in sufficient shape to make his keep out. If there is any funny business arch, is perhaps the finger of next importance individ¬ Marshall. I’m sorry I waked ye, but me the Trio of the Menuet aforementioned, there are trip¬ carefully studied; but if you have ever been told not to play like a villain!” Streponski was not debut even possible. going on, any propaganda with something ually. It is both strong and expressive. For a big tone old woman would have it ye was gone let calls in single notes and in chords. The single notes use the pedal in Bach, please unlearn the rule. weak enough to be deceived in himself. Meanwhile, Thaleon would have to it is better to play on its side than on its tip, as in the more than words in it, Uncle Sam will must be taken with one finger in order to be counter¬ A “disappearing” pedal can be used where you desire The pianist and the street orator were teach in order to support himself, and crazy. Here’s wishin’ ye a ‘Merry Christ¬ latter case the tone may be hard. For a delicate trill smell it out before you can begin. Better the tone to gradually die away. This is a gradual lift¬ drinking heavily. Every now and then this, together with constant practice, mas,’ Mr. Marshall, and for ivery time it is better to use 3-5 or 2-4 than 1-3, which is better parts of the chords. let the Streponskis alone and stick to Do not be hasty in deciding your fingering. You ing of the foot and catching back again, until the foot they signaled to each other to be more meant long, hard and laborious hours of the new clock ticks I say, ‘God bless you.’ ” for loud trills. The use of alternate is better than Brahms and Ravel.” is entirely off the pedal. cautious in their remarks. Thaleon drew work. She had told him that he must neighboring fingers for trills. In very rapid, short scale should try many different one^ before final decision, but Thaleon remembered that a pupil was Thaleon hurried to his studio and just his coat collar up and moved a little regain that dominating power at the key¬ passages, where it is practicable and the fingers are well do not begin practice of the passage until you are de¬ due at his studio on Fifty-seventh Street had time to open his mail before the ar¬ The Middle Pedal nearer to the group. He was relying upon board which had made him the talk of trained, a more frequent use of 1 2 3 4 5-1 2 3 4 5 cided, in order not to waste time acquiring the wrong at nine o’clock that morning. He dressed rival of a pupil. The middle or sostenuto pedal, peculiar to Grand the fact that the removal of the Vandyke musical circles in Vienna. than is generally employed could be made m order to habit. Never lack courage to undo a bad habit and hurriedly and went at once to the French pianos, admits of a most interesting use to sustain peda!- beard he had worn in Vienna would con¬ Streponski, his only rival, with a tech¬ There on the front page of the latest avoid constant turning under of thumb, thereby secur¬ acquire a new one which you are convinced is an im¬ restaurant near Seventh Avenue. This points. In music that was written before the invention ceal his identity from the Austrian. The nic as sure as that of von Biilow plus issue of a musical newspaper was the fol¬ ing a glissandolike run. provement on the old. When a place persists in sound¬ something of the brilliance of Rosenthal, was out of his way, but he knew that lowing note: of this pedal it is possible often to facilitate a rendition group was joined by another man, evi¬ And now we shall make a statement which will doubt¬ ing badly, despite well studied fingering and much prac¬ by holding the pedal-point with this pedal and playing dently a real workman. Streponski re¬ never failed to astonish his hearers. With Elliott Pyle, who had been with him at less be met with a challenge. The use of 1-5 consist¬ tice, do as Harold Bauer advises—“See what you are Andover, always took his meals there. what was written for one hand with the two hands. moved a wallet from his pocket and Thaleon it was quite different. His Bach ently for octaves is more satisfactory than a change to doing with your hands and arms.” playing revealed the serious, earnest stu¬ Pyle had an exceptional record during the STREPONSKI Where there is time you can depress a pedal-point to handed the orator a bill of a size that 1_4 This is the result of serious consideration of both come without striking it. Catch it with the sostenuto, made Thaleon gasp. The jazz band dent in veneration before the Master of war for the ingenious manner in which he ways of playing octaves, and a firm conviction that there How the Pedals Give Life to Piano Playing masters. His Beethoven indicated his had transacted some army business de¬ and when you play the note it will be held, as in the be¬ struck up a wild, discordant “blues,” and TO TOUR AMERICA is no good reason for using 1-4. In a bravura octave Pedals give life to piano playing. They are the heart ginning of the Debussy A Minor Prelude. You can breadth, his extensive reading and study manding the brains of a superdetective, the the little group beamed with the joy of passage, be it loud or soft, legato or stacatto, there of piano playing, pumping blood into the interpretation spread the left foot over both soft and sostenuto pedals of paintings. His Chopin disclosed poetic integrity of an irreproachable character mysterious triumphs to come. Thaleon surely can be no necessity for using 1-4, which is not where you wish to use sostenuto with very pianissimo sensitiveness, traceable probably, to his and the bravery of a real man. Thaleon THIS YEAR and giving a warm life glow. went out into the storm and was soon on so comfortable for most hands as 1-5. A sufficient The most used is the damper or right hand pedal. Its effects; but this is not practicable for any but a very distant relationship with Thoreau and spied his friend at his usual table and soon the express bound for Fifty-ninth street. legato is secured by use of pedal; and, with loose, shaken most obvious use is for sustaining and binding legato. large foot, as it is uncomfortable to manage. Be sure Francis Hopkinson. His Liszt was not they were deeply absorbed in the case of uue oi tne sensations o Vienna before the war, has recently ar arm there is no need of the Kullak rising and lowering Its use for coloring is a study of unlimited resources. to have the damper pedal off before releasing the sos¬ Mary Stapleton looked long and earn¬ the Liszt of d’Albert or Bachaus or Kes- Streponski. It was not necessary to tell rived America. “Came in on rubbe of wrist. This makes for perfect equality, whereas The syncopated pedal, which is taken just after a note tenuto. An unpleasant click is caused by lifting the estly at the portrait of Thaleon in the senauer even, but rather resembled that Pyle anything about the career of that tires, as he expressed it. In response changing fingers introduces a new and weaker element and held over to the next is in more frequent use than damper pedal after the sostenuto. Album of Memories which she had of the incomparable Paderewski. individual during the war. In the jargon to the usual inquiry from our reporter and causes a turn of arm which is sure to make an accent. the direct. The former is used for binding notes to¬ The soft pedal is a most exquisite color medium. It brought back from France. It was sand¬ On and on Mary went, comparing her of the street, “he had his number.” he replied: “Do I like America? I lov The chief point of contention on this score is in the America! I have been here only tei gether, the latter where, for acoustic purposes, a short should not be used for a diminuendo at the end of a wiched between many pages bearing auto¬ hero with pianist after pianist, until the “But why pick especially on Streponski,” playing of slow melodies. Here we have an intensifies- days, but it is all like a dream. Slid note or chord must be given a short pedal to prevent phrase, as it changes the quality as well as the dynamic graphs of noted military men, noted night was far spent, and she had to ex¬ he asked, “when there are dozens just like tion through unison voices of a melody. If the melody responsiveness, such activity, sue! dryness. The amount of pedal used is dependent upon force. It should be used for contrast of color. A long claim, with the priceless sense of humor him?” were sung by two human voices or two instruments, one physicians, writers, painters, singers, and (Continued on page 847) THE ETUDE Page 806 DECEMBER 1920 DECEMBER 1920 Page 807 THE ETUDE passage with crescendo can be begun with soft pedal rhythmic line. In three-four time there is an underlying Doing Too Much for Students gradually lifting. A more poignant quality is produced feeling of six-four usually. Do not play alia breve as by playing with soft pedal and appreciable quantity of four-four. These are important points. An otherwise By H. C. Nearing weight than without soft pedal and restraint of weight. indifferent interpretation, which is rhythmic, has better rEditor’s Note.—It is the policy of The Etude to print Misterioso effects are secured by the soft pedal and no legs to stand on than one which is carefully polished, articles covering various phases of many subjects so that sustaining pedal, especially in a piquant staccato. but lacking rhythmic balance. And while there must our intelligent readers can draw their own conclusions and With these few ideas we do not pretend to have cov¬ form their own musical paths therefrom. Everything in be an inner feeling of metronomic precision throughout the following article is in direct opposition to the editor’s ered pedal technic, which is a study of a lifetime. Ex¬ a piece, rubato, a discreet elasticity of tempo, obtains personal experience. He found that he could not do too perience and study by the pupil will disclose to him much for his pupils and every effort was made to give the from the playing of Bach to Schoenberg. With the pupil a little more_rather rather than a little less i:.in every. way. Bringing Out the Master’s Meaning many more interesting uses of the pedals. rhythm or skeleton of your piece well outlined, you will ____t ungrateful pupils do some times ri__ find that the broad phrases go hand in hand, and then this practice, but on the whole it was wonderfully suc¬ The Best Way to Study a New Piece of Music cessful. Yet. the following article may be tine medicine for come dynamics and details of tonal coloring. Here indiscriminating teachers who have been giving too liberally By the Distinguished Pianist-Composer-Teacher There is a story told of a great artist which is fraught what you do with your hands and arms means every¬ *■* rv.yniia nrhn nnt rlpserve eeneroaitv. 1 ' with meaning. After his concert an admirer praised his thing. Most teachers, the younger ones particularly, make playing of a certain number, saying it was so beautiful, Do not work long at one passage, for there is a limit the mistake of doing too much. The teacher who per¬ though wholly different from a previous* performance to the time one can concentrate on the same idea. Three, EUGENIO DI PIRANI sists in this course seldom makes successful artists, and of his she had heard. Upon which he became very or at the most six repetitions at a time are sufficient, and generally suffers from a nervous breakdown in what thoughtful, and said, "I am very sorry, for its perform¬ the habit started, it goes on developing in your mind should be his prime. There are three ways in which ance should always be the same.” Theoretically it while away from the instrument, so that when you his daring harmonies, offer to the interpreter unlim¬ this mistake is most often made. In the Program-Music, as, for instance in the Sym¬ should be, though varying conditions, such as the artist’s return to it you are often surprised to find a difficult One cannot play Chopin as he would play Beethoven, The first is that of making the lessons for longer than phonic Poems, the interpreter has a guide to go by. ited possibilities outside of pedantic correctness. In physical state, the degree of response from the audience, place mastered. Again, to quote James, “We notice or Liszt as he would play Bach. Each of the great fact his two masterpieces: The Passion of St. Mat¬ atmospheric conditions, and acoustics are powerful re¬ after exercising our muscles or our brain in a new the teacher has agreed. A half-hour lesson becomes masters requires a special interpretation. This has Modern composers have, however, abused the privilege forty-five minutes long; an hour lesson becomes an hour of explaining the meaning of their works. They pretend thew, and the B Minor Mass, produce a never-to- actions. The ideal, however, is to crystalize into a fixed way that we can do so no longer at that time; but after been established first, by the author himself, and after¬ and a half. Sometimes this is due to the clinging qual¬ be-forgotten impression, when interpreted with sub¬ habit a thoughtfully conceived interpretation. a day or two of rest, when we resume the discipline, wards by his pupils, and finally by tradition, For in¬ to describe through music not only general psychic con¬ ity of the student. To part with some students it is lime religious fervor and even with impetuous dra¬ So strong is habit that a thing done badly once and our increase in skill not seldom surprises us.” Over¬ stance, Beethoven was the teacher of Czerny, the fa¬ ditions, but to represent, as well, entire dramas. Of left uncorrected almost invariably repeats itself with the almost necessary to push them out and slam the door. matic power. practice is not only lost time, but actually bad, as it mous pedagog; Czerny had Liszt among his pupils; course, without the help of the explanatory program same kink. It takes many more times to undo a habit But more often it is due to the excessive generosity of Handel (1658-1759), although contemporary of Bach causes staleness and stiffness. Liszt, again, was the teacher of a whole brood of young nobody would be able to guess the meaning of the than to form it. To break a habit one must, in the the teacher. He falsely reasons, "I am showing this and like him of German birth, is considered more as Practice pieces in small sections. This establishes the pianists. Just like a genealogical tree. Out of the tra¬ intricate stories. And even with the program one is words of William James, “Never suffer an exception to form in your mind, and you memorize while you prac¬ young person that I have an unusual interest in him. sometimes at a loss to find a connection between the an English composer, since he sojourned for the greater He will appreciate the fact and become very loyal to dition a special style grows, a musical physiognomy, as occur until the new habit is securely rooted in your life.” tice. You should learn a piece hands separately. Rarely music .and the comments. part of his life in England. He was also strongly in¬ me.” The contrary is unfortunately true. Human be¬ it were, the expression of which shows more than tech¬ These, of course, are simple psychological facts which do the same technical and esthetic problems occur simul¬ Some ingenious musicographers, “plus royalistes que fluenced by Purcell, the great English composer (1658- everyone knows. Why is it, then, that we think we can ings seldom appreciate that which they do not pay for. nical skill the true musicianship of the performer. taneously in the two hands. Each problem must be le roi,” seek to discover a “program,” where the au¬ 1695) and not less by the Italian school, so that practice unmusically and play musically? Our practice In time the pupil begins to expect long lessons, and will Perfection in style is so important that many great studied before combining. thor himself did not dream of having any. Beethoven Handel’s music is much more popular and graceful. hours are habit-forming hours, even if done without probably become offended if an attempt is made to re¬ artists specialize in the interpretation of a single master, would be surprised to see “what he meant to say” in Accordingly he is more of the world and requires a concentration. If we scramble rapid work in our prac¬ Relation of Parts duce the lesson period to its proper limits. The young and owe their fame to the purity of their style inter¬ more mundane, livelier conception. It is interesting tice we shall do it in concert. If we practice notes in teacher will make a great gain if at the beginning of preting his works. Joachim, the great Hungarian vio¬ his Sonatas, as Adolf Bernhard Marx affirms certain Determine the proper relation of parts. Where an things he had in mind. In his book: “Guide to the to notice that Handel and Bach, although both born private we’ll play notes in public. his career he makes it a point to start and stop his les¬ linist, was mostly famous a; a Beethoven interpreter, inner voice or obligato is secondary, be sure that it is Execution of Beethoven’s Sonatas,” Marx tells us in in the same year, never met each other and were Therefore, Hold! Practice ideas, not notes. heard, but that it does not obscure the main voice. sons according to a definite schedule. specializing even in the rendition of one composition detail the poetical meaning of every one of them. never in correspondence. Accompany a melody as you would a singer, increasing Another way teachers do too much is by trying to of this master, his Violin Concerto. He played almost From every single sonata he extracts a complete novel. Choice of Pieces or decreasing dynamics with the melody ,always in a bear all the burdens which the students themselves exclusively that one work in his public appearances, and Haydn, Mozart and Beethoven Before further discussion of methods of study, let shade less intensity. Where a crescendo or diminuendo should shoulder. I have known piano teachers who I had myself an interesting experience in that re¬ the musical critics made comparisons between the dif¬ Haydn (1732-1809) wrote, in the sixty-fifth year of us consider our choice of pieces. If you are being obtains in both left and right hands, do not neglect the have made nervous wrecks of themselves by counting spect. I had studied Schumann’s Piano Concerto with ferent performances, eager to find out which one was his life, such masterpieces as the Creation and The guided by a teacher as to the pieces you study, you will one or the other. Practice rapid passages very slowly aloud from morning until night. Would it not be as Theodore Kullak, the renowned teacher in Berlin, but, the most perfect. Young students did not shun long Seasons. Besides undeniable depths, true Viennese be fortunate if that teacher chooses wisely. There and without pedal, but never mechanically. Never easy to insist that the pupil count aloud, and. if he has voyages from distant cities to Berlin, just to hear Jo¬ as I wished to draw at a primary source, I went to should be a certain proportion of serious long works; (pre war!) cheerfulness and jollity pulsates in his strive for speed in practice. If you can play very slowly no sense of rhythm, to require him to count with the achim play the Beethoven Concerto. Billow, likewise, Clara Schumann, who lived then in Frankfort-on-the- lighter, short works for variety, and Bach for alpha and metronome until the fault is corrected? music. Therefore, please, employ no affected sol¬ with perfect equality, speed is like a million dollars well although more eclectic in his programs, devoted a Main. It is needless for me to add that Clara Schu¬ omega. A wise teacher never gives works that cannot emnity in the interpretation of Haydn’s works! invested. It grows faster than weeds in a garden. A large portion of his concerts to this composer, and mann was the widow of Robert Schumann, and was at some time be made use of on a program, or that Mozart demontrates in his music the happiest fusion good suggestion for attaining this evenness is to count ~ *- ““““6 icssun perioa ine msiructo published an edition of the sonatas of Beethoven with herself one of the greatest pianists of our time. I are unsuited to the pupil’s technical resources. A striv¬ of Italian charm with German (also pre war!) thor¬ one for each sixteenth note. should never converse with the student about anythini annotations concerning stylistic, phraseological and played the concerto for her, and requested her to ing to attain at a leap new difficulties makes for stiff¬ oughness. He is less humorous than Haydn, and less A great composer once told a pupil, who played a except the subject in hand, and it should l>e his con technical problems, which belongs to the best that has criticize frankly my rendition. She told me that there ness and is dangerous. One should play nothing before stern than Beethoven. Accordingly his music must piece, full of rapid passage work, in that puerile, un¬ stant aim to give his directions in as clear, definite am been written in commentary work. Lamond was was too much “Chopin” in it. She said that Robert people that has not become technically easy. forceful manner as possible. be interpreted with exquisite grace and sentiment. intelligible, “noty” fashion common to immature piano another distinguished Beethoven interpreter; de Pach- Schumann wanted his music to be played as nearly as In choosing pieces for one’s self one is inclined to Beethoven allows more freedom of interpretation. playing, not to be “so d- particular.” When you The easiest way to do too much for one’s students i mann is a Chopin specialist; while Busoni cultivates possible in time; that howsoever greatly he admired want to learn things one has heard some artist play and play a piece like the Perpetual Motion, of Weber, seek socially. Never become too familiar with students. D the “rubato” in Chopin’s music, he would have none of His music lends utterance to the more human side of liked. In doing this care should be taken that you do Bach by preference. the soul, in joy as well as in pain. The performer out carefully the notes demanding stress and be untiring not make your teaching season a round of social func What influence style and tradition have upon inter¬ it in his own. That the preference which Schumann not exaggerate imitation. Unconsciously we always in your efforts to make it colorful. Make the most of tions. Do not invite a student to take dinner with yoi showed in his music for syncopation and other dis¬ must, therefore, explore the deepest recesses of his exaggerate when we imitate, and a poignant note held pretation is proved by the fact that even gifted musi¬ feeling to adequately interpret this master. every bit of melody, and by these means you can prevent and to make himself at home” in your house. Nin cians, never having had the opportunity to obtain their placements from the regular measure, had nothing to a second over by the great artist will be so charming to Liszt, as composer as well as a pianist, was the its sounding like an exercise. out of ten will subconsciously think that you feel i knowledge from authentic sources, are liable to give a do with the "rubato,” although it was liable to ’be you that you, when you play the same thing, will hold necessary to compensate for inferior instruction. P founder of a new school. In his Symphonic Poems, Plan well your scale of dynamics. In a miniature, your mistaken, distorted version of the work of art. There confused with it. This was a revelation to me! Until it two seconds over, and gradually your whole piece prominent Boston pianist once told me of an hidden which constitute the most important part of his cre¬ climaxes are not as loud as in a Liszt Rhapsodie. may be in their rendition technical perfection and my meeting with Clara Schumann I had imagined that will be thrown out of line. It is a point to beware of. that brought this fact to me very forcibly. At one tim ative activity, he strove after complete emancipation When you shall have learned the letter and the spirit correct phrasing, but the style—that imponderable quan¬ capriciousness and extravagance would give the real If you are suggested some piece by someone whose au¬ from the prevailing rules of composition and, concern¬ of all these laws, you will hear with the inner con¬ he was gratuitously giving instruction to a young lady tity—is lacking. The musician who is not initiated into spice to Schumann’s music and then I heard from the thority you value, do not decide its appeal to you in one constantly helping her intellectually, financially, and so ing harmony, form and general structure, he was a sciousness, you will listen for perfect line and pure the secrets of true art may, perhaps, inject into his mouth of that master’s life partner that, unless directed reading. Read it over several times, and give it con¬ cially. One day, having fallen heir to a legacy, sh daring pioneer. Also in his playing he was the inven¬ beauty in your playing, and a broken phrase will jar as Beethoven some "rubato” a la Chopin, some theatrical otherwise, Schumann wished pianists to play his own siderable thought before you decide to put time into it. tor of the so-called "transcendental” technic, which, if a singer took a breath in the middle of a word. An Ca^l° hlm with the following grateful remark. grimace a la Verdi, or emphasize too much the virtu¬ music in time. What appeals at first reading sometimes does not wear, Mr. B„ you have been very kind to me, and I appre as to sparkling passage work and scintillating virtuos¬ obtrusive, badly played accompanying figure will irritate osity a la Liszt, or, vice-versa, he may play a Chopin or, on the other hand, it often takes some time to learn ciate your favors. But, in justice to myself, now tha The Composer’s Intention ity, far surpassed all that had been attempted by pian¬ as a bad accompaniment to a beautiful singer. An im¬ valse with metronomical regularity, as if it were dance to respond to a piece. In searching out music for your¬ There is another danger to be avoided. Often the ists before his time. His style is perpetuated by his perfect cantabile line will sound awkward and unnatural not ^te,t <°r “ •»«° •» > music, or sing an aria from Trovatore with the monot¬ self, study only the things which make an unmistakable when it is not like the natural voice. Meaningless play¬ composer is so absorbed in his own work, that he pre¬ numerous pupils, although it must be observed that appeal to you. ony of a Lutheran choral. many of those who pass as his pupils, had only a slight ing will bore you and you will seek out with loving The notation,, the signs of expression, the accents, sumes everybody will guess his intentions as a matter •IkmTir"' ,oe!,i“ association—if any—with the master. You may think and study music all you will. Prac¬ care every point which can express the inspiration of etc., are not sufficient to give an exact idea of the com¬ of course, without having to explain them by frequent Thousands of teachers can cite similar instances, bu We must not forget to mention the Italian Operatic tice no more than four hours a day, and in short periods. the composer. Then will come as if from sublime poser’s intentions. Even following faithfully the indi¬ annotations. He thinks shadings, accentuation, phras¬ Style, which, although established through uninter¬ If you never practice a note without concentration you sources your just reward; the true inspiration which nuT have haPPened if, in the beginning cations given by the author there remain many unan¬ ing, to be self-evident, and concludes that a detailed the teachers had avoided the mistake of doing too much will find this will be quite sufficient. The average pupil is not the fire and sensation of animal magnetism, but a swered questions, many dubious points which are left explanation would be utterly superfluous. That is es¬ rupted tradition and represented by famous singers, seems so difficult of imitation by those who have not does almost no concentrated practice. something deeper and more far-reaching—the “aura,” t© the judgment of the interpreter. He must read be¬ pecially true of Schumann, and that is the very reason lived in the real atmosphere or have not been educated After you have formed the general conception of a the emotional spirit which surrounded the composer at tween the lines, and guess all of what has not been why the student is often at a loss to understand what by the legitimate exponents of that school. The un¬ piece, and know clearly the ideal you are seeking after, the time he created the work—making of your recrea¬ said, which, paradoxical as it may appear, is often the the composer had in mind. Here, of course, only an Franks; care'ess^Y written biographies obstructed and spontaneous flowing of the voice, the practice every note with that ideal in mind. Every step tion a veritable renaissance. most important part. uninterrupted, uncontaminated tradition can help. One you make should be in the path which leads to your Sven inct eI,‘ ^ date .of his birth and death S sees that, even in the native land of the composer, an equalizing of all registers and also some less com¬ vision. If you know how to walk you can go in a is also to hle0«Dwa k i W" S°ngS' lnc,uding Die Forelle (7 opinions about the interpretation of this master are so work would give always an inspired reading, rough but his rendition his own individuality, and in his reading seldom finds the Italian method completely assimilated meaningful. After a week’s practice the thing had tie sTgnificLcl50 aTmus,cifn’ Hi. compositions have 1 divergent. The one maintains that Bach must be ex¬ by the singers of other countries. What vast distance Ferdinand Hiller said of Mendelssohn: “His play¬ the same work acquires a peculiar physiognomy. The lost all its charm and purpose. Why? Because he had ecuted with the greatest sobriety of color, with cold there is between an aria sung by Caruso, by Bond or ing was to him what flying is to a bird.” That quota¬ ingsr^erweXimedeSHfe ** P°”? “d " more pronounced the interpreter’s individuality the been learning the notes, not as parts of a whole, but tion has always made a great impression upon my pupils. austerity, never permitting exuberance of feeling or other representatives of genuine “bel canto” and the living bynln0tWitLStanding the fa« th“t Tgot' 1 stronger the inclination to impress his own stamp on explosion of passion. They attempt to make of Bach as notes, so as to have been clean, secure and memor¬ If I find a pupil playing as though they were limping same, when rendered by a singer of another nationality 1 the work of art. Think what abortions would result if a kind of frozen architectural structure, only bringing ized. Such practice is 75 per cent, lost time. I tell him what Hillier said about Mendelssohn. As a perfect antithesis to the Italian operatic style there were not a “tradition,” to restrain, to regulate the out his intricate polyphonies and emphasizing the dif¬ The majority of students make far too much work I have to mention the Wagner style. If the Italian performer’s impulses! It may not be said that the in¬ ferent themes and their imitations whenever they The Rhythmic Line of their playing. Take it easily. Think how a bird singer sometimes emancipates himself from the tyranny terpreter should become a mere automat. Even strictly make their appearance. Others, on the contrary, be¬ With the underlying main idea of a composition in soars through the air in effortless fashion. We all of the words and delights in the sweetness and melo¬ trem^n^rvous^toth M phyS'qi,e’ waS e following tradition, there remains a sufficient amount of lieve that Bach requires more than cool calculation your mind, analyze the form of the work in hand. This know that there is abundant power, and yet force is diousness of tone, the Wagner singer holds strictly to One of hh f “? h before and after his concer liberty, a wide field on which the originality of the per¬ and sheer mechanical reproduction; that his rich, in¬ gives you proportion of parts. Be very careful of the never visible. exhaustible, melodic vein, his warm pulsating rhythm, the text, and never allows the music to acquire the ^li^LriffeX ^in.” - former can affirm itself. DECEMBER 1920 Page 809 THE ETUDE THE ETUDE Page 808 DECEMBER 1920 Marking Accidentals supremacy. The voice is emitted more abruptly; the tance of purity of style is revealed by the fact that tone is more chopped^ off, He strives after dramatic the minutest departure from the legitimate interpreta¬ truth, after perfect fusion of music and poetry. If in tion is liable to transform and to disguise altogether By F. Corder this endeavor one. oi the two elements has to be sacri¬ the meaning of a composition. Particularly in our Professor of Composition at the London Academy of Music ficed, it shall be the music rather than the words. The country one may listen to the most unscrupulous, ap¬ Bayreuth tradition (whose original exponent was, of palling profanations of noble, refined music. One does course, Wagner and which was continued rather nar¬ not shrink even from using beautiful inspirations for The writers of music follow the foolish rule—Heaven A Christmas Festival of Peace, row-mindedly by the choirmaster of the Bayreuth Wag¬ ragtime music. Just recently I listened in a vaudeville knows by whom invented, but dear to the mind of ner school, Julius Knick) did not allow the singer any theatre to the following mutilation; the German pedant—that an accidental shall be marked only once in a bar. There is lfmch disagreement as Music and Good Cheer liberty. Woe to him or to her who pretended to make a Allegro to whether this should or should not apply to the show of his vocal virtuosity at the expense of dramatic By ALLAN J. EASTMAN integrity! Of course, those who love “bel canto” can same note in different octaves, but the main idea seems never be thoroughly satisfied with the Wagner singers, to be to assist the reader as little as possible. No whom some bad tongue once called “barking heroes”; regard is paid to the difficulty the taxed brain finds in but the Bayreuth pilgrims prefer this harsh style to the retaining certain accidentals as compared with others*- Italian. For my part I find that even Wagner music, the extreme difficulty of retaining E# or Bbb. for in¬ if sung in the “blasphemous” Italian way, only in which, of course, everyone could recognize the poor, stance—no! Every editor or engraver would be ■■Warner’s Christmas Book.” The entertainment °n\fChr^Zs trees or improves. De gustibus! lovely Elegy of Massenet! shocked if you tried to help the student; but. on the purpose. Where it is given without a curta™- ff raJL9css 0f the stage or rostrum may be relieved.] I cannot incorporate in the limited space of an essay But, even not going so far, beware of “stylistic other hand, although an accidental is supposed to be evergreen boughs obscure the entrance, so that the rawness oj me siaj all the classics, and still less all the modern composers, crimes,” and never forget that tradition and style available for the bar in which it stands, all writers And barrels and barrels of oranges (Enter from another side a young woman dressed everyone of whom requires, of course, a profound are the most vital requisites for a truly artistic inter¬ carefully contradict it in the next, and some even two 1. Music I’d scatter right in the way, in a golden yellow flowing gown, representing study to be thoroughly understood. The great impor¬ pretation. or three bars later. As if any human being ever re¬ So the children would find them the very first thing “Joy to the World, the Lord Is Come” plenty. She carries a huge cornucopia made from membered what it didn’t want to! Such unnecessary When they wake on Christmas Day. This is the familiar hymn by Dr. Loivell Mason, paper and covered with gold paper.) guide-posts only bewilder the eye and increase the and is to be sung by the entire congregation. chances of error. Here is a typical example from one (The effect of the preceding recitation could be PLENTY greatly heightened by having very small children Some Interesting Things to Know About Playing Scales, Chords and Arpeggios 2. Heralds of Peace All hail the Spirit of Peace 1 cross over the back of the stage carrying some of Enter a child from each side of the stage. The the toys in their arms. This should include some children are dressed in flowing gowns of white, and PEACE By Mrs. Noah Brandt ragged children with simple toys, hugging them to carry long golden horns. Such horns are easily All hail the Spirit of Plenty 1 their hearts.) . made from cardboard covered with gilt paper. Any (Enter the Spirit of Music. She is clad tn a Before attempting to execute scales, chords and common chords and their inversions a perfect legato 1 good bugler bloiving long, sustained tones behind the PLENTY flowing gown of green, and carries a golden lyre tn arpeggios a thorough knowledge of the formation of from one to the other can be maintained by holding the scenes will simulate the effect while the children Never in the history of our land have we been so her arms. The lyre can easily be made from paper. the major and minor keys is essential, and also the keys to the bottom by pressure until ready to perform have their horns to their lips. blessed with the good things of the world. This of all This should be a girl who is capable of singing or use of a conservative fingering. This can be accom¬ the next chord. Count one, two, for down motion, Enter a larger girl, also dressed in flowing white, playing the violin. Following is a list of suitable plished without the use of an instrument. This gives three, four, for up motion, after which remain station¬ times, is the time for gratitude. The contradictions of accidentals in the second oi these representing the Spirit of Peace. She recites. Christmas music which can be introduced here.) the student an opportunity to give his undivided atten¬ ary, and without jerking or movement of any kind bars are quite absurd. You cannot imagine any Inman PEACE tion to the various touches, tonal gradations and all drop quietly, with the same pressure, into the first being sharpening or flattening any of these .. ; but 3. Recitation PLENTY technicalities pertaining to scale, chord and arpeggio inversion, and so on. The mind must be keenly alert, Yes, but are there not some poor children who will an extra A# in the last group of the previous hat n mid Christmas Bells—By Henry W. Longfellow work, without being hampered by mental difficulties. as the chords should sing, one into the other, with a never know that this is the year of plenty? Here comes the Spirit of Music. have been helpful, for most pupils would play A- In In the performance of scales the chief obstacle is perfectly clear tone, the hands moving simultaneously I heard the bells on Christmas Day PEACE the rare cases where a sympathetic modern writer ven¬ PLENTY ascending in the right hand, descending in the left. and without the least break in passing from one inver¬ Their old familiar carols play, tures to afford such assistance he has to put the extra Yes I am afraid so, and I wish that everyone who is What would Christmas be without music? Equally difficult is the correct thumb manipulation, but sion to the next. When playing chords four distinct And wild and sweet accidental in a parenthesis, like this: here to-night would remember that dear poem by Eugene only at the outset, as with training it acquires the light¬ The words repeat MUSIC tones in each hand must be heard, as the fourth finger Field, and take it to heart and spare something to-morrow ness of a finger. The thumb must be played with the will at first be obstinate, until the muscles controlling Of “Peace on Earth, Good Will to Men 1” to make some poor child happy. There is nothing that music loves more than Christ¬ edge curved inward, at the side so near the tip that that finger have been developed. The remedy is merely mas. Let me sing (play) to you one of the beautiful And thought how, as the day had come, the heavy part of the thumb is completely raised away to bear down with the triceps on that particular finger, PEACE things written to help us all celebrate the gladdest day from the keyboard. When in training, stand firmly, The belfries of all Christendom and it will soon yield, bringing forth equally as clear Won’t you tell us about it? of all the year. relaxing the arm, hand and fingers, as the only press¬ a tone as the stronger fingers. In playing chords sep¬ Had rolled along The unbroken song ure is at the tip of the thumb. arate the fingers, holding higher (away from the keys) 5. Music lest you should think he didn’t know he was doing Of “Peace on Earth, Good Will to Men 1 S. Recitation The hand must be placed high (away from the those not in use and keeping the palm of the hand thumb) wrist on about a level, and weight of the tri¬ wrong in helping you. Here is a useful wrinkle for Vocal Solos hollow. Remember,-these preliminaries are merely for PLENTY , Clark ceps bearing down on the thumb, which must stand teachers and learners. In closely printed music there Till ringing, singing on its way, Angel’s Message . . Geibel training purposes,.as, when completed, the fingers fall independent when the training is completed. At first is often no room to mark in an accidental when such The world revolved from night to day. A Christmas Wish—By Eugene Field naturally upon the keys, and no mannerisms of any Dawn of Hope it will not yield, being awkward, stiff and heavy, but is desirable. Make use then of this simple device, A voice, a chime, I’d like a stocking made for a giant, Glory to God kind disturb the pleasure of the musical performances. with the correct placing and patient, persistent effort which is easy to employ and to retain. With pen or A chant sublime And a meeting-house filled with toys, Technic and tone is merely a means to an end, as pencil (preferably the former) draw an upward hint¬ in the right direction it will perform with a light, Of “Peace on Earth, Good Will to Men 1 Then I’d go out in a happy hunt .H. E. Hewitt without it the most gifted are hopelessly at sea, and ing stroke through the head of a note where a sharp For the poor little girls and boys. Christmas Toy Symphi swift delicacy, never in the least interfering with the Christmas Bells . .A. Seidel equality of the performance, difficulties being sur¬ find success an impossibility. The technic must be is wanted and a downward stroke where a ilat is Then from each black accursed throat Up the street and down the street, mounted with consummate ease. In slow scale prac¬ under complete control in order to completely forget desired. Thus: The cannon thundered death’s own note, And across and over the town Coming of Santa Claus . . tice always raise the thumb high away from the it as only then can the musical side be developed and And with the sound I’d search, and find them every one .. Schumann Kniirlil Kupei’t . .Gaide fingers, aim directly above the key, and strike at the the student become “The Musician.” The carols drowned Before the sun went down. In Merry Christmastide Bells of Christmas . .Karoly edge of the thumb, pressing firmly. When ascending Once the legato chord is established the staccato is Of “Peace on Earth, Good Will to Men 1 Bells of Christmas Eve . . a scale always completely relax the wrist, making a a very simple matter, as a beautiful, pure legato is the One would want a new jack-knife, Chimes at Christmas slight depression of the latter when crossing over, as preparation for an equally perfect staccato. As too. It was as if an earthquake rent Sharp enough to cut, stiffness causes a break in the legato. Note—The de¬ much space would be devoted to this touch I will not One would long for a doll with hair MUSIC This device may be freely used, but be careful to The hearthstones of a continent, pression is so slight it is not noticeable, and when dwell on it further at present. And eyes that open and shut. (Waves her arms toward the back of the stage make a short neat stroke, and not a wild scratch an And made forlorn completely mastered is merely a natural relaxation. In One would ask for a china set where the church choir may be concealed and asks In chord playing liberties in fingering are often inch long, as this will no more appeal to the eye than The households born perfect scales absolute smoothness must be maintained Of “Peace on Earth, Good Will to Men 1” With dishes all to her mind. the audience:) . resorted to, but unless a hand is small and restricted it do the frantic blue-pencil marks with which so many as this method of' practice never fails to give the One would wish for a Noah’s ark Can there ever be too much music at Christmas-tide. is advisable always to use the fourth finger whenever it injudicious but well-meaning teachers disfigure the desired result. And in despair, I bowed my head. With beasts of every kind. (Voices previously arranged from the audience occurs, instead of substituting the third. By its con¬ copy. Naturals never require such assistance. Pearly, beautiful scales can only be accomplished by stant use the muscles controlling that finger are so “There is no peace on earth,” I said. shout back, "NO.”) months of finger and thumb training, in which com¬ There is one extra accidental which I always mark Some would like a doll’s cook stove, Then do you wish that there shall be more music? developed that the fingers become equalized. Never in before the pupil attempts to read the piece; that is “For hate is strong, plete devitalization, correct attack, straight lines and And a little toy washtub. (Voices, "yes.”) avoid a difficulty. Persist and overcome it. the last note in the fourth bar of the “Moonlight” Son- And mocks the song even pressure on each note are absolutely essential. Of ‘Peace on Earth, Good Will to Men!’” Some would prefer a little drum Let music ring this Christmas night throughout our In arpeggio playing the difficulties encountered are ata. What teacher has not had his blood curdled by Do not for one moment believe that pp means For a noisy rub-a-dub. land! , , identical with that of the ‘scale. Passing under the the lack of that B#? This reading by the eye without playing lightly on the surface, as that produces no tone Then pealed the bells more loud and deep, Some would wish for a story book, (The choir joins in anthems selected from the thumb, control of the arm, position of the shoulders the ear causes endless trouble whenever the music Is whatever. The lightest pianissimo is felt, with and (which should never be elevated in the slightest de¬ “God is not dead, nor doth He sleep. And some for a set of blocks. following list. Solos of an instrumental character controlled by the upper arm muscles and the weight in a minor key (Bach’s Fugue in Bb minor. No. 22, is a gree) are some of the rules to be maintained. The The wrong shall fail, Some would be wild with happiness may be introduced here if desired.) of the arm (after development) will drop the finger nice instance!) although the leading note should make twisting arm, obtruding elbow, disconnected legato in The right prevail, Over a new tool-box. to the full depth of the key with the slightest touch itself so much more easily felt in the minor than in the Christmas Akthems passing under and over the keys, all can be overcome With ‘Peace on Earth, Good Will to men!’ ” of the finger. It is always advisable at first to play And some would rather have little shoes, „ eu. T nrd’s Anointed .Stults by observing the rules given for scales. It is a very Shout theGlad Tidings ....Rockwell the major scale with its corresponding chord and And other things warm to wear. simple matter to perform perfect arpeggios after once (Then the herald raises her arms as in benediction, arpeggio, going directly to its relative or to its harmonic For many children are very poor, • Newton acquiring beautiful scales and chords, as the accomp¬ and says reverently:) minor, and so on. In that way a student soon famil¬ And the winter is hard to bear, lishment of one brings perfection of the other. ■ Let us praise Almighty God for the coming of peace. iarizes himself with all scales, chords and arpeggios. Sigismund Stojowski, the noted Polish teacher, I’d buy soft flannels for little frocks, Practice of arpeggios on the diminished seventh (The bells in the church belfry begin to ring, the MUSIC Rhythmic scales are also advisable in the rapid playing, composer and virtuoso, tells of a pupil who once And a thousand stockings or so, chord, thereby continually using all five fingers, is a organ gives the note dnd the whole audience rises But where is Good Cheer? but for slow practice, when the upper arm muscles are c rifted into his Paris studio from our middle Western And the jolliest little coats and cloaks splendid adjunct, aiding greatly in equality beside in¬ ’ and sings.) PLENTY in a stage of development, practice slowly, in steady States and said that she had come to study the pye-ano. To keep out frost and snow. stilling into the mind of the student all the diminished four quarter time, each note with equal pressure, from When she was told to sit down before one of two 4. Music Yes, we can’t get along without Good Cheer. the triceps, and with the finger stroke from above. chords and their enharmonic relationship. It is under¬ grand pianos she asked, “Which pye-ano shall I take?” Praise God from whom all blessings flow, I’d load a wagon with caramels, PEACE Legato chords are a great aid in‘hand development stood that all scales, chords and arpeggios should be Mr. Stojowski couldn't help replying, "The Apple-pie- Praise Him all creatures here below, And candy of every kind, and should not be struck but pressed to bottom by practiced with varying degrees of speed from ff to pp. ano. Not desiring to reveal her ignorance and not Good Cheer and Peace go arm in arm. Praise Him above, ye heavenly host, And buy all the almond and pecan nuts the weight of the upper arm muscles, following the Also practice crescendo in ascending, diminuendo in seeing the joke, she walked to one and said, “Oh, how (Enter Good Cheer.) Praise Father, Son and Holy Ghost. And taffy that I could find. identical rules for scale practice. When practicing descending, as it is a splendid preparation for shading, stupid of me, not to know the Apple-pie-ano.” DECEMBER 1920 Page 811 THE ETUDE THE ETUDE Page 810 DECEMBER 1920 Practical Exercises in Weight Playing (She had been seated in the audience wrapped in PLENTY a black cloak so as not to be noticed by those around Oh, pshaw 1 I don’t like that. Besides, I don’t think By Edward Bryan Lesher her.) that Santa has gone out of business. GOOD CHEER MUSIC While much has been written about the importance Here I am! of weight in piano playing, few understand the proper I know he hasn’t; he ’phones me all the time that he use of it. Although it is difficult to explain it in type, PLENTY will have to have more and more music books, pianos, the following may assist the Etude reader in grasping What are you doing down there with the people? violins and talking machines to keep up with the demand. some of the main principles. GOOD CHEER GOOD CHEER While you are playing a scale ask some friend to raise cr*IIE Soft Pedal of the your hands, without warning, about fifteen inches in the I’m always right down among the people. Where is Santa Claus, anyhow? GJ^IIE Damper Pedal air and then let them drop loose. If your hands stay Grand pianoforte in MUSIC PEACE up, you have not been using the weight touch—if, on ^ as we know it upon Do they know that you are there? which the Hammers are He’s sure to come along soon. Who’s this coming the contrary, they drop of their own accord downward without any exertion upon the keys, you have in all the Pianoforte was in. shifted sideways so that GOOD CHEER now? probability been using the principle of weight in y0ur No, I don’t think that they do. (Enter a child with a paper box like a square hat vented in 1783 by the only one string is struck box. The letter C, at least nine inches tall, has playing. Your hands should feel like lead to anyone PEACE been cut out of the front of the box and red paper who endeavors to raise them from the keys, but they English manufacturer, instead of three (the una But it is so dark that I’m afraid they can’t see you. nevertheless should feel virile and alive to you but in no pasted over the opening. In the box is an ordinary John Broadwood. There corda effect) was believed GOOD CHEER electric hand flash ligh t, so arranged that the light sense stiffened at any time. Some use weight instinctively. Rubinstein used it, to have been invented sim¬ That doesn’t make any difference. If they would only will fall on the red paper and fixed so that child can were, of course, many but he did not know how he acquired it. Most of the switch it on easily. As the other children enter with ultaneously by Stein in look around a little they could find Good Cheer with present day pianists of renown use it. It seems to me pedals on keyboard in¬ them no matter how dark it is. the other initials, they line up so that they spell the that there is a school of weight players who use the Germany and Broadhead word Christmas.) struments prior to that MUSIC rolling touch, making most of the motions with the fore¬ in England. The Sos- . Come right up with us, Good Cheer, we can’t wait any 8. Tableaux arms. It may lie weight but it is not dead weight, it is time, but they differed in longer. controlled weight, because the arm is used to adjust the How to Pedal Fundamental tenuto Pedal was invent¬ (Good Cheer goes on the stage. She is dressed FIRST CHILD weight to the keys. In true weight playing no thought action and in effect. Of is given to adjustments. There are some teachers who ed by the American, the in a flowing gown of scarlet.) C is for Christmas, the gladdest of days. many possible pedals claim that allowing the entire weight of the arm to be PLENTY Basses late Dr. Henry Iianchett. SECOND CHILD supported upon the fingers makes playing impossible as only three have survived. What is it you do best of all, Good Cheer ? H is for holly and candles ablaze. you cannot lift your fingers quick enough, therefore GOOD CHEER hindering velocity, which requires lightness and the By ORVILLE LINDQUIST I make people laugh when they want to cry, I take - THIRD CHILD minimum of weight. This is a fallacy. It does not harm the hand, or Professor of Pianoforte Playing at Ober in College the bitterness and the poison out of life. R is for rhymes, like carols we sing. hinder the velocity in any manner. It has only been the MUSIC method of application which has been misunderstood. FOURTH CHILD ing to the foundation basses, if he wishes to keep his Can you make us laugh now? Perhaps the reason for failure in acquiring dexterity I is for iszard or any old thing. Shall I keep the fundamental bass tone sustained with weight is that the student has not practiced long playing from being too dry. GOOD CHEER even at the expense of the blurring of the treble, or enough to derive benefits from it. But once it is ac¬ The pedaling given in the above three examples is, ot FIFTH CHILD shall I, by one or more changes of pedal sacrifice the I don’t know, but I’ll try. quired, a facile technic is sure. course, for normal conditions. It might not sound well bass tone in order to make the treble clear? S is for Santa Claus, always so merry. The most important reason for failure is that the in a small room or on a piano that hadn’t a good bass The player who studies his pedaling will, perhaps, 6. Recitation flexor muscles of most pianists have been exercised more resonance. In example three the final D minor chord SIXTH CHILD have this problem to solve more often than any other. Christmas Up to Date than the extensors, liecause in wcight-pla> ing the exten¬ would need enough force to overcome any dissonance T is for tree, with the mistletoe berry. It is always a case of choosing the lesser of two evils, there might happen to be, and in all three examples 'Twas the night before Christmas, sors do the most work. It is this supposed weakness in for no matter which of the two ways is chosen either the fundamental bass would need its proper amount of When all through the flat the hand that has led many to ltclieve that weight hinders SEVENTH CHILD velocity. When the extensors are exercised correctly a Will be more or less faulty. tone. It does not necessarily follow that this pedaling Not a creature was stirring, In the two examples below we find two different solu¬ Not even the cat. • M is for music, the joy of the day. big difference is noted both in tone and velocity. will always be the proper one, however, for the condi¬ Velocity passages instead of being weak, uneven, mud¬ tions. In example one preference is given to clearness, tions that govern such cases are many. and in example two the bass tone seems to be the more Above the steam heater the stockings were placed, EIGHTH CHILD dled, too light or dry, become clear, beautiful and dis¬ It is not always the big passages that are spoiled by Whether a bass tone should be pedaled through a dis¬ In hopes that by Santa they soon would be graced. A is for ample, our Christmas display. tinct. Also a greater sense of control over the keyboard important. a too-frequent change of pedal. In example four there sonant passage depends upon the following conditions: The children were snug in their wee folding bed, is noticed. should be but one change of pedal in each measure and First, it would depend upon how low the pitch of While visions of Teddy Bears danced through each head. NINTH CHILD IMPROVISATION DOWELL that on each fundamental bass note. But every teacher the bass tone was, or how high that of the dissonant Andante quasi» piacere S is for singing The Day of the year. Another great weakness in the hands of most pupi who has taught this little waltz knows how easy it is passage. And I, in pajamas—likewise in a grouch— is the undeveloped inter-osseous muscles; that is tl for even talented pupils to pedal more often than that. Second, upon how strongly the bass tone was struck ALL Had gone to my patent convertible couch, muscles which separate and draw the fingers togethe or how lightly the dissonant ones were sounded. When out on the asphalt there rose such a clatter The world is rejoicing, Chord playing becomes impossible without control i Third, upon how much bass resonance the piano had, I sprang from my bed to see what was the matter. For Christmas is here 1 these muscles. Some part of each day’s practice should 1 or how little in the treble. (Children switch on electric lights.) given to the development of these muscles. A good exe Fourth, upon how strong the consonant notes were A mantle of darkness enshrouded the room, cise is to keep the weight of the arm supported on oi played, or how soft the dissonant ones. The “quarter” gas meter had left us in gloom. (Enter Santa Claus with a great ringing of sleigh- finger. Say with the weight supported on the secoi Fifth, upon the fastness of the tempo. But after detaching a chair from my feet, bells.) finger, placed on C with a quick jerk, stretch the thi 7ihl Sixth, upon how large the hall was, and even upon I threw back my curtain and looked down the street. SANTA CLAUS finger as far as possible and strike E or F. Do the sa« the number of people in it. with each pair of fingers. Another exercise to do aw: The arc light shone bright on our new garbage can, What’s this I hear about Music and Peace and Plenty Now, when we consider that each of the above con¬ from the piano is this: Clasp the second and thi BARCAROLE RUBINSTEIN Waiting the call of the D. S. C. man. and Good Cheer? Why, I own them all. They are all ditions’is also governed by atmospheric ones, we can fingers of the right hand with the fingers of the le Moderato Con Moto And what did my wandering optics devour my children. Now I must get busy, very busy, because easily see why, as said above, a particular pedaling hand and try to separate the two fingers. Also with tl But a touring car of a hundred horse-power. I met a man with a big book and a lot of figures, who In example five we have a still better illustration of will not always be the best. It is alsq plain to be seen second and third separated, use the left hand to try- With a business-like chauffeur so shiny and slick, told me that by actual calculation he had been able to how players are apt to neglect their fundamental basses. that listening to one’s own pedaling is the all-important close them, the second and third fingers resisting. I knew in a jiffy it must be St. Nick. find out that I had to visit three hundred and thirty In these two measures and the following four it is im¬ thing. In fact, it is only by constantly listening to his Another idea which helps greatly in developing ef million children in less than eight hours 1 portant that the foundation bass tone be pedaled through cient piano playing is to use the straight tlnimb-n As the dry leaves before the hurricane fly, from the first count of one measure to the first count TO SPRING GRIEG FIRST CHILD He ascended the fire-escape nimble and spry. bfnt as ls the usual method. This applies to the use of the next, but it would be safe to say that not one all five finger exercises, scales or any thumb crossinf I drew in my head, and was turning around But how do you do it, Santa Claus? 1 used the bent thumb in my playing nine years ai pupil in a dozen would feel inclined to do this. When in through the air shaft he came with a bound. could not play a decent scale, but in less than two weel His coat was of broadcloth, the finest I’ve seen, SANTA CLAUS Pedal -g-J=-h-J-i-2-J- practice with a straight thumb, a very great differen Though it smelled rather strongly of fresh gasoline. Ah 1 that’s my little secret. ■'g-_^ ■ £.£ was noticed in my scales. More indifferent scale playii This question is not always so easy to solve as (The concealed choir commences to sing softly His cheeks were like roses, his nose like a cherry, is due to bent thumbs than to weak fourth fingers, in the two cases quoted above. In fact, it is and gradually the audience is encouraged to join in | ^ poco^ I agitato, sempre. cresc. He’d the air of a man who was satisfied—very. good rule is : The thumb should be straight at all times. sometimes quite difficult, and the soluticn arrived at by means of singers scattered through the audience.) He was chubby and plump, but a shrewd-looking guy, The simplest exercises do the greatest wonders, will not always hold good for various reasons which Any good carol can be selected from the following And there gleamed through his goggles a keen little eye. few- simple exercises persisted in and carried' to t we shall see later. list, but probably the best of all is: highest degree of perfection in both velocity and tone a Invariably, in cases of this kind, the fundamental bass ar better than volumes of exercises plaved through He spoke not a word, but the foxy old elf 9. Music is the first to suffer. Oftentimes this is necessary, but Just walked to the mantel, and laid on the shelf tew times. Most great pianists have a few cherish not always. Take example three, for instance. No 1_jXl-i A letter typewritten—in business-like style— Hark, the Herald Angels Sing exercises which they practice every dav. They km great artist would fail to see the immensity and gran¬ Of course, this matter of pedaling -for clearness is Then hustled away with a sarcastic smile. Carols that these are short cuts to keep up technic. Yet m< deur of the opening passage of this noble work of Mac- one of the most important phases of pedaling, and Adeste Fidelis-. pupils will pass these exerciies by as “too easv.” Th Dowel! s and, consequently, wouldn’t think of losing the He jumped in his car, and with three loud “honk-honks” O Sanctissima. should never be lost sight of. The most abominable Silent Night. should remember it is not the mental aspect of'exercise fundamental bass for an instant, whereas the mediocre He whizzed round the corner and on toward the Bronx. thing in piano playing is keeping the foot down on the O Little Town of Bethlehem. A ^ mUTSCUlar aPP*'cat>on that counts. player of lesser interpretive vision would see nothing but pedal from one fundamental bass to the next, regard¬ I opened the letter, the message I read, Alberto Jonas has given in his Pianoscript Book ma the slight blurring in the upper part, and by one or more And then I crept silently back into bed. (While the carol is being sung Santa Claus goes less of consequences. Nevertheless, one should be care¬ helpful exercises that if persisted in for a vear w pedal changes, spoil the colossal effect intended by the For here’s what I saw with dismay and disgustj among the audience and distributes gifts.) ful and not favor clearness to the extent of not listen¬ give one a fine technic. Of course the student mi composer. “Retired from business, sold out to the Trust.” The End. know how to apply them. DECEMBER 1920 Page 818

THE ETUDE THE ETUDE Page 812 DECEMBER 1920 Justice for the Piano The Teachers’ Round Table own pedaling that a player ever can hope to become vibrations of the bass strings, so that it is possible to clear up a passage in the treble without affecting artistic in the use of the pedals. By Frederic Ayers Conducted by N. J. COREY It is a fact that, owing to the above conditions, a pian¬ fundamental bass. , , Right here it might be well to add that the expres¬ ist may, on various occasions, play the same piece on sion tremolo-pedal, vibrato-pedal and trill-pedal—an How often one hears or reads something in disparage¬ This department is designed to help the upon' ^^‘^ f Yn^to Musical Theory, the same piano, in the same hall and with the same ment of the piano! For instance, in a recent work on pedaling, and the effect be quite different each time. Not meaning the same thing—are also misleading. The pupu orchestration reference is made to the: pianos poor and only must a player always listen to his pedaling, but is apt to get the idea that all he has to do is to go he must also never be too satisfied that the pedaling used the pedal a la woodpecker fashion. The above numer¬ slightly unpleasant tone-quality. And such things seem ously named pedal is nothing more than a number o usually to be allowed to stand unchallenged. Yet Wag¬ is the only kind. half-pedals in quick succession; and each movement ot ner in a letter from Paris spoke of having a new piano Here and there through collections of advanced etudes No doubt we would be surprised if we knew how Overeating often pianists like Mr. Hofmann or Mr. Lhevinne were the pedal must, to be effective, come in contact with whose tone was so beautiful that it had given him fresh Lifting One’s Self by His Own Bootstraps you will find one specially for the left hand, as m puzzled as to whether they had better do this or that some definite note. Notwithstanding many statements inspiration for the opera upon which he was working. “I have given one pupil the following for^a Chopin. You will find very valuable material in Hen- to the contrary, there never was an effective tremolo “I have studied four years and have a Junior selt’s Etudes, Op. 2 and 5; Rubinstein’s Six Studies Op. with the pedal. Whether, or to what extent, pianists are responsible for Certificate I love my music and have plenty or much? 1CSprom^Mathews' Graded Ooarae exerclses A short time ago the writer picked up a book on pedaling that could not be clearly analyzed by the sys¬ the existing antagonistic attitude by forcing the tone of determination, and am going to be a music teacher 23; Saint-Saen’s Six Studies, Op. 52, and Liszts Etudes tem of pedal notation used in this article. 19, 25, 28 and 23, Vol. II. a From clerny- the various phases of piano playing. He was very much their instrument in large halls and in contendingHtri- if j fail as a concert performer. Unfortunately, Transcendantes. These are all of extreme dffficu ty surprised, on turning to the chapter on pedaling—an The reader has seen how a passage might be pedaled I must in future work without the assistance of Uebling5 Vol1!’ Ilf 12, “and 15. For pieces, especially the last named. Brahms has arranged Weber s various ways with very much the same effect obtained. dently against the multitudinous modern orchestra, let a teacher. What will be my best plan ? I studied Tannhauser March, Lowe ; New Bpr^ L““|e ' excellent one except for this fault—to find it very posi¬ pieces of the difficulty of Beethoven s Moonlight Fniru Baraue Smallwood, and Merry Hearts routa, pTrpetual Motion for left hand, which is also excess¬ It is important that such pedalings be Studied so that us not inquire. Honnta, and was given work from Volume II ox Beh7 I assigned all of this for one lesson. —O. L. tively stated that there was only one way to play the The charges usually made against the piano are three: ively difficult. Pieces for left hand alone which a closing measures of Grieg’s To Spring, in order to give the best might be selected. It is still more important Mason's Touch and Technic. Should I study all to try various pedalirt^s in order to obtain different First, it is asserted that the piano cannot sustain a four of them at once? Can I study musical his¬ Two items you omitted in your letter which would have popular are Sextet from Lucia, Lf_schetJ^’ , a rendering of it such as Grieg intended according to tory alone?”—A. M. Nocturne by Scriabine. There is nothing better for effects. tone, and this is undeniable. The tone of a piano string some bearing on the answer. First, the number of hours his markings. the cultivation of the left hand than the Pra*£e This was the way mentioned: “Silently press down Innumerable examples might be shown where this can begins gradually to diminish as soon as it is struck. But Your equipment seems to be satisfactory so far as you spent by the pupil in practice, and second, how much of Bach, and if you wish something of the highest difficu ty the bass octave B after the chord is rolled, thereby be done. One example will suffice however. it must not be inferred from this that the piano is un¬ have gone, and with enthusiasm and industry there is no this was review work, or was it all advance. enabling the player to change the pedal on the D natural satisfactory in slow or sustained music which is con¬ reason why you should not accomplish a great deal more, Sneaking in a general way your dose for the average along this line the transcriptions of compositions of Bach and at the same time not lose the fundamental B.” _ • ceived idiomatically for the instrument. Who would even by yourself. There are many elementary teachers pupil would be a tremendous one. No pupil, except one by Liszt, Tausig, d’Albert, Busoni and others will keep you busy for some time. All advanced modern com- Now there are three other ways of pedaling this wish to hear a Chopin melody played upon anything but who have not carried their studies so far. It would of exceptional talent and several hours of daily practice, could compass it, and give any attention to hand, arm and passage, any one of which—at least in the writer’s opin¬ the instrument for which it was written ? Or who, hav¬ seem the wiser plan, however, to abandon the concert positions contain passages of special difficulty finger development. At this early stage of progress the ion—is better than the above mentioned. The trouble ing heard Chopin’s Etude. Op. 25, No. 12. played by a pianist idea under these conditions, except in so far as hand. with this way is that when the D natural is pedaled we master, will fail to realize that the piano can in its own attention should be concentrated as much as possible: upon you may appear locally, or in the smaller cities through¬ the development of the playing apparatus.^ This means Progress Gradual lose sight of the high F sharp, because the left hand stirring way produce a sustained tone of the greatest has to be taken away in order to silently repress the out your part of the country. a great deal of repetition of finger exercises, etc., and breadth, power and beauty. If you have been grounded in the principles of then, after they are thoroughly learned and commi ed -1 T have a pupil of thirty who is octave B. (Pedaling number one.) Second, it is said that the mechanism in the piano be¬ Exactly the same effect can be obtained, without losing Mason’s system, it will be well for you to procure all to memory, still more repetitions with the closest atten¬ tween the finger and the string is so considerable as the F sharp by employing the sustaining-pedal on the four volumes. The first book should be given the tion to the action of the fingers. Quality, not quantity, to prevent the transmission of the finer shades of feel¬ w if ..r fast as it is marked to be played. octave B. (Pedaling number two.)* closest and most attentive study you know how to give, should be your guide in assigning lessons. To play ^at will be the best manner of taking her into These two pedalings have another weakness, however, ing. And in reply one can only say that in the modern and reviewed over and over. Small assignments may through the foregoing list in a half-hour lesson would the fifth grade? Continue the Mathews and Mason, in that the fundamental bass tone becomes too thin and instrument this mechanism has been made so perfect be taken simultaneously. The books do not present a occupy nearly the whole time without leaving a moment 0r”" aXT”r a Ceghumr on the pipe dry after the pedal has been changed on the third count. that the differences in touch and tone-qnalitv between consecutive course from beginning to end, but as many for criticism and drill in hand action The quest.onwith There is no reason why, under normal conditions there different pianists are many and minute and manifest departments of study, all of which should be pursued every teacher should be, What am I doing t P P should be any pedal change at all on the D natural. in the hearing. Moreover, the tone-quality of the piano together You should also study with it Mastering the my pupil for a perfect foundation in finger, hand and ^e^“ depends not alone upon the impulse given to the particu¬ Grieg has marked this measure pin retard; and, by the Scales and Arpeggios which will throw many side-lights Sin control and action, so that he may avoid the in¬ lar string, but is influenced by the vibrations of all the numerable pitfalls which beset the pupil who neg ec s time the fourth count is reached, the D sharp has be¬ upon your study. I fancy from your letter that the A pupil of thirty may have trouble in adding very come too weak to do much damage. What little blur¬ other strings sounding at the same time. Mr. Harold this important factor in piano study, and eventually Beethoven sonata is in advance of what you are able to much to the technic she already possesses. As to this ring there might be could easily be wiped out by a little Bauer has pointed out that the pianist “is able to sup¬ play well. For etudes you would better, therefore re¬ causes his ruin. you will need to be the judge, and the fact that she says more emphasis being put on the D natural. ■ press some overtones and bring out others by em¬ view Czerny-Liebling, Book II, then going on to Book that she understands this or that is not so important as This pedaling is the best of the four because the phasizing a note here and there in a chord of many Professional Courtesy whether or no you know she is doing her work correctly, passage is much richer in color, owing to the funda¬ notes, especially in an arpeggio, and by slighting others." III The Cramer-Bulow studies may follow, and then and not stiffening up her muscles. Passing from one mental bass being held through to the end by the In this way the tone color can l>e greatly varied, making some of Clementi. You may intersperse Bachs Little “I have studied the piano for four years. I am studying with an excellent teacher who gives grade to another is no more arbitrary than the changes damper-pedal. (Pedaling number three.) possible expression of the utmost subtlety of feeling. Preludes, and Lighter Compositions if you desire i0ts of technical work and solo numbers. However if the player seemed unable to make the Third, the most serious accusations urged against the deed no musical education is complete without Bach oUows a long list of music that has been studied of the moon. It is gradual and imperceptible^ She will passage clear with this pedaling, it could then be done piano is that it has no tone color at all! 1 hat while the study. The Two and Three Part Inventions may fol¬ md which is of the best.) WUl you need etudes to supplement the Mathews, than which "3t of advanced pieces which you by the use of a half-pedal on the D natural. This is there is nothing superior. A thorough review which trumpet is red and the oboe green, the piano is merely low the Cramer. Suggestions as to octaves will be found he within my -, Also a list of s the second best of the four pedalings. (Pedaling num¬ black and white! Now, tone color, as is well known, is in Mason book. On request the publisher will send you easier etudes of Chopin? may be accomplished through Heller s Op. an , There are many excellent teachers of pedaling ber four.) a matter of overtones. Let us consider the piano for a a graded classified catalogue from which you may select the best numbers, and the second book of Cze™y'P*- Many players are misled by the expression half-pedal throughout the world, and fortunate indeed is the pupil moment from this point of view. Will you be so good I occasionally receive a letter similar to the fore¬ ling would be of great value to her right now Mathews who is studying with one. In closing, there are two classical and semi-classical music to suit «eed£ and have the idea that the pedal is to be let up only as to go to your piano and gently press the key of going To all such players I would like to put a return graded course is an index of progress, and does not teachers of pedaling in particular who stand head and Above all you should classify your practice, adhere to half way. Of course the pedal must always be let up middle C, raising its damper but without striking the question. Do you not think when you have an excellent contain by any means all the study work needed by a shoulders above any others; and no pupil is so poor it, and leave nothing unfinished that you begin. A metro¬ far enough to enable the dampers to touch the strings string with the hammer? Then (with the pedal released, teacher” with whom you are satisfied, and who seems to pupil. Mason’s work is intended to cover many years that he is unable to receive instruction from them. Their nome will be invaluable to you for by it you can work be competent to keep you provided with the standar or the pedal can have no effect on the tone. The idea of course) strike the C below the bass > t a tt sharply of practice. It is not a work to play from end to end. names are none other, than Mr. Right Ear and Mr. Left things up to their proper tempo. repertoire and other modern pieces, that it would be dis¬ of course is to have so quick a foot action that the staccato. Notice that the held middle C sounds clearly Rapidity in playing will depend largely upon the supple dampers are not down long enough to affect the stronger Ear. for a considerable time after the low C has been courteous for me to “butt in” on his work? I might say The pupil that listens and follows their instructions something which would inadvertently unsettle your confi¬ and free condition of the muscles. damped. Now please do the same thing, striking the Sharps and Flats * The Sustaining-Pedal can be used to good advantage in to the best of his ability is bound, day by day, to become dence in him. According to your letter he is atanffimtly 2 Write to the publisher for the First Year in Organ same low C, but holding silently the E above middle C. examples one. two, three and live. See the writer s article more and more artistic in the use of the pedals. Playing, by George E. Whiting. Also Graded Materials on the Sustaining-Pedal in The Etcde for December, 19X9. Then repeat, holding G, then B flat, then D. Notice that capable of answering your questions. Every teacher S S£ trembled lyTh^nT»£?g« for the Pipe Organ, by James H. Rogers. these, too, sound. You will then be able to hear the many ways, but still find them awkward. Have likes to have the full confidence of h.s pupils and any teacher would have a right to take offence if he should simultaneous vibrations of any combination of them. no trouble with scales in sharps but d 3 Whether children know the alphabet or not makes in flats. How can I overcome this? - know that his pupils were applying elsewhere for the Mandatory Technic These you will also be able to hear if you will depress no difference. Any child can learn the first seven let¬ knowledge that he was being paid to supply, especially the damper pedal and sound the low C rather softly, ters which is all you will need. For such little children I have never found this to be anything but an imagi¬ when the pupils acknowledge his capability. Your - concentrating your attention upon one after another of you'will find the A. B. C. of Music, and Melodies with¬ By Carol Sherman nary trouble, but it is said that the hallucinations of the cellent teacher who is giving you “lots of solo numbers, them, and, if your ear is good, you can with a little out Notes, by Mrs. Hudson valuable. imagination are a fertile cause of untold discomfort In will be able to provide you with all you need If you caused by raising the arm and thus permitting the finger practice hear them with the pedal released, sounding as “What touch must I use here?” This question is all cases that have come under my observation, and they were dissatisfied with your teacher, had decided to lea- e to dip almost unconsciously into the key, must be deter¬ a part of the low string’s tone. Then you will realize Nervousness asked time and again by students who expect that of have been many, the difficulty is caused in early plapng him and could find no other, then the Round Table all the touches recommended there must be some kind mined by taste. that not only is the piano rich in overtones, but through days by flat keys predominating at the expense of sharp would be exercising no professional discourtesy in “I suffer unbearably from nervousness when I of a law prescribing a special touch in a special place. Better to say that the composer here desired a crisp the peculiar construction of the instrument, each one of Pupils often acquire a fanciful idea *at flat keys sound recommending work which your letter already implies , try to play In recitals. Sometimes 1 haro to leaje Of course, where a staccato touch is prescribed, some brittle effect and try all forms of staccato touch to see these is strengthened, when the pedal is “down,” by the the piano after playing a few measures. What can he is abundantly able to supply. The first duty of every kind of a staccato should be used; but whether it which gives the notes the proper crispness. sympathetic vibration of the string having the same better, and therefore overcultivate them. Meanwhile i I do to overcome it?”—H. M. Z. pupil, you will agree, is to his teacher, and should not be should be a finger staccato, a hand staccato, i staccato No hard and fast law is ever wise. pitch. Nor is this all. When several notes are struck you transpose any piece written in sharps into flats, un¬ Keep yourself in as healthy a condition as possible; to at once many of the overtones of one will strengthen known to the listener, he will be totally "" violated until it is found to be no longer possible. those of another, thus enriching the whole tone-color the change, and will not even fancy that the ^e this end exercise frequently in the open air; inveigle and producing effects which are often of the most fasci¬ Limited Supply sounds any less euphonious than usual. The trouble your friends, one, two or more at a time, to sit down Words of Wisdom from Schumann nating beauty, and which are wholly impossible on any seems to be one largely of the eyesight. I have neve and listen to you play. Play to them as often as pos¬ Listen attentively to songs of the Folksong type. Endeavor to find out whether your musical comrades other instrument or combination of instruments. failed to effect a cure by simply advising the player „ zTZ'Z ’Z sible, prolonging the sitting as long as they will listen. They are a quarry of the most beautiful melodies, and know more than you do. One morning last winter I had an earlv walk after eiiual to the Revolutionary Etude by Chopin. copfine himself entirely to sharp keys for a number of You probably have a number of friends whom you can furthermore they open to you a prospect of the charac¬ Don’t think that old music is passe. Many of the a thick mist (a rare thing in Colorado) had been over¬ Something for concert use.”—J. B. words you are now using are hundreds of years old taken by a sudden and severe cold wave. The moisture weeks or months, as may be necessary. You can find make use of in this way. After you have had a con¬ ter of the different nations. Studies for the left hand are not numerous. Indeed but they are as useful now as they ever were. had crystallized on every bough and twig in exquisite plenty of desirable pieces in sharp keys. The trouble siderable experience playing for one or two at a time, Avoid music coming from the waste-paper basket. the virtuoso who wishes his left hand to be equally sin ¬ little fern-like plumes as close together as they could Lies is again one of eyesight-feeling. In every sharp get half a dozen of them to come and hear you, which ful with his right will be obliged to invent a good deal stand. The snow also was covered with them, and so key the thumb passes from a black key to the white will seem more like a public audience. By following of special study for its use. A collection of left hand Rubinstein’s Teaching Aphorisms hard and sharp had they frozen that each miniature next above in ascending. In flats the thumb skips over out this plan you will find your nervousness will be very frond or crystal was a minute prism that threw sparkles studies that are very fine are Fifteen Etudes for the a white key in passing from a black. Here again you lessened. Next read the symposium of this topic Passages that interest you while you play them will of rainbow colors in all directions. Looked at casual V M the Left Hand, by E. R. Kroeger. These, The first notes heard by the audience are the most ...... „„„,i metre nractice. and the confusion will grad- important. Upon them will depend the impression. also interest the audience. Interest is contagious. the snow fields were a marvelously alive and brilliant Look out for the bass; the clearness of the harmony Be independent. Examine all finger markings in white, but a second glance showed that the white was depends entirely upon the bass. If your basses are in¬ your edition. Perhaps by some little change you can everywhere pierced by infinitesimal jets of every' itnaS' distinct or incorrect your harmonies are wrong. improve your own playing of the passage ten-fold. mable color. The piano tone is like that. THE ETUDE Page 8U DECEMBER 1920 the familiar Schlummerlied as a Christmas gift. It was Delicacy of Touch—True and False DECEMBER 1920 Page 815 the charming custom of these two lovers to write music THE ETUDE for each other’s birthdays and family festivals. By M. A. Hackney Robert was not altogether pleased to have Clara VALSE ROULANTE resume her concert work. He hated the loneliness when The most beautiful pianissimo effects in piano playing she was away, and was sensitive of what people might are produced, not by feebleness, but by finely controlled say, but both desire and necessity urged her on, and Robert did not openly revolt. Compensations came with strength...... A player whose execution is harsh and lumpy—who the happy reunions and the home-life that followed. They had seven children in all: Marie, Elise, Julie, “pounds out” every note—has, indeed, a serious fault; Ludwig, Ferdinand, Eugenie and little Felix, named but it is one which is easily overcome by the practice of after Mendelssohn. Felix was born after Robert was scales and by attention to the proper observance of in the asylum and missed the happy times enjoyed by nuances and accents. Such studies as Czerny’s School the others when their father joked with them, rode them of Velocity are helpful. This is so well understood by on his knee, taught them little songs and played or read teachers of any degree of experience that it is hardly to them. “When I look back on my life” wrote Marie, necessary to dwell on the matter. “my childhood shines as the brightest spot in it.” And The contrary fault—a touch so timid and delicate again she says, “Our mother gave us piano lessons, and that the notes frequently “miss fire” altogether — is every Sunday morning we played to father.” He loved much more difficult and perplexing to deal with. A to tease them. “We met him once,” says Marie, “as pupil who has this fault often will go through the mo¬ we were coming out of school. We saw him walking with Herr v. Wasielewski on the other side of the tions of playing, but fail to strike certaiii keys in such a street, and ran across to say good morning and offer manner as to produce tone, even the faintest. This is our hands. He pretended not to know us, looked at us especially noticeable in chords of three or four notes through his glasses, and said: ‘And who may you be, and in accompaniment figures founded on chords. Cou¬ dear little people?’ We were very much amused.” pled with it is always found a slackness in holding keys Schumann’s love for his children found happy expres¬ firmly down when a tone is to be sustained. sion in the Kinderscenen and the Kindersonaten—“for Where this arises from mere muscular weakness ,.f the such child-performers as never were!” commented fingers, diligent and continued practice of the "twoUnger Clara, and the name was afterward changed to exercises” in the first book of Mason’s Touch and Tech¬ Klaviersonaten fur die Jugend (Piano Sonatas for the nic is of great benefit. Piano teachers of different Young). schools have other exercises which are practical t r the Shortly after their marriage, Robert’s health had The Home-Life of the Schumanns begun to break down, and their life in Leipzig, Dresden same purpose, those of the “pressure touch” persuasion and Dusseldorf was frequently passed under great differing from those who advocate highly raised lingers By Arthur S. Garbett anxiety on this account. He became nervous and and a hammer-like stroke. Both are good in their own irritable, and prone to melancholy aloofness. Fre¬ way. The real trouble lies in the fact that muscular Never was a marriage more blessed with love and quently he complained of rushing sounds in his ears, weakness is not the sole cause of this troublesome fault, inusic than that of Robert and Clara Schumann. It was and toward the last heard imaginary music with extra¬ but only a contributory cause. a musical rhapsody, yet like all good rhapsodies it had ordinary vividness. One night he got up from bed to The problem is more often a personal than a mechan¬ its moments of dissonance, for the combined melodies write out a theme which, as he said, an angel had sung ical one. Pupils are warned at home, by well-meaning, of their life together did not always run in thirds and to him. He often heard angel-music of this sort, but but misguided parents, against undue “pounding” of the sixths, and the shadow of Robert’s illness frequently at times the angels were replaced by demons who told cast it in the sombre minor mode in which it was him in hideous music that he was a sinner and would piano, before they have had a chance to acquire skill destined to end. be cast into hell. to control the tone exactly as an artist might, and they get a timidity of attack which it takes years to over¬ The Happiest Year come, even if they do succeed at last. It is far better “Father has always laughed at so-called domestic Notwithstanding this growing shadow, possibly the bliss,” wrote Clara in the diary they kept in common happiest year Robert and Clara spent together was that for a young pupil to play a little too coarsely and heav¬ shortly after their marriage in 1840. “How I pity before Schumann’s malady took its final form. A bril¬ ily at first, rather than too timidly and softly. It is those who do not know it; they are only half alive!” liantly successful tour in Holland, where both were much easier, later on to tone down excess of strength And this was the key in which the rhapsody began in received with the warmest enthusiasm, brightened their than to bolster up weakness. the little apartments at No. 5, Inselstrasse, Leipzig. lives considerably. And Robert composed with a fever¬ There were two grand pianos, but they couldn’t both ish vigor they could not recognize as the final spurt of Don’t Blame the Doctor be played at the same time, and herein lay the first a dying flame. The Schlimanns never lacked for friends, Another phase of the same problem is that, where a touch of domestic friction, ultimately smoothed over by but the year brought them in closer touch with Joachim, young player has naturally a tendency to a sweet and the good sense of both. Robert was so busy composing and gave them a new friend in Brahms, then scarcely agreeable musical tone, and (in spite of most serious he gave Clara, further handicapped by, the housework more than a youth whose genius Robert acclaimed. faults) is praised at home for having a “beautiful for which she was untrained, very little time for prac¬ They were to be a great consolation to Clara in the tice. “I cannot find one little hour in the day for my¬ touch.” This is good as far as it goes, but such a pupil years that followed—Joachim and Brahms. is almost invariably too self-conceited to realize that self,” she wails.. “If only I didn’t get so behind!” Of the final phase little need be said. Schumann’s the touch is still seriously defective and does not second What she lost in practice, however, she gained in increasing malady led him to attempt suicide by drown¬ musicianship. The second week of their marriage they ing in 1854. At his own request he was placed in a the efforts of the teacher to overcome faults that persist. began to study the Well-tempered Clavichord of Bach; private asylum, where he died July 29, 1856, after six¬ Such a pupil will generally go through the motions of and ever afterwards they worked together at canon and teen years of a married life which forms one of the playing without actually sounding more than three- fugue and the music of the masters. Robert took Clara tenderest episodes in the history of music. quarters of the notes whose keys the fingers touch. I on a personally-conducted tour through Cherubini’s Art hope that other teachers may have been more successful, of Counterpoint, and she learned to compose. Under but I am obliged to confess that I have never found a his influence she changed from a brilliant girl-virtuoso The Home-Life of other Masters remedy for just this condition: it is practically hopeless. pianist into an artist of the loftiest conceptions. What A physician cannot be blamed for failure when the the memory of those hours of loving study must have will be discussed in later articles. patient refuses to take the medicine. meant to her after Robert’s untimely death! For those who are conscious of such a fault and wish Early Married Life to make a determined effort to overcome it, the follow¬ ing hints may be helpful. They started married life on an income of approxi¬ Why Live Your Pupil’s Musical Life mately a thousand dollars a year—not bad in those days, for Him 1. It is not enough to “go through the motions” of and in Germany. Part of this was private income, and playing. One must listen for the sounds, and not be part Robert’s earnings as editor of the Neue Zeitschrift By T. B. Empire satisfied unless they can be heard in every case. Remem¬ fur Musik, the musical journal he founded and con¬ ber that piano {Slaying is no better than it sounds! We over-conscientious teachers are apt to limit the tinued to edit for four years after their marriage. Soon, 2. Make every finger motion complete and decisive. however, came additions to the family, which necessi¬ individuality and independence of our pupils, fearing The finger must “follow through” until the key is at the tated greater effort, and it was the practical Clara who that they may make unnecessary mistakes without our bottom of the stroke, no matter whether the effect is to did most of the earning by resuming her concert work. guidance. But isn’t it true that a pupil is just as likely be pp or ff. If the note is to be sustained, the finger Later Robert became music director in Dusseldorf and to have a point impressed upon his memory by a mis¬ must hold the key clear down—not allow it to rise again thus aided the family budget. take, as by our precept and example? Instead of tying half way. This does not mean that it must be held Marie was their first child, born September 1, 1841. him to our pedagogical apron strings, let us give him full play, to make mistakes, to orient himself by whole¬ with undue force or .stiffness, only with conscious¬ “How proud I am to have a wife who, in addition to ness and decision. her love and her art, gives me such a gift,” writes some experience, to find out that he doesn’t know-it-all. Robert in the diary. The 13th of the month was Clara’s He will come to his lessons in a more chastened frame birthday, and little Marie’s christening day; and Robert of mind, and do better work subsequently, than if he plenty of soft playing, and let the soft be as well artic surprised his wife with the printed parts of his first looked timidly out over your shoulder at the musical lated and distinct as the loud. symphony, a bound volume of their joint songs, and the world; little, over-anxious teacher! 4. If possible, practice only on a piano with an ev score of the D minor symphony “which I had secretly and well-regulated action. On a piano with a fau finished.” (Schumann’s habit of composing in secret To inspire the student to do is perhaps the greatest action one is unable to judge properly of one’s o' and remaining aloof for days at a time caused Clara a attribute of the successful teacher. It is easy enough touch, and cannot always tell whether faults are bei few pangs of jealousy.) Later that year he also wrote merely to give advice. acquired or conquered. British Copyright secumd Copyright 1930 by Theo. Presser Co. DECEMBER 1920 Pa-g>‘ 817 THE ETUDE

P*g* 816 DECEMBER 1920 RUSTIC BEAUTIES morris dance [i« the whirling rhythm of the old-fashioned English dance.Play with a strong accent and elastic finger action. Orade 3 ARTHUR WELLESLEY, Op.too

MARCH OF THE LITTLE WOODEN SOLDIERS A grotesque march movement.very ehureeteristio. Play in a brusque detached m.uner.with flu. uccentu.tiou.Gr.de 8.

I’opyright 1920 by Theo. Ptesser Co. British CojryriglP secured DEC EMBER 1920 Page 819 TH£ ETVLti Page 818 DECEMBER 1920 BRIDAL CHORUS the etude from “LOHENGRIN” EDOUARD SCHUTT Easier Transcription R. WAGNER . whieh this is the easier one. It is thoroughly pianistie the orig. Mr Sehutt has made two masterly transcriptions of this favorite num ' nal harmonies being enriched by some attractive passage work. Grade Moderato assai

AROUND THE CHRISTMAS TREE

Introducing . portion of the .rational Chri.tm.n carol M meU. Grad. 2. ANNA PRISCILLA RISHER

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British Copyright secured C.-pynght 1920 by Theo.Presser Co. nternational Copyright secured THE ETUDE DECEMBER 192.0 Pag? 821 Page 820 DECEMBER 1920 THE ETUDE ENCHANTED MOMENTS POLKA CAPRICE ADAM GEIBEL

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Copyright 1920 by Theo.Presser Co. , British Copyright secured # From here go back tc the beginning and play to Fine\ then play Tno. DECEMBER 1920 Rage 823 THE ETUDE PRIMO the Etude DECEMBER 1921 Page 825 Page 824 DECEMBER 1920 THE ETUDE SWEET COQUETTE

An air de ballet in mi,odern Ktyle; light,bet extremely well corrected. To be played to . graceful e»d ref toed number. LES DALLIER

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^ ^ t5e MASTER’S MINUET Introducing the principal theme of the favorite minuet by Beethoven. Play in a alow and stately manner. Grade 3 WALTER ROLFE Slow cantabile M. M. J =84 |

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1 jV. -* ' 1 2 British Copyright secured Copyright 1920 by Theo.Presser Co. British Copyright secured Copyright 1920 by Theo.Presser Co. DECEMBER 1920 Page 827 THE ETUDE THE ETUDE Pane 826 DECEMBER PL -\Y OF THE BUTTERFLIES 1 LA1 Uf 1 11 chlng pie,, ju.t Ik. requifl'te button, «■»* *• The bright and shifting motives, well-contrasted,give to this useful teaching p G. A. QUIROS Allegramente m.m. J = 104 4 6-> o 4 o Beginner S Book By Theodore Presser

Used More Extensively Than Any Other Elementary Instruction Book A Substantial Success Because It Supplies a Real Meed

Abundant Explanations The “First Reader” in Piano Study Step by Step Grading without adding one word too many, explicit explana¬ Despite the author’s long experience as a teacher and is a very importai tions occur whenever needed, and they indeed help in the musical educational field, this work was not structor. Elabora., ™ - — --— - - - both student and teacher. quickly put together. Every step was measured, every so gradual that the pupil will advance without dis¬ problem weighed, all useless waste cut out with the couraging difficulties introduced at the wrong time. object of producing a work which would insure the Writing Exercises greatest progress without sacrifice of essential thorough¬ The Scope of the Work These exercises are added to supply the common ness, If the work you are now using does not include including the needs of notation. Time and rhythm are, of course, also The first grade of study up to, but covered, and then exercises at the piano are given. the following features you owe it to your pupils to in¬ scales is covered. Little pieces, duets, etc are suggested vestigate this "Beginner’s Book” for Piano. in case the teacher deems it desirable to i book work for a few lessons. Pieces, Duets, Test Questions Without neglecting technical exercises, occasional in- Large Music Notes The Simplicity of This Work Has teresting pieces are inserted to reward and entertain the child. Little duets for teacher and pupil as well as All elementary books in the modern public school are Enabled Many Teachers printed in large type to aid the child eye in forming im- test questions after every advance complete the work in pressions. The same principle is applied to this book to Achieve Speedy Results With such a manner that its success does not surprise. by the use of large notes where' needed. Even the Youngest Beginner If You Have Never Used This "Work “BEGINNER'S BOOK” Cheerfully lion | PRICE $1.00 Order a Copy NOW for Examination Sent to Teachers for Examination

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Announcing The Gift Problem THE is Easily Solved if the Remembrancers American Supplement For One Who Plays, Sings or is (THE SIXTH VOLUME) in any way Interested in Music TO Your Musical Friends Will Appreciate Grove’s Dictionary of Music and Musicians Twelve-Fold Your Sending as a EVERY MUSIC LOVER IN AMERICA WILL ENJOY Qhristmas POSSESSING THIS MOST INTERESTING VOLUME

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The Etude THERE ARE OVER 1000 ITEMS IN THE INDEX OFFERING A Gift that is not a 415 Biographical Articles about American Musicians. passing remembrance- 290 Biographical Articles about Foreign Contemporaries. twelve timesduring the 42 General Articles on subjects such as Indian Music, Negro Music, year your thoughtful¬ Orchestras. Piano, Rag-Time. Public School Music, Phonograph, ness brings to a friend manyinspiring,instruc¬ tive articles and at least 91 Operas. Oratorios and Songs are dealt with and there are about eighteen new musical 300 other articles and notes treating upon Associations, Hoards, compositions that will Music Schools, Choral Societies, Orchestras, Chamber Music furnish many happy Groups. Opera Companies. Buildings, Periodicals. Libraries, Instruments, Publishing and Manufacturing Firms, etc. a -lim-uuor ’'above ^iiratd^ your gift hours at the keyboard. A VERITABLE ENCYCLOPEDIA OF AMERICAN MUSIC THE ETUDE Christmas Gift Folder Announcing A NEEDED WORK FOR EVERY MUSIC LIBRARY Special Introductory Price, $3.50

Theodore Presser Co., Publishers Philadelphia, Pa. THEODORE PRESSER CO., PHILADELPHIA, PA. -mi i

Copyright 1920 by Th'eo.Presser Co British Copyright secured DECEMBER 1920 Page 829 THE ETUDE THE ETUDE

c7he Brunswick Method In Many Styles of Reproduction and Finishes

The More You Know About Music the more you appreciate The Brunswick

THE musician recognizes the superiority of The musician, too, will appreciate the impor¬ Style 135 Brunswick tone more readily than the un¬ tance of the Brunswick Oval Tone Amplifier, an initiated. Because he has definite tone standards all-wood tone chamber shaped according to which the less appreciative do not have. definite acoustic laws, and built, like a violin He is more difficult to please. Hence the box, of light, moulded wood. reputation which The Brunswick enjoys among The Oval Tone Am plifier develo ps and expands musical people 'is the highest tribute that could the sound waves in a normal, natural manner. be paid to its performance. These two exclusive features combine to form The Ultona, an all-record reproducer, enables the B runswick Method of Reproduction which is re¬ sponsible for the vast difference in Brunswick tones. Style 122 the Brunswick owner to play any make of record. The musician will also have a more versatile In fairness to yourself, don’t make a phono¬ taste in fine music. He will have particular se¬ graph choice until you have examined these in¬ teresting features and have heard The lections that he wants. With The Brunswick. See for yourself if our Brunswick he is not confined to any claims are true. See if you think The one record-maker, but may select any Brunswick plays all records as well as record he pleases. they are played on the instruments for And the Ultona is not a bothersome which they were intended. attachment, but an integral part of the Visit a Brunswick dealer. Hear this instrument, requiring no more manipu¬ new-day instrument. Make your own lation than a twist of the wrist. comparisons. The Ultona is counter-balanced in a Brunswick Records The next best thing Ask also to hear Brunswick Records new and effective way, resulting in —if you haven’t a Brunswick which can be played on any phono¬ clearer, purer tones, and an absence _is Brunswick Records on the phonogaph you have graph with steel or fibre needle. of disagreeable “surface noises.”

THE BRUNSWICK-BALKE-COLLENDER COMPANY General Offices: 623-633 South Wabash Avenue, Chicago^ ^ „dise ^ Style 117 Branch Houses in Principal Cities of United States, Co., 79 Wellington Street, West, Toronto Mexico and Canada DECEMBER 1921 Page 831 THE ETUD1 the etude 830 DECEMBER 1920 AUTUMN FROLICS Save Money on Your Christmas Gifts Useful and Interesting Rewards This year Ml N . H HP..leal Ohris on other merchant oming down slowly, but they are still high and it will year before the; ir normal level. You can buy the best Magazines in Ar For Your Spare Time it of the season for your Christmas gifts. , . biggest^price^ ® peculiar dignity attached to the gift of a Magazine that is in no u rr 11 • forest a number of your friends in THE ETUDE, collecting 32.00 t is a twelve-time reminder of the giver. A beautifully printed a «„ .b«£ »/.« U« rewards'iUu.trated b. had. to every one receiving THE ETUDE as a Christmas gift. Etude. . 2.00) $4^50 CASSEROLES Musical America. 3.00 f sav« eoc A new suppy of Cas' e.oles, difficult to Etude..2.00) $3*50 obtain during the post¬ Violinist. 2 00) Save 50c war period, have just been received. Shef¬ field Reproduction. '■ Heavy quadruple sil¬ ver plated on hard metal, fancy pierced open work turned 1 ^ edges, ball feet, wide side handles, brown glazed dish. Pound, TYz inches. Holder Etude. 2.00 1 jQ inches deep. Given for >4.65 seven subscriptions. Pictorial Review. 3.00 > «>— Modern Priscilla. 2.00. Etude. .. American Magazine. 2.50 ($fj -25 Another Casserole uo$5^2 Woman’s Home Companion... 2.00 Save$i.25 {To one address] / Sheffield Repro¬ duction. Heavy Etude.. . 2.00 silver plated design, World’s $5 'll fancy handles, Work. 4.00 pyrex-oven glass dish, lyi inches. Ball feet, round 7x5J^ $4.25 inches, plated on hard metal, burnished. Given for eleven subs. Two-pint Etude... 2.00 $4:25 Etude... 2.00[$3.50 pyrex casserole for nine subs. Lighter one for seven subs. American Bov’s Life 2.00 [ s«.v. son Magazine 2.50 Etude... z.uui. -- WATERPROOF APRON Review of >4:12 Guaranteed waterproof. Will not ciack, stain or d.s Reviews 4.00 Made full length so as to protect the dress completely, piece garment, form fitting, with neck band tapes for tyn. back. Material is of very best rubberized gingham, r.d 1 to make it waterproof. Will last for years. Pattern sn blue and white, or black and white, pink and white, or ' and white check. Two sizes—regular for the ordinary t and the larger size for the stout figure. today's O-CEDAR MOP Etude... 2.001 $3-25 LittleFolks 1.50) Save 25c advertised, and their Etude. 2.00 $A 0Q Magazines as Gifts Ehide • ■ • 20°) $3.75 I usefulness and qual¬ Modern Priscilla 2.00 4^ How often have you given Woman, Home O | samsoc useless gifts to your friends at Companion. . 2.UUJ oaYe ity are very well known. Long Mother’s Mag. .50 Christmas t:— black cotton yarn, can be washed -—--- Why not solve your gift p. i o 00\ and renewed, metal head, adjust¬ able socket, 54-inch handle. Pack¬ Self feeding head. $3.90 Pictorial Review 3^00 y THE ETUDE It is not a use- r, ., ,, , rn ed in lithographed stiff card board. Given for three “ less gift. Every number ,has Every Chtld S. . 1.50 Made especially for cleaning and polishing hardwood floors. subscriptions. Etude. . . 2.001 $2—_-95 regular arrival FICTION—OLD and NEW People’s Home Jour. 1.25) save30c Any book given for two subscriptions, postpw > the friendly spmr oi uumm.. Flirt, The—Booth Tarkington. A beautifully printed announcement is i Fool and his Money, A—McCutebeon. to each person receiving^THE ETUDE a Foolish Virgin, The—Dixon, From the Housetops—McCutcheon. UfTileitinutioii December 24th. Gentleman from Indiana—Tarkington. Girl of the Golden West, The—David Add to Any Club at Prices Opposite Iieinsco. COUNTRY GENTLEMAN . $100 Girl Philippa, The—Chambers. LADIES’ HOME JOURNAL .. 200 Going Some—Bex Beach. SATURDAY EVENING POST 2.50 Graustark—McCutcheon. COSMOPOLITAN .. Halcyone—Eleanor Glyn. GOOD HOUSEKEEPING . Heart of Rarheal, The—Kathleen Norris. Hidden Children—R. W. Chambers. POPULAR SCIENCE MAGAZINE. . . . 3 00 Holy Orders—Marie Corelli. MUNSEY’S . Innocent—'Marie Corelli. AMERICAN BOY . 2.3” Iron Woman, The—M. Deland. ELECTRICAL EXPERIMENTER. 3.C It Pays to Advertise—Roy Cooper SYSTEM ... Megrue. RED BOOK Jane Cable—G. B. McCutcheon. Just Patty—.Tcan Webster. "K"—Mary Roberts Rinehardt. Lavender and Old Lace—M. Reed. Light in the Clearing—I. Bacheller. SPECIAL PRICE-CUT COUPON Lion and the Mouse—Klein and Horn- THE ETUDE, Theo. Presser Co., Pub’s. 1712 Chestnut St., Philadelphia. Pa. Little Lost Sister—V. Brooks. Long Live the King—M. R. Rinehardt.

Ne’er Do Well. The—Rex Beach. Net, The—Rex Beach. Old Curiosity Shop—Dickens. Oliver Twist—Dickens. Penrod—Booth Tarkington. Penrod and Sam—Booth Tarkington. , theo. presser co. THEA IIIJ ETUDEA 1712 CHESTNUT ST.. PHILA., PA. THE ETUDE Page 832 DECEMBER 1920 T|JB MOUNTAINS

A.n ornate drawing-room piece in thb Tyrolean style,affording practiceintone production, graces and s y ERNST KROHN

Andante con espressione

RIPPLES VALSETTE

British Copyright secured Copyright 1908 by Theo.Presser Co. Copyright 1920 by Theo.Presser Co. British Copyright secured

THE ETUDE Page 836 DECEMBER 1920 Edited and fingered by JUNE Frederick Hahn BARCAROLLE ifull, melodious uumber lends itself euoe.diug.ell to .i.l.u tr.nseriptlon. Originally a piano solo, one of the set of Seasons, this beautifully P. TSCHAIKOWSKY, Op.37, No.6 Andante cantabile %_ _ \ 4 |m

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Copyright 1920 by Theo.Presser Co the etude Page 838 DECEMBER 1920 WHEN CHRIST WAS BORN MARION ROBERTS CHRISTMAS SONG A new Christmas song, full of triumphant spirit, with a strong uplifting refrain, Andante maestoso m.m>=84

Christ theTZTTorT Hhe King of_ gkT ry, Prince of Peace and- Lord of all, Shep - herds_watched - their flocks at - tend ing, Through the long and-^_ wea - ry night.

—.... there is still something new to be said. ■ . Came to dwell (Tn earth as mor - tal, Left His heav’n - ly throne a hove, A .Andante espress. _,--r-r—ffr-H— Heav’n ly glo - ry shone a round_ them. As the brigh^ies^nfthe sun, 1 V'l 1 VLT 41 1 ^ . f 1 .1. ' T caze on thee, and yearning Then Thou art s^ like a flow’r, So good, so pure, so kind, g --

Caine to bring tlie glor - ious mes sage Of sal - va - tion through His love. - Pray-ingthatGodmay e’er While the ehoirjif^^^ar^^el voi ces Loucl Pro - claimed Christ’s reign be - gun. - + in my„tvhe heart»rt 1, m.find. IV feeHh |

British Copyright secured Copyright' 1920 by Theo.Presser Co.

Copyright 1920 by Theo. Presser Co. British Copyright secr.r’ ' THE etude Page 840 DECEMBER 1920 DECEMBER 1920 Page 841 THE ETUDE A DREAM OF YESTERDAY ^ an„ M KATE VANNAH

An artistic songwith abroadand expressive melody. Areal singers song by a well-known w P Moderato con moto

he ^splen - dour of that,_warm June ni^ht_Floats back cross the 3.S ^ £"~

Copyright 1920 by Theo.Presser Co, British Copyright secured DECEMBER 1920 Page 8^8 tbe ETUDE

THE ETUDE Indexing Copiesof The Etude Page 842 DECEMBER 1920 By Abbie Llewellyn Snoddy tRw. Full CHRISTMAS POSTLUDB Carefully cut the table of contents Registration: jGt. Full coup, to Gt. from each Etude. Arrange the Etudes tPed.Full coup, to Sw.to Gt. according to the year of their issue. Ob¬ A timely full organ pice, introducing effectively Attest* Fideles. E. S. HOSMER tain heavy manilla paper, such as music Stores use to protect sheet music; cut and Glory to God in the Highest fold it to form a cover large enough to accommodate twelve numbers, and write Moderato , plainly upon the back of each 1913, 1914,

JO et

Have You Tried These Strain CONTAINS A GRAND Minimizers ? Human Craftsmanship has probably never wrought any¬ Sw. By Rena I. Carver thing in the musical world of greater taste and beauty than the A group of piano teachers were dis¬ Brambach Baby Grand. It is the outstanding instrument of * \ a ir^~ cussing ways in which to avoid unneces¬ today—enduring, chaste, inviting and popular priced. sary strain in teaching. f Sw. closed 1 1 1 The one who devoted much of her time ±4* Jr M . to beginners and consequently was seated f near the piano or clavier several hours THE BRAMBACH each day pointed to a very high desk and iJ r w declared enthusiastically, “That is my sal¬ ^Ped. to Gt.otr \j \J—3 ' V \J vation. I do all my bookkeeping and type¬ BABY GRAND writing there. You see it is so high that is only 4 feet, 8 inches long, occupies but my forearms rest naturally on the top. What a relief it is to stand up!” the space of an upright piano and costs but \A r\ tu/ TT ^ - — A f ♦ “I often drop things, just so that I have about the same. Picture the Brambach HP tC~~~ a chance to bend over and pick them up, BabyGrand in your home or studio—let ^ Y—- “I don’t see why I need to degenerate Every Detail Counts > «: physically just because my occupation is tT r ,T^i ; D-, 1-4 .Jr sedentary!” exclaimed the energetic Miss Johnston. “I always sit erect with chest By Frederic W. Burry held high and the small of my back sup¬ ported. I exercise while sitting at work tie shade of detail in a most comprehensive note,' impatiently fold him to “put any by deep breathing and by stiffening the In studying the art of music, there finger on it!” s'imply must be close attention to even the manner. Such editions are rare to-day. muscles of first one limb a few seconds, Putting any finger on it may be a nice, slightest detail. Always checking and im¬ The other day, when I asked one of our then the other. All the muscles of the music dealers for a certain composition easy way out of a problem, and possibly on proving, constantly discovering further occasions quite all right, but surely this body may be exercised in this way. I sit “fingered,” he said he did not have it in a as little as possible. Standing and lying little details which, if attended to, will would never do as a regular practice. In add to the beauty of the interpretation of fingered edition, that it wasn’t necessary, are more healthful and natural positions, since anyone who could play it could finger music every detail counts, and if it takes the work. Twenty-five years ago a fa¬ you into the boundless kingdoms of celes¬ and I lie down or exercise in the open air it. I also heard of a prominent “Profes¬ mous teacher revised and edited a number tial worlds, it also calls for very close, when I have a few minutes between les¬ sor” who, when asked by his ambitions of musical works, with copious suggestions infinitesimal analysis for its expression. sons and am refreshed for the next pupil. pupil what finger to place on a certain Just try it.” of a varied character, going into every lit-

Copyright 4920 by Theo.Presser Co. BriTish CopyrTght"scCure<' DECEMBER 1920 Page THE ETUDE THE ETUDE Page 8U DECEMBER 1920 tng tone in a short time on the notes Eb, E that is worthless, that wonderful work &nd F (first line and first space) and still seems to retain the place awarded to it strong resonant notes for sopranos an oc¬ when it first appeared. It remains to-day Musical Readings what it was a couple of generations ago, tave higher, is a strong temptation to force ___ TV ■ .. IE AOfh up the respective registers. the classical manual for the teacher and By LYTTON COX Price, 35 cents each A steady, gentle, persistent use in the the safe practical guide for the student in t to Special Music for the Professional or Amateur appropriate registers of sustained sounds nearly all that appertains to the beautiful rich in sentiment, each telling a story with a distinct Reader. The poems a delightful harmony with the subject. The titles are. 911 different vowels, “Ee” frequently for art of singing. appeal, while the melody is Department for Voice and Vocal Teach n old brown MORNING GLORIES—A charming little the first medium notes, and “Oo” or “Oh” APPLE BLOSSOMS-There’s for the first head notes, is almost certain CM»“rday'whc all ot life was /jXefias m°r”'"g Edited by Eminent Voice Specialists in Music Centers AU Over the Musical Worid to bring about equality of tone and satis¬ ^ COMPENSATION—Ar^mspii ional reading. THE OLD FAMILY ALBUM—A sentiment Ailment; each of haunting melody bringing back most alluring factory blending. days that were care free and bright. When mischief has been done by mis¬ “oSTsgth?blessing "‘the twifeht i THE OLD LOG SCHOOLrLife holds no ron for Your Most Storrt f.i use of the registers and the poor student .... v adaoted to is suffering from “nodules” on the vocal cords (a frequent result of forcing up the HCOUNTINGheDAISY ^PETALS-Echooldjy THE POPPY ROAD-A reading that strikes a responsive chord in every heart. Let s find this chest register), rest is imperative for a courting and the final winning, wound about tne Some Interesting Facts About Registers old familiar rhyme, “One I Love. wonder road of purple shadows. time; then the medium must be trained ^ream^nmnde THE SANDMAN —A charming fairy tale, down by means of very gentle exercise of please old and young. the voice, beginning above the point of SONGS MY MOTHER SANG-Blending By Mme. Agnes J. Larcum the old hymns that never die and recalling those difficulty and persisted in until control is ever cherished memories of days gone by. regained, and the muscles have returned to SPIRIT OF ’76 Dedicated to all .heroes. but cad by Mme. Larcum before the "Society of Women I DE FIRELIGHT—In the especially to the boys in brown who did not march their normal elasticity. The use of the home—wrapped in Old Glory they sleep beneath me .H, exercises for flexibility found in Garcia’s KEEP A SMILIN’-Smiles and tears toge the flowered fields of Franee. »/ **** «W, « - T” “Art of Singing” cannot be too highly THE SUNSET BRIDGE—While the earth high sopranos the power of singing the will make a rainbow road, then just keep on sir lies still beneath the deepening shadows, unseen recommended. These exercises help to In producing a chest note we have *ere‘ notes from D to A and even Bb in alt, with swift hands let down the sunset bridge. instruments. In a violin there are four blend the registers, to smooth over rough 3 LEGEND OF A TWILIGHT BELL-As THE WEAVING OF THE FLAG—A little There is perhaps more controversy and fore these conditions: the vocal cords made precision and ease. It has seemed to me of hope and happiness, especially adapted for c strings of equal length but different thick¬ places and make transition easy; they also boy’s dream that the fairies were weaving a ag disagreement about the registers of the thick and heavy by the drawing forward that these notes were produced by a kind for his very own. One brought a beara c>f die sun¬ ness. The pitch of each differs according strengthen the throat and assist in obtain¬ set, as deep as the heart of a rose; while another human voice than^about any other part of of the membrane, a contraction of he of damping process. They are, of course, honeysuckle and mocking Diras. i ue sui t ui to its thickness, and individually can be larynx, and considerable resistance to the ing breath control. one brought a band of w hite bom the top o the art of teaching singing. unusual, but when the power exists singing first new snows. One of then, flew nght into the varied by shortening it by finger pressure. pressure of air from the lungs. The re¬ Personally I think a singer ought al¬ THE LITTLE RED ROCKING CHAIR— We have teachers who deny the exist¬ these acute notes involves no effort, and If a stringed instrument is out of tune sult is, or ought to be, a brilliant and ways to know when and where she changes hearth!* Pictured childhood’s delightful imagination. ence of registers, teachers who say they causes no fatigue; in fact, exertion tends we tighten (or stretch the string to her register, but her aim should be to con¬ MAGIC CIRCLES-Little rings of elfin magic should be ignored, teachers who insist on powerful tone. to spoil them. 1 expect many teachers and full of mystery. If you are luckyenough you may sharpen, or loosen it to flatten, but the Gradually the arytenoid cartilages meet ceal it from the listener. five or three, or two; some who train the singers have also observed that sometimes principle is always the same. and close and raise the pitch of each suc¬ There is a great difference in individuals "THE MOON BOAT—Straightiom^th'eoChil- The human larynx seems to possess when there is a slight cold, extremely whether life offers registers up, some who train them down, ceeding note, then they cease, and the work as to the ease or the reverse with which Clara Louise Kellogg some of the characteristics of a stringed high notes can occasionally lx- sung with and again others who never think about is carried on by the stretching of the liga¬ the change is effected. Some throats seem ne place, the g ease and clearness. Manuel Garcia, when Clara Louise Kellogg, born at Sump- them at all. . and some of a wind instrument, but the to do it so easily that even the teacher Others in Preparation ments. It is here that great care must be commenting on this phenomenon, suggested I propose to put before you, in as simple aspect of the case which is of such great has difficulty in detecting it. These cases teiville, S. C„ in 1842; died at New “Fanciful and lovely with a wistful vein of pathos in each one and handled interest and importance to us as teachers taken. that perhaps a little mucus had collected Hartford, Conn., in 1916, was a dramatic ie artists.”—Cleveland Leader a manner as possible, the theory of regis¬ The stretching movement must be con¬ are very “grateful and comforting” to the with rare lightness of touch, known only to tr of singing is the fact that the vocal appa¬ on the vocal cords in such a manner that ters as taught by Manuel Garcia, and ex¬ tinued only as long as it is perfectly easy. teacher, but are not so common as cne soprano, who had a very successful ca¬ These selections are an issuea m —-.. .. . ratus as a whole is provided with muscles they were "damped," and the vibrating A«k vour music dealer to get them for you, or mailed direct plained by him in a paper read before the Directly there is the least sensation of could wish. In many the change is diffi¬ reer as an opera singer. Her vocal edu¬ which can thicken, make thinner, tighten or portion in a way artificially shortened, thus Ask your “8UtS^id^n“ecel5t of price-35 cents each Royal Society of Great Britain in lo5o, tightness or effort the proper limits of the cult and noticeable, and only patient prac¬ cation was acquired in New York City, shorten the cords or vocal ligaments. temporarily making very high sounds pos¬ T. S. Denison & Company, Pubs., Dept. 89,154 W. Randolph St., Chicago after a long period of research accom¬ chest register have been reached or passed, tice can ovefcome the trouble. There is and, without any other training, she made sible and easy. (Perhaps a node is formed panied by experiments on himself and and the modification called changing to the great divergence of opinion .amongst voice her debut in New York in the role of Garcia’s Definition and the resultant notes are harmonics.) others, conducted on absolutely scientific medium or falsetto ought to be brought trainers as to the advisability of talking “Gilda” in Rigoletto in 1861. The fol¬ So we see that if voices are trained care¬ lines. , Manuel Garcia defined a register as “a to students about their registers. Some lowing season she sang at Her Majesty’s about. fully, and if the principles underlying the I was permitted some years ago, by tne series of homogeneous sounds produced This modification consists of relaxing teachers of high repute find they can do Theater in London as “Marguerite,” in different adaptations arc understood and courtesy of the Royal Society, to have a by one mechanism.” He recognized three the membrane so that a thinner surface is their work better and obtain finer results Gounod’s Faust. Her success was so acted on, the best possible use can be made copy of the original address made, as de¬ registers in most female voices and divided presented to the ascending column of air. by not calling the attention of the student marked that she was engaged for the of the vocal mechanism, and its widest livered to them and recorded in their the two lower into two parts. The cords are loosened, the cartilages sepa¬ to the means by which these results are next season. From 1868 to 1872 she compass used without fear of injury or “Proceedings.” The address is in exceed¬ He taught that the mechanism employed rated, and the whole process is repeated, gained. Personally I have always pre¬ toured the United States and sang in ingly technical language, but I hope to in varying the pitch of the voice was of the only difference being that as the vocal ferred to explain my reasons and methods ■Italian opera until 1874. Then she Actual observation of the movements in¬ make its main teaching clear without using two kinds—one a closure of the cartilages, ligaments are thinner, the tension necessary to my pupils. I like them to be aware of made a bold stroke. She organized an many of the somewhat jaw-breaking terms and the other a stretching of the ligaments. to produce a higher note is less than that volved in singing arc so difficult that t their dangers and to be ready to resist English Opera Company, of which she which seem so dear to the medical profes- Both closure and stretching have the effect necessary to form the last of the chest think there will always Ik- some things temptation through knowledge and under¬ held entire control, even to the supervi¬ of raising the pitch. register, and there is no strain or fatigue. which are more or less matters of con¬ standing of the delicate mechanism they sion of the librettos, the training of the S1°rthink we are safe in taking for granted The glottis or vibrating element of the This register can be used by the singer jecture. The theory of adaptation I have are using and developing. Still I have the chorus and of the soloists, as well as the overseeing of the costumes and the that every note produced by the human human voice consists roughly of two parts, with perfect ease up to about CS, when endeavored to explain offers at any ra e greatest respect for the workers who differ stage settings. She is' said to have sung voice is formed in the larynx by the vi¬ one of cartilage (the Arytenoids or Pyra¬ most people begin to experience the need an admirable working hypothesis. It re from me in this, and recognize that the mids) which close, and the other of liga¬ one hundred and twenty-five nights con¬ brations of the vocal cords. for further modification. on known scientific laws which can easily same ends may be attained by different These ligaments in the female larynx are ments which stretch. The two parts into secutively in the winter of 1874-5. At or about this point, if the voice is be tested in stringed instruments, and me somewhat less than half an inch in length. which he divided the chest and medium teacher who bases her work < n these pnn Unlike Ruffo, Mme. Kellogg had a being used with ease, “stop closure” is sup¬ Garcia’s Theories As far as we know the glottis alone has (or falsetto as he called it) registers, in¬ large repertoire, mounting to forty posed to begin. That is, the cords are ciples and uses care and judgment in e In bringing forward this simple state¬ the power of varying the pitch of the voice, clude the notes produced first by closure, separate roles. The venture was an closed, sometimes at each end, sometimes application is not likely t- do much mis¬ ment of Manuel Garcia’s observations on variations which have been known to ex¬ then followed by those produced by stretch¬ amazing one for a woman to attempt and halfway, so that only a very short portion chief, and will probably obtain good the registers of the human voice, 1 ee tend in some exceptional voices to three or ing. The singer is not aware when the to carry through with such success. can vibrate and high notes are produced am offering something which may be usetu action changes from closure to stretching, After the project was on its feet she more octaves. The rather fashionable method very in helping to solve the difficulties which How can such a tiny instrument as the and it is rarely noticed by the listener. without difficulty at a quite moderate ten¬ divided her time, between the United sion. If the medium is persisted in, the mu-h to the fore to-day ot making arc met with by young teacherswhen 'they larynx produce such a great variety of Behnke used to call these divisions the States and England, singer is using what Sir Morell Mackenzie medium register do the work of > first begin to practice the delightful but pitch without in some way, at some point, “Lower Thick and Upper Thick” and the She married, in 1887, Karl Strakosch, used to call the “long reed,” This method though avoiding the di, acuity o difficult art of teaching singing modifying its action? “Lower Thin and Upper Thin.” The the impressario, and retired from the is tiring, but the notes are very strong. It change, sometimes miscalled the r Manuel Garcia was a very old man'dim definition is not elegant, but it expresses (it only becomes a break through m.su e stage. Later, she wrote a very interest¬ is, however, dangerous to the majority of I had the privilege of studying with him, ing book of memoirs, and, after hav¬ Vibrating Strings the physical condition very well. or abuse), tends in my opinion to > In the lowest register (that which is voices. but up to the time of his peaceful and ing been an invalid for some years, she I expect we are all more or less familiar the voice both as to compass an beautiful death in 1907, at the-patriarchal usually called the “chest” register), the My experience as a teacher has shown with the theory of vibrating strings as Contraltos do not avail themselves 0 - age of 101 years, he never ost his in¬ died. whole glottis is thrown into loose, full me that in the majority of voices the head explained so beautifully by Professor brilliantly resonant chest notes which to™ terest in science, or relaxed in his unselfish vibrations. As the pitch rises the carti¬ notes are the last to be developed. We all Tyndall in his treatise on “Sound. By the most useful and attractive part of tn Referring to Concentration, the emi¬ lages can be seen to close gradually; then know that they are generally the first to devotion to the highest ideals of vocal’ referring to that we shall see that in all special endowment, and sopranos o His intellect was keen, his taste severe nent psychologist, Sir William Hamilton, when their work is done, the ligaments go. It would almost appear as if the pro¬ vibrating strings the pitch of the sound develop the fluty pure head notes \ . The length of his experience as a teacher begin to stretch, and that goes on as long duction of true head tones depended on a says: ' c . produced is determined by these conditions are so beautiful and characteristic, gave him unique opportunities for testing “The greater the number of objects as it can be done without any feeling what¬ certain power of “accommodation” in the —namely, the length,, tension, thickness vocal ligaments which belongs to the prime mezzo alone is fairly happy. his theories and watching the results of among which the attention of the mind is and density of the vibrating element. ever of effort or fatigue. distributed, the feebler and less distinct Signor Garcia showed that the ligaments of life only. Certainly the head notes of their practical application. In passing I may as well remark that I A Great Principle The methods of a master of such noble will be its cognizance of each. Conscious¬ are connected with the outside of the the most gifted singers tend to deteriorate am now dealing entirely with the pitch of ness will thus be at its maximum of in¬ trachea or windpipe by means of a fleshy at about the same epoch that the eye begins The great principle which character rare gifts, penetrating insight sounds, not at all with quality. It is, in to lose its power of accommodation, and and widespread and remarkable success tensity when attention is concentrated on my opinion, the aspect of the subject with membrane. everything is no doubt ease ^ tfi- All through this membrane are tiny it is foolish to try to arrest their decay. based on deep and well-controlled ^ must always be of interest to every serious a single object.” which the registers are most concerned. The medium or chest notes are available Can there be, for the singer, any We find then that in all vibrating strings, muscular fibers of different lengths which ing. If this is ensured, given teacher of singing. , for many more years, and sometimes re¬ j Many theories have been advanced and Stronger argument than this for keeping a long, thick, or heavy cord vibrates more seem to have the power of drawing the teacher is dealing with a young «n the attention exclusively fixed on the main beautiful even in advanced age. advocated, and considerable matter has slowly at a given tension than a short, thin, membrane towards the middle of the voice, there is not likely to be much d> musical sounds to be produced, and for I have in several instances (I can recall or light one. We have only to look at the larynx, thus by contraction thickening the culty. . 5o been written on the subject since - not permitting it to stray to any one part at least six) noticed what appeared to me inside of a pianoforte or at a violin to resisting element, and having the effect of Unfortunately the desire whic When Garcia’s “Treatise on the Art of of the vocal organ which produces it?— making the cords vibrate slowly at a given to be a fourth register in the female voice: frequently present in the minds r {ej|. Singing” first saw the light. But am.ds recognize that this principle underlies the Clara K. Rogers. Please mention THE ETUDE when addressing our advertisers. mechanism of all manufactured stringed tension. that is, a certain adaptation which gave to teacher and pupil to produce brillia much that is valuable and a good deal DECEMBER 1920 Page B47 THE ETUDE the etude Page 81,6 DECEMBER 1920 The Revolutionary Etude Do You Sing True to the Key ? Special Christmas Offer (Continued, from page 804) force! Ah! I shall love to play for the the piano, much to the delight of the By R. S. Gilbert —^$5.00^— Americans, but first I must see the musicians themselves. One of the “Hun¬ hearing them. She is now singing in a For a complete exercise book for self country. All this spring I shall play In garians” in the orchestra was a little This fall a woman who has been sing¬ the West and even in Mexico; fancy that fine quartette in a large church, and they instruction in singing. Saxon who had been brought to America ing for years came to me and asked me if El Dorado—Mexico!—then, next winter no longer complain that she sings off key. Regular Price - - $10.00 in his childhood. In him Thaleon found she could ever learn to sing true to the I shall play in New York.” Streponski She has learned to listen to the t>ass-®m|’!:r speaks English remarkably well. He is a man who had imbibed the spirit of the key. She had .gone from one singing and make her chord note blend with his. said to be a master of eight different new world in a way that would put to teacher to another, and each had told her As she sings alto, the slightest deviation Practical languages, or, as he says, “I speak nine shame many descendants from the early to produce her tone in a different manner. from the pitch is always noticeable. Common Sense languages, including the language of emigrants we now call our “forefathers.” Her tone may have been improved, but she Along with this hearing work we took a music.” Little Hans Tobleman, who nightly sawed still sang off key. Then she studied sight¬ Voice Technique Thaleon threw down the paper with dis¬ away at a big bass viol, saw much and set of coloratura arias of the old school. gust when he realized that such an utterly singing and learned to read almost any in¬ They are built entirely on chords and By GUIDO FERRARI said little. When he felt sure of his false and misleading statement would ap¬ ground, Thaleon let the quiet, mild-man¬ terval at sight. Still she sang off the key. scales. She learned to read them m chord Teacher of Singing peal to some sensation-loving Americans nered musician tell his story. He realized She studied harmony for a year, and could form or as a scale. She learned to know A GUIDE FOR STUDENT AND TEACHER far more than anything he would be will¬ the nature of his surroundings and was write out on paper chords and modulations whether an accidental was an accidental OF SINGING ing to put into print about himself. For¬ badly frightened at times when he heard or whether it meant a change of key. It fluently. Yet she still sang off the key. tunately, he remembered that Hofmann, the threats of the radicals, but the pay was it meant that she was in another key, of stoocfby any one. the development of a nood. clear It seemed rather strange for her to come and resonant voice. A complete study of tone Bauer, MacDowell and others, had built big and he needed the money badly. It course she paid no attention to the acci- production. Illustrations and explanations show to a piano teacher for help, but I offered to substantial reputations without the gave him immense relief to reveal to fully handdaccUratclyFJ11,'1' “rr£j' Pb°reaTcomroT see what I could do for her. While I “reclam” of the circus caliope. Thaleon some of his suspicions. These old arias are full of stunts when The onfy broT^rittenVr seff-instruclion ol tone knew very little about tone production, I placement It^ teaches how to ting every After he had given several lessons, One night they stayed until all had gone sung unaccompanied. At first she always knew that her method was correct because Thaleon had a bite of luncheon, and then but the sleepy old watchman. Little To¬ went off key, as some noted opera stars She could sing any single tone in perfect GUIDO FERRARI sat down for his three hours of daily bleman cautiously took down the board pitch. As I have said, she could read in¬ do! After she learned to hear the root practice. The overture was Mason’s 1714 Chestnut St. Phila., Pa. covering the under part of the piano and tervals easily and sing them true. Her of the chord upon which they were based, Two-Finger Exercises. These were fol¬ pointed to a bundle of papers in. Russian harmony work was correct. and to hold this firmly in her mind while lowed by scales and a copious dose of and German, covering the works of an Theh the thought came to me that she she was doing the stunt, she ceased to go Tausig, Joseffy, Philipp and the Chopin old clock. Among the papers was a copy You Can’t Escape off key. Why don’t other singers try this Wonderful New Method had trained herself to hear along melodic J| SING ITALIAN Etudes. Then came the fourteen num¬ of the Chopin Revolutionary Etude show¬ lines only and was deaf to the chord re¬ out? I listened, the other night, to a great with bers selected for his recital, part of which ing the signs of much wear. Thaleon re¬ ^ Your V ok lationships. This proved to be the cause soprano. She was wonderful until, she did Correct {Pronunciation he played every day; then part of a con¬ moved the bundle, and for weeks thereafter Tooth troubles if you leave a film an unaccompanied cadenza. Then she lost of all her trouble. She heard only her own In less than thirty days with certo, “just to keep them up;” finally, he Streponski and his group did not appear part, and never listened to the other voices the bass that had been supporting her and my method you can sing in the came to some works of his own which the at the restaurant. There was nothing in ferments and forms acid. It holds that formed the chords with her. went far off the key. native tongue, any and all Ital¬ master in Vienna had encouraged him to the papers that was incriminating, but You should try this new method of the acid in contact with the teeth to We took some old classical opera airs Singing teachers are necessary to show ian Songs. Three simple lessons develop. Every day he saw some advance, when Elliott Pyle saw the clock-works he teeth cleaning. Try it ten days with¬ built upon the fundamental harmonies. I you how to produce your tones. Sight¬ —not a language course^—no and every time he called at the home of smiled and murmured, “Funny, it’s a long out cost. It combats the film which cause decay. knowledge of Italian required. would play a chord and she would sing the singing coaches will make you quick read¬ Mary, both she and her father noted some way from Petrograd, but there is only one dims the teeth and causes most tooth Millions of germs breed in it. They, root or fundamental note upon which the ers of hard intervals. Harmony teachers Write for special offer. St. with tartar, are the chief cause of Do You Stammer? whether teacher or pupil. new improvement. man who operates in this way. If he is troubles. See and feel the results. To chord was built. It was a very slow and will explain to you the mysteries of your It was not long before Streponski found in America we shall have something to millions they are bringing cleaner, pyorrhea—a disease now alarmingly concentrated method, but in a few weeks music. But it is up to the singer to realize his way to the Stapleton home, very pro¬ safer, whiter teeth. common. Bu°iS™°"ehar.' think about.” she so trained her ear that she could sing that she cannot sing alone any more than CIO II fuse in apologies for the “little misunder- Shortly thereafter, late in November, the root as I played along at a slow tempo. she can start a song without some kind of ing” in Paris. Thaleon and Hans were walking in the A new dental era At first I always played the root of the an introduction to give her the key. A "European customs are so different, you northern part of the park, when the for¬ The tooth wrecker ■ chord as the bass note, but later I used ■ singer who can hear and feel the funda¬ know,” he explained to her father. But he mer picked up a newspaper from the Dental science has now found ways Film is the great tooth wrecker. A mental bass under her as she sings will did not succeed in removing from Mary’s bench. The three-inch headlines fairly to combat that film. The methods D. A. Clippinger viscous film clings to the teeth, enters This spring we have reached the point always be on key. Many of the opera face that look of supreme disgust, which the have been amply proved by years of shouted at them: crevices and stays. The ordinary tooth where I can play a modern composition stars learn not only their own parts, but American woman has used so frequently careful tests. Now millions employ The Head Voice and Other Problems. Price $1.25 paste does not end it. Old ways of and she can sing the root of chords so the parts of those who are singing with Systematic Voice Training. Price $1.25 as a weapon against insolence. Streponski them. Leading dentists everywhere brushing leave much of it intact. And strange that we can only figure them out them. Thus they learn to hear and feel all Prepares Singers for all Branches ol Professional Work never called again, nor did he learn for TERRIFIC EXPLOSION very few people have escaped the advise them. with the greatest study. She sings the the harmonies, and so can blend in their Address 617-18 Kimball Hall, Chicago, 111. many months of Mary’s engagement to The methods are combined in a den- ROCKS CITY troubles which it causes. roots not by thinking them out but by own voices to make the whole perfect. Thaleon. tifrice called Pepsodent. And, to let It is the film-coat that discolors, PARKER’S Notwithstanding Pyle’s warning, Tha¬ Court House in Danger of Immediate all know how much it means, a ten-day not the teeth. Film is the basis of HAIR BALSAM^ ^ leon found a strange satisfaction, and tube is being sent to all who ask. Collapse tartar. It holds food substance which Two Questions Answered Restores Color and a keen delight in tracing some of Strepon- Beauty to Gray and Faded Hair ski’s activities. Many times he followed SCORES KILLED AND INJURED By Karleton Hackett 10 him, at a discreet distance, as he walked down town late at night. Down to the This raises a question which has been Five desired effects “What is the physiological difference little room in which a group of fanatical Evidence Points to Nihilist Plot. Innocent between a bass and a tenor ? Between much discussed and to which it might Every application repeats these radicals held their regular meetings. It Bystanders Blown to Atoms Pepsodent brings five desired effects. a contralto and a soprano?” seem ungracious for a man to attempt an was at the back of a restaurant, once It combats the teeth’s great enemies results. The most modern scientific opinion is answer. It might be better to leave it to Fifteen minutes later, Thaleon and Hans noted for its Hungarian orchestra. as nothing has done before. Send the coupon for the 10-Day that the difference between the voices of the ladies themselves. The late Mme. New Time Saving Tobleman were in Elliott Pyle’s office Tube. Note how clean the teeth feel Speaking German like a native, and One ingredient is pepsin. Another Marchesi, the famous singing teacher of breathlessly engaged in examining a series after using. Mark the absence of the lower normal range, such as the bass and knowing a few words of Hungarian, multiplies the starch digestant in the contralto, and the voices of higher range, Paris, refused all her life long to take of significant letters. viscous film. See how teeth whiten as Methods in Business Thaleon found himself a welcome guest at saliva, to digest starch deposits that such as the tenor and soprano, is due to men for pupils, though most earnestly (To be concluded in the January issue) the film-coats disappear. Quality First the restaurant. Once he had even played cling. The saliva’s alkalinity is multi¬ the heavier texture of the vocal cords. urged to do so. She maintained that plied also. That to neutralize the What you see and feel will be a Notwithstanding that there The heavier the texture of the vocal there were peculiarities about the male acids which cause tooth decay. revelation, and the book we send will are many different kinds of They result from explain how each effect is natural and cords the slower the rate of vibration voice which a woman could not under¬ Letters from Etude Readers Two factors directly attack the film. necessary. It is important that you hose supporters we belie One of them keeps teeth so highly none has won such an e__ and consequently, according to the law of stand. Many distinguished ladies who the purchase of an know this. Cut out the coupon now. vibrating bodies, the lower the pitch of are teaching to-day have followed the polished that film cannot easily adhere. viable reputation for quality of someone who has had a fight for it. the tone. same plan. It must be said that there Likes the Indian Number and service or given so much j That Mrs. Bond could succeed in writing satisfaction to mothers and “Do you think a lady teacher can de¬ are other lady teachers who have pro¬ To The Etude: ., a song that would sell four million copies, PAT OFF. J children as the velop a good voice in a man who has duced excellent results in teaching the 10-Day Tube Free 1 Your Indian issue was admirable. Many when she had been brought to the verge never had lessons, but who has naturally male voice. The general opinion is that UNDERWOOD people seem to think that all Indians are of failure and real hunger, meant a lot to a strong, good voice and who can sing where a good man is available he is a REG. U. S. THE PEPSODENT COMPANY, bad Indians. Someone has said,

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DECEMBER 1920 Page 858 THE ETUDE the etude Page 852 DECEMBER 1920 deed, the big show pieces which introduced ists, which has lasted to the present day these effects he was obliged to compose. Writers of violin studies and technical There are probably hundreds of violin¬ exercises have carefully analyzed and lira Department for Violinists ists now living who, if they had lived in ticketed all the technical feats which he the days of Paganini, would have become invented, and have written exercises so that they can be practiced and mastered by Edited by ROBERT BRAINE famous all over Europe, for they are able to play the compositions of Paganini, with every serious violin student. Violin stu¬ Hi # all their novel difficulties, as well as ad¬ dents studying for the profession of solo “If All Would Play First Violin We Could Get No Orchestra vanced modern works. violinists master, as a matter of course, the Paganini’s fame and wonderful feats in Paganini and other compositions of great Together”—R. SCHUMANN — violin playing gave an immense impetus technical difficulty, the playing of which to the art, resulting in a gradual increase would have given them world-wide fame in the average technical skill of all violin¬ had they lived in the day of Paganini. “ Mussy ” Violin Playing and How To Cure It

By Edwin H. Pierce Tuning the Violin unfortunately it is not, in some cases. help, but unfortunately is limited to a It is not always the young pupil nor The third fault consists in a nervous dashing style of playing. A pupil may vose Remember that there are only seven pos¬ By George Brayley the untalented bungler who is guilty of and meaningless jerk at the end of a have overcome the fault as regards grand stroke, thereby giving the end of a note sible planes of movement for the bow. I The Piano Magnificent I mussy playing—the occasional hitting of E string, A string, D string, G string, E detached strokes and still exhibit it most a false accent. I Superb in construction, perfect in I There has been much written about “Do they do it?” I asked. ' two strings for one* the insertion of un¬ and A together, A and D together, D and abominably in a quiet legato. Often it 9 tone qualities, magnificent in its 1 That is about all. When we started to fingering and bowing the violin, but noth¬ “Oh, some do and some don’t; but you intentional and quite undesired acciaca- G together. Anything between or beyond arises in this way—in a slow tempo a I beauty, the Vose Grand Piano at its 1 turas, the impure buzz on a tone that write, we had a much longer list, but whole bow may have been used for a cer¬ I moderate price will appeal strongly 1 ing very clear regarding the tuning. It know we have to get our bread and but¬ further reflection convinced us that prac¬ these is dangerous and faulty. I to those who will investigate care- 1 is rather a perplexing subject ahd one ter out of it.” should be clear as crystal—and the more In slurred passages the sounding of a tain bowing, but as the pupil gains in I fully before buying a piano. 1 tically all “mussy” playing consists in a that seems to be dwelt upon in a vague A violin teacher and maker came in one advanced the player is as a musician, the new note occurs of course directly at the familiarity with the passage, he finds I WE CHALLENGE COMPARISONS I combination of these defects. We do not manner. day to give me his work on class teaching. more difficult is the matter to cure. Of placing of a new finger, while on the less bow is needed. Instead of using only I Write for our beautifully illustrated 9 SEND NO MONEY ? course such a state of affairs points to think it necessary to treat here of playing placing of the required amount of bow then, he I catalogue and easy payment plan. I The following are some of the experi¬ I asked him “how many pupils he had?” out of tune, for that is a fault so gross same string, but if about to pass to a new some defect in the early teaching, or to seems impelled by habit to expend what¬ I Vose & Sons Piano Company J ences I have met regarding the matter. “About fifty,” he said. as to be self-evident, nor of an incorrect string it is well to get the proper i g a carelessness in obeying the teacher’s ever bow may be left, at the last end of I 195 Boylston Street, Boston, Mass. I I saw an advertisement for a violin “How long do you give them?” directions at an earlier stage of progress, teacher, and thought I would inquire about “About twenty minutes or half an hour.” but as it is of no use to “cry over spilt jM.ra.W2AES ar** - it. I asked the man, “how many would be “Who tunes the violins?” competent teacher knows how to deal determine the exact time of sounding ot in the class?” “Oh, I put steel strings on and fix them milk,” it will be more to the point to see wit}l the note. Wherever possible, a passage learning” in the correction of this fault; “About twelve,” he said. what can be done to remedy it. which goes over several strings should be the best the teacher can do is to incul¬ Notice, to All Kindis of Violinists up so they pass.” We can supply you with everything you may desire “How long a time is to be given?” “Do you mean to say that you, having Warewell Company, PHILADELPHIA. PA. When the writer was a conservatory How to Acquire Good Synchronism fingered in advance of the bow, as if cate a proper economy of the bow, by if you will but write fully what you are looking for. “About twenty minutes.” twelve pupils in a class, tune every one of student, some twenty-five years ago, there First of all, be prepared to exercise in- one were intending to play a__ solid, chord, both precept and example, and above all “Who tunes the violins?” their violins, with a music lesson, and do was a certain fellow-student whose im¬ finite patience: the method is tedious, of then all one has to do to rock the bow things train the pupil to listen to himself i&l Old Violins by real makers, from $75.00 to $3,000.1 “Oh, we put on steel strings and fix mense talent (as shown in the quick necessity, but the results excellent enough properly. and not to rest satisfied with any all that in twenty minutes?” ed Violins, from $25.00 to $100.00. ’em up so they can go along with it.” mastery of difficult concertos, which he to repay all your trouble. A few meas- We select for illustration a passage mechanism which does not produce the ie World Famous “GEMTTNDER ART" Violins, ft “Well,” he said, “I do the best I can. cor,n aa *nnn no. Bows at $20. $30 and $40 ea< “Who tunes the violins?” I asked again. executed with grand expression) delighted >f Paganini’s Moto Perpetuo~ will from the last movement of Beethoven’s best possible tone. It is fortunately the You can get more out of a number than his professors, but whose technical faults serve as good material. In actual per¬ Quartet Op. 18 No. i, which is much case, however, that when the first two “Why, I have just told you,” he said you can singly.” drove them to their wits’ end. All the formance it is usually played with spring¬ more difficult than it looks. faults mentioned in this article are per¬ impatiently. There was a young man came to me, “I know the steel strings,” he went on, regular course of studies, scales, finger ing bow, but it is one axiom of violin fectly corrected, this last one will have and looking at his violin I saw he had “cut the bridge, but we put a new one exercises, bowing exercises, this student practice that a passage ultimately to be largely disappeared, though it is hard to some kind of patent pegs, so they wouldn’t on for ten cents. It takes the hair out practiced faithfully; he even was allowed played with a rapid springing bow should slip, and a contrivance on the tail-piece to tell why. ___ HUBU5T GEMONDER tf SONS of the bow, but we rehair it (or fifty at his own request to review some of the be practiced slowly with lying bozo, be¬ Estab. 1846 141 West 42nd St., N. Y. tune the steel E string. cents. If the strings do cut in the nut more elementary works which he felt he cause the mechanism of a slow springing Subscribe to THE VIOLIN WORLD^ I asked him to tune his violin. He said 'a year/The Instructs ^MagS and tail-piece, why we put these on for might not have mastered as perfectly as bow is entirely different from that of a Paganini’s Influence he “couldn’t do that—very well.” He said fifteen or twenty cents; and we sell a leaf he should, yet when all was said and fast springing bow. Nevertheless, there Since the days when Paganini flashed he had “taken lessons in the public school done, he was a distressingly mussy player should be a distinct pause between each like a meteor over the musical heavens, AKADEMIE & ETERNELLE of music for five cents. “Yes,” I said, “but who tunes the vio- classes.” still, and never quite arrived at the goal of little stroke and the next, and during this with his bewildering technical feats of arti¬ Silk Strings “Who tunes the violins for you? I a finished artist.. Looking back at the case pause is the time to place the next finger, ficial harmonics, scales for left hand lins?” LA FAVORITA & ELITE “D-it,” he said, “I have been tell¬ asked. of this fellow-student in the light of over and also (in case of a change of strings) pizzicato, saltato bowing effects, double Gut Strings “We marched in line to a piano, and twenty years’ experience, the writer feels to turn the bow into its new plane of harmonics, etc., the world has found little For Sale by Leading Importers and Jobbers ing ,you all about it.” “No,” I replied, “you haven’t told me we struck the notes on that, but didn’t Be the Best Paid Teacher that the Leipzig teachers erred in trust¬ movement. If one attempts to make the that is really new in the way of pure Sols Distributor. M. E. SCHOENING CO, Inc. anything I asked you. Do you mean to have much time, for there were others ing too much to the excellence of their stroke at exactly the instant that the violin technic. The Italian wizard seems In Your Town say the teacher has to tune all those vio¬ waiting, and we couldn’t listen much. “course” and to the efficacy of diligent finger is being placed on the string, the to have exhausted the technical resources lins and give a lesson of twenty minutes? All this brings me back to the first idea: practice whether right or wrong, and finger will not be stopping the string per¬ of the violin at one bound. The great ad¬ CARL ALBERT—Violin Instructor How long do the parents stand this sort Of what use is it to talk about the fingers never really got to the root of the matter. fectly when the attack of the bow oc¬ vancement which the world has made in and bow when the student does not know !y Mail- -EasyP ayment s curs and a mussy tone will result; the violin playing since his days, has resulted of thing?” „ “Didn’t care nothing about the parents. how to tune his instrument? The Causes Analyzed same is true with regard to the change of from the fact that he has shown future He was “in it for what he could get out Perhaps some exist among boys and In this present article we are taking the bow from one string to the other. composers how to make use of novel violin girls who are able to tell perfect fifths of for granted that the pupil has a correct The example below will indicate the cor¬ of it.” Mi effects and a greatly enlarged technic, the the strings of a violin without any train¬ position of holding the violin and bow, rect method of practice. Keep up this result being that many compositions of the “Good day.” I asked a teacher at the conservatory ing or previous knowledge, but I think they a good bow-arm and a properly flexible slow patient practice until the correct J. Dont, in his 24 Exercises Op. 37, first rank have been produced since his day. mechanism becomes a settled habit and “how many he had in a class?” are very rare. wrist. If not, these are of course the gives some excellent preparatory studies At first, violinists of the strictly classica Anyone can turn the pegs, but do they A DELE HOSTETTER, Director you will be delighted to observe the im¬ He said, “about 20.” School of Artistic Piano Playing first thing requiring attention, but it is in this line. (See Ex. III). The trouble school, like Spohr, fought strenuously know when to stop? Do they know what provement. Having once thoroughly ac¬ “Who tunes the violins?” quite possible for these to be all right is that many pupils, and teachers too, against his technical fireworks, his nove the teacher is listening for? quired a proper habit, you need not pass “Oh, well,” he said, “that is a hard and still for serious technical faults to think only of going through a large bowings, his. artificial and double ar- This requires daily individual patience, question.” exist. through all the intermediate grades of number of etudes in a perfunctory way, monies, and his numerous sensational tea- “How long do you give them?” for they must do it themselves. If the The first fault to be dealt with is want speed, but may attempt a reasonably rapid so many at each lesson, without acquiring ures. These they denounced as trie , “About twenty minutes or half-hour.” violin is in tune, the fingers can be guided, NO TEACHER of synchronism between the bow and the tempo forthwith. the particular points which they are in- and of being unworthy of a serious artis . but it is useless to guide the fingers unless desired without first writing our Service Department. “Who tunes the violins?” THEO. PRESSER CO., Philadelphia, Pa. fingers of the left hand, in detached tended to teach. Succeeding musical history has proved the ear hears the right sounds. De Beriot “Well,” he replied, “I stand on the plat¬ that they were wrong, however, as the said “the hardest thing he had to do was to strokes or in springing bow. “Synchron¬ form and put a big A on the blackboard musical world has gradually accepted all JII^PlNHfGS tune his violin.”—From the Musical Enter¬ ism” means literally the concurrence of and saw away on my violin and tell them events in time, whereas the fact is that these so-called “tricks,” and good com¬ prise. New! A “^.Tgrouse CO. to make it sound like that.’ the fingers of the left hand should act posers use them. Edward MacDowell and get in place not with but just before Just how the playing of Paganini would REMINISCENCES and ROMANCE rank in comparison with the great violin¬ By NATALIE ALDEN PUTNAM each stroke of the bow. However, we (Pupil of MacDowell) use it in want of any better word. Pres¬ ists of our present day is a matter of con¬ Violins Built in Our Own Workrooms 1528 W. Adams, Los Angeles, California ently we shall attempt to teach how this jecture. In his day his playing was char¬ Your Music Is Torn! art may be most readily and correctly acterized as supernatural; and one mu¬ It will Take One Minute to r all the oolnts in tone quality and workmanship to satisfy the most sician, who attended one of his concerts, acquired. Repair it by Using There remains now only the jerking at boldly claimed that Paganini’s success The second fault consists of a haziness the end of a stroke, to deal with. This came from the fact that he was in league Multum-in-Parvo Binding Tape VIOLIN STRINGS of mind in regard to the exact moment is a most serious and difficult fault to with the devil, for he had seen the shadowy 6-yard roll of whiteItae” or texture; as handsome in appearance as the best of the Cremonas. Used by the leading artists of the Philadelphia Orchestra for changing the plane of motion of the roll of paper, 25 eeot.eaeh, pootpald. deal with—some pupils seem to have it form of the evil one at the elbow of the Finest Italian Strings for Violin, Viola, ’Cello and Bass (also Harp.) bow, in going from one string to an¬ To correct the second fault, accustom from the very beginning, and it takes great violinist, guiding the motions of his Transparent Adhesive Mending Tissue Write for catalog, prices and terms to other; the player is apt, in an upward yourself to notice exactly where a change great firmness and patience on the part bow during the entire concert. The probabil- the bow gradually If your music dealer does not carry it, sen to passage, of string occurs, and make it at that of the teacher to overcome. De Beriot ities are that Paganini would not be rated MUSICIANS SUPPLY COMPANY toward the E string and in a downward point by a graceful turn of the wrist, recommends the practice of darting bows, so highly at present as he was during his Theo. Preaaer Co., Philadelphia, Pa. passage gradually toward the G string, 60 Lagrange Street BOSTON, MASS., U. S. A. Do not change the plane of the bow while making the beginning of each stroke a lifetime, since at that time he was the only THEO. PRESSER CO.Philadelphia, Pa. without observing that the motion should playing on one string. It would seem quick jerk, thus neutralizing the tendency living violinist who could execute the novel occur solely at the point where the change as if this advice were superfluous, but to jerk at the wrong end. This is a great technical effects which he invented. In- Please mention THE ETUDE addressing our advertisers. of string actually happens. DECEMBER 1920 Page 855 THE etude The World of Music (Continued, from page 795)

nr„l into grand opera. L’Avlatorc l)ro, an nounees that It 1 SOtrn til three acts, by F. Balilla Pratella wage scale of__ the___ orchestral musicians. Th /Wording to the Musica, of Roma), was average .’’leekly wage for members of the 01 (”ven with pronounced success at the Teatro chestra ill be about *100. Rossini di Lugo. Th

organisations making one-night si Coast VMusicaUoazeite) played to a business Sweeping raises of this kind almost ii tfl0 nno in San Francisco. Money is a fair aoiynhit, come .....out „for theme publicpuon pocket. aerometer for indicating the popularity of public accordingly raises its music in the city of the Golden Gate. -- * ployees benefited will not I). H. Holbrook Curtis, for many oft as one might imagine. venrs an eminent throat specialist, lied at his home in New York City on the 14th of May. Dr. Curtis had as patients and friends, such___ celebrities as_ Caruso,^_.v,, „—*Jean_ u«de a.. .JUiy;July; nyailya ojof muron,Muron, oyby L.nCharles Caldwell Reszke’ Campanini, Luca Botta, Scotti, Calvd, Dobiehip andnnrl UldericoTTlt1pr5f»n Marcelli.Mnrcplli ThP nrodllO- Tetrazzini, Paderewski, Ellen Terry, and Wil- tion, given on a very elabort many important primeval forest, with h vas a member of chestra has become an a: v°drstinguished surgical ljodies. He was than local importance. inly interested in musical The Kdi ..borough Musical Festival, May 20th, 21sL 22d, was, ^n «• coni- ^e Berkshire Musfc Colony Prize founded petitive^ furict“i:^„inCli;il1.r,§ -•--4 meu’f and supported by Mrs. F. S. Coolidge must ;ch choirs be submlttor^or^^or^ betore^Augurt^, 1921,

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ing Machines in American _ there are growing children, i have courses in'1 Piano (one for students and one for teachers). Har¬ pared with highly specializec mony, Voice, Choral Conducting, Public School Music Violin, 9or“®^’ «■» child mind, is of very Guitar and Mandolin. Select the course you are interested m and > written that any_ i write now for 6 lessons and catalog. You will receive full details of the course and be under no obligation to us. The cost is nothing mentors with lnrorimuum " ( /.i.idrai which they can pass back to the children and you will benefit much. with delight. Practical teachers are using “all the the talking if^is'^booronVyafford^then- teacher a means of suggesting t" patrons desirable records to buy and seep University Extension Conservatory the home for the child’s musical betterment, it would be well worth while to nav valuable reference work . The "S'SAMiWV-spreviously published articles, all shoiving the Chicago, Ill. Sfprk of the practical and experienced teacher. A45 Siegel-Myers Bldg. The work covers mnnv phases of the stu¬ dent’s activities and is an excellent chart for the active and ambitious self-help student. Please mention THE ETUDE when addressing oi DECEMBER 1920 Page 857 THE etude Page 856 DECEMBER 1920 TEE ETUDE Junior Etude Competition Do Your Parents Have to Tell VOLUMES OF The Junior Etude will award three pretty You to Practice prizes each month for the neatest and best PROFESSIONAL original stories or essays and answers to Now, do they, or do you always remem¬ Standard Piano Music musical puzzles. SPECIALLY SELECTED FROM THE directory Subject for story or essay this month, “A ber it without being told? Of course, you PRESSER COLLECTION Srtsas As Suitable for Gift Purposes BEEGHWOOD ggSsg —Til ♦JUNIOR* nOMBS ETUDE dunning ss-sri®.?

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OAKLAND, CAL, gggl TOMLINSON i WESTERN EBSSSk sJ»: THE ETuuE Page 859 Page 858 DECEMBER 1920 the etude DECEMBER 1920 Talking Machines Engravings of the Great Masters Heart Songs Virginian Romance Wedding and Funeral Music The Earlier Duets and Records By John Kincross We have for sale handsome lithographs of the Nation Operetta for the Organ As the holiday season approaches, the There is something about a duet at the of the Great Composers at 30 cents each, This is not one of our usual introduc¬ By H. Loren Clements By Kraft demand for phonographs and records is very first stages of pianoforte study that assuming proportions hitherto unknown postpaid, sizes 22 inches by 28 inches. We tory offers of our own publications—it is a Interest in the production of operas by This volume will be the only one of its have Sepia Art Engravings, 9% inches by seems to put the pupil ahead quicker than even under the most normal business con¬ bargain which we thought would be of amateurs is on the increase. This is one of kind, as the idea of having a volume con¬ anything else. This work, by a well-known ditions. And, of course, the visual short¬ 12% inches, with, however, only a few such value to our patrons that we have taining only wedding and funeral music subjects: the most pleasant forms of indoor enter¬ English writer, may be used by itself with age will occur—probably earlier this sea¬ purchased a very large edition from the tainments for young people. Mr. Clem¬ is entirely new, and we believe timely, and perfect independence, or it may be used in son than in 1919. At present we have in Gounod Schumann original publishers. A book that has been ents’ operetta, Virginian Romance, has will be welcome. This volume will con¬ conjunction with such a book as the Ber stock every style of Victrola, Brunswick Moszkowski Greig selling over our counters for $3.50, by this been written especially for this purpose tain the best music for these purposes, ginner’s Book as collateral work. The and Cheney—the three acknowledged lead¬ Tschaikowsky special arrangement until the first of the and has been used a number of times with both original and selected, but mostly se¬ trouble with most beginners is that they ers in tV realm of talking machines. year, we can deliver copies, postpaid, if great success. It has an entertaining lected. The volume will be useful for gen¬ do not begin to get enough drill in read¬ There is nothing that can compare with The whole set sells for 25 cents. cash*accompanies the order for $1.25 each. story, bright and sparkling dialogue and eral Sunday services. We believe that ing the notes. It pays to put in a little the real enjoyment that music brings into Our subscribers may remember the very tuneful music. It is comparatively every organist would be glad indeed to extra time in the first stages in doing this, the home. When you come to own a Do not overlook this as a gift for any Sepia Engravings which were given a few musical family, any music lover; any home easy of rehearsal and production. The possess just such a volume. and we know of no better duet book for the phonograph and a repertoire of good Rec¬ years ago with The Etude—a set of performance lasts about two hours, just purpose than this one. The advance of ords you will realize the truth of this where there is a piano will be delighted Our special advance price is but 60 twelve portraits of the Great Composers, enough for an evening’s entertainment. cents, postpaid. publication price is 30 cents, postpaid. statement. made especially for passepartouting. We The work will be ready in a very short Victor records are coming in better, but W Four hundred songs, five hundred and will send a whole set of twelve for 25 time. Seven Songs from the South the shortage is still great. Brunswick cents, postpaid. eighteen pages of music well bound, writ¬ Special introductory price in advance The Crown Collection NEW WORKS. New Music records are bounding into popular favor, ten in a medium key so that the whole By Lily Strickland We have a large number of post cards, of publication, 50 cents a copy, postpaid. of Piano Music for Christmas Services and you should have some in your library. family can join in the singing. A volume reward cards, all with portraits of great This collection is especially designed for This book is now on the press, but the Advance of Publication Offers— The attention of choir leaders is again Our new lists are now ready and our mail¬ of patriotic songs, religious songs, love composers on them and short biographies, progressive pupils for certain specific pur¬ special offer will be continued during the caEed to our new offerings of appropriate order customers, which represent every songs, plantation melodies, lullabies, songs Tschaikowsky at very low prices. A list of these will be poses. The pieces in the work are divided current month. In these songs will be music for the celebration of the Nativity. State in the Union, can depend upon of land and sea, home, church. State and Album found the real spirit of the South. These December, 1920 8p*J’rfc found on the back inside cover page. under different heads as follows: Melody, Among the settings for solo voices we prompt and efficient service. We have a are genuine Mammy Songs written by one especially mention the following composi¬ great many records that you cannot get nation. The fascination of Tschaikowsky is Trills, Scales and Broken Chords. The Beethoven’s Selected Sonatas. SI Here is an opportunity to please your due to his delightful commingling with who was born in the South and who knows Child’s Own Book—Liszt, Tapper. tions which are enjoying a well-deserved elsewhere. Try us. Plaster Plaques book will open with melodic pieces and and loves the Southern negro’s croons and musical friends and neighbors with more the spirit of the Orient the finish of the then will follow compositions under the Composition for Beginners—-Hamilton. . popularity. of Musicians’ Heads West. In such a composition as June songs. Lily Strickland is a composer who There Were Shepherds, for soprano with than an ordinary gift and at a very nom¬ other headings. The pieces will all be in Crown Collection for Pianoforte. A Music Satchel A very interesting gift for the music (one of the numerous works in this book) has already made an enviable reputation violin ad lib., by R. S. Stoughton. inal price. grade two to two and a half and are some Earliest Duets—Kincross. is an Excellent room or music studio is a bas-relief of a the poetic indolence of the East is strongly as a writer of songs in general, but in this Away in a Manger, for soprano or of our most popular numbers. The vol¬ new work we find this composer at her ; Position Pieces for Violin and tenor, by Thurlow Lieurance. Christmas Gift musician’s head. We have in these felt. In the Chanson Sans Paroles we Piano Melodic Study Pieces for the have a theme almost French in type and ume is all ready to go to press, and we very best, reaching a high plane of artistic Shepherds in the Field A biding, for high The price of leather goods is the highest plaques, 4% inches to 6 inches in size, the From the Yellowstone—Lieurance. following subjects: Left Hand Alone, Opus 1237 in other parts the influence of other Euro¬ urge those who desire advance copies to efficiency. - and low voices, by Edward Shippen that we have ever known it to be. We Special introductory price in advance of Gurlitt, Op. BO. Twenty-four Easy By A. Sartorio pean nationalities is shown all transfixed lose no time sending in their order. Melodic Studies. Barnes. have made the best selection that we could Our special advance price will be but publication, 60 cents a copy, postpaid. Undimmed Star of Bethlehem, for high Wagner Shubert Beethoven by the unparalleled genius of the great mas¬ Heart Songs. for our Christmas trade this year and the Liszt Schumann Mozart We have in proof, ready for publishing, 50 cents. and low voices, by W. H. Neidlinger. ter Tschaikowsky. These pieces, however, Kohler’s Children’s Album, Op. 210... values are the best that could be obtained Handel Bach Chopin a volume by Arnold Sartorio, of pleasing New Anthems could not have become popular if it had New Pipe Organ Louis Kohler’s Elementary Studies, Mendelssohn Rubenstein Tschaikowsky selections of original and selected composi¬ not been for what we might call their re¬ Twenty-four Easy Melodious Op. 163. For quartet or chorus choirs include the tions for the left hand alone. Mr. Sar¬ Collection markable “playability.” They are pianistic Studies for Pianoforte Melodic Study-Pieces for Left Hand following excellent numbers. Any of these sheet music, full sheet music and a com¬ The price is but 50 cents each, postpaid. torio is a master workman and does his in the extreme and form excellent study There is always room in the organist’s Alone—Sartorio . will be found worthy of a place on the bination of both. work in a musicianly and interesting man¬ material. The advance of publication By C. Gurlitt, Opus 50 library for another collection of inter¬ New Pipe Organ Collection. Christmas program. On the inside back cover of this issue ner. In this particular volume he has a This set of studies constitutes one of mediate grade pieces, moderate in length, “Grove’s Dictionary” price is 50 cents, postpaid. BachmaninoS Album . Calm on the Listening Ear of Night, by there will be found listed a number of combination of original and selected the standard teaching works. Most of the well diversified and, above all things, melo¬ Russian Album for Pianoforte. R. M. Stults. satchels. We can supply a very good Sixth Volume works. The following composers are rep¬ studies are two pages in length, a few are dious. In our new volume of organ pieces Song of the Angels, by R. S. Morrison. black or tan satchel of good leather, post¬ Beethoven’s Schumann’s Fantasie Stiicke, Opus 12.. This very important work will be ready resented: Mozart, Gluck, Wagner, Men¬ shorter. A student who is just about com¬ we have endeavored to continue the high Come Hither, Ye Faithful, by R. S. paid, for $2—the same in seal grain at pleting the work of the second grade could Seven Songs from the South—Strickland for delivery in time for Christmas. It will delssohn and others. One of the most Selected Sonatas standard established by our two previous Sixth Volume—Groves’ . Morrison. $6—half sheet-music size. deal exclusively with American music and We are going to continue this volume take this book up to good advantage be¬ successes, The Organ Player and Organ Watchful Shepherds, by Norwood Dale. Full sheet-music size for $3 and $7 and beautiful selections is the Traiimerei for fore beginning actual third grade work, Stults’ Anthem Book. musicians. Every one who possesses the the left hand, beautifully arranged, which on special offer throughout this present Repertoire. All the pieces are entirely In Bethlehem a King is Born, by W. the combination satchels for $3.50 and $7. since it bridges the gap at this point. As Tschaikowsky Album . set of Grove’s Dictionary at this time will in itself makes an excellent piece for the month. It is positively expected from the new, not having appeared in previous col¬ Berwald. Look carefully over the list—make your the studies are of melodic character, they lections, all especially written or arranged Twelve Pianoforte Studies—Franz- want to add this sixth volume, which will left hand alone. The original composi¬ binder early in the month so it will be in Behold, I Bring You Good Tidings, by selection and let us have the order as be bound up in single form and will be time for Christmas gifts and that is the are interesting to practice. There is for this work. The pieces are adapted for Under the Christmas Tree (Piano Set) Ernest H. Sheppard. promptly as possible, as the supply is tions in this collection are about this same much variety in rhythm and in the vari¬ —Weston . -25 part and parcel of the Grove’s Dictionary grade. The work is not at all above the reason we continue the advance price on a church concert or picture playing. Attention is also called to our collection limited and prices to us are constantly ous technical figures employed. Special introductory price in advance uf Violin Studies—Kreutzer.10 in the future. Our price for the volume grasp of a pupil who has taken from two this most valuable volume. of traditional carols. The singing of these advancing. Special introductory price in advance publication, 75 cents a copy, postpaid. Virginian Romance—H. Loren Clements .50 will be $3.50. It will make an excellent to two and one-half years’ instruction; the It is one of the most appropriate gifts carols revives an ancient custom and is Christmas gift. We will have some vol¬ possible to a teacher, piano player or am¬ of publication, 30 cents a copy, postpaid. Wedding and Funeral Music for the in great favor at the present time. All music never goes beyond the third grade. umes especially bound as a separate and bitious student. The volume, as we have Organ—Kraft .60 the old favorites are included in the Musical Literature Too much attention cannot be paid to Stults’ distinct work of American music and stated, contains everything that is played Presser Standard Carols. as Christmas Gifts left-hand practice. This volume, we are Rachmaninoff Anthem Book musicians for Christmas purposes. sure, will be welcome to all young stu¬ nowadays of Beethoven’s Sonatas. The Thirty-second The Presser “On Sale” plan will place What more delightful Christmas-morn¬ Our advance price is but $1, postpaid. Album The announcement of a new anthem col¬ any of the above numbers in the hands of dents. , ,, . Holiday Offer ing experience is there than opening the This is not one-half the price at which Our new Rachmaninoff Album is now on lection made up entirely of numbers by choir directors and organists for inspec¬ crisp, fresh pages of a new gift book and Our special advance price for the vol¬ the press, but the special introductory At this time of the year we are pleased Under the Christmas Tree the book will be sold after it is out. Mr. R. M. Stults has been received with tion. Write to-day for copies. knowing that you have come into the pos¬ ume, postpaid, will be but 40 cents. offer will be continued during the current to present to our readers various articles Weston much interest on the part of organists and session of something that is to be a joy month. This book will contain the follow¬ of music, music books and musical mer¬ Albums of Music as Gifts directors. All the volumes in our series for months—perhaps years to come! We are rushing through for Christmas Schumann’s Fantasie Stucke First Position Pieces ing favorite piano pieces by the well- of anthem collections have proven suc¬ chandise that are suitable for Christmas to Students purposes a small volume of Christmas known master: Prelude in C Sharp Minor, gifts. This is the thirty-second year that Among the musical books there are a for Violin and Piano cessful, but this is the first collection jn Under the head “Thirty-second Annual music for little ones. The music has Opus 12 Prelude in G Minor, Melodic in E, Valse we have continued this practice. Our se¬ number that have all the pleasing and in¬ In the early stages of violin instruction which the anthems are all the work of but Holiday Offer,” on pages 794 and 795 of viting character of the gift book—that is, words and is extremely appropriate for The republication of this most interest¬ in A, Humoresque, Romance, Barcarolle, lection this year is the best that we can first position pieces are an absolute neces¬ a single composer. Mr. Stults’ anthems this issue, will be found a list of our very fine paper, fine binding, fine illustrations children. The music is'in the first grade ing group of pieces by Robert Schumann Polichmelle and Serenade, A very fine gather and will be found in another part sity. Usually some time is spent by the have achieved much popularity, and in this best, those most popular of our collections and entertaining text. At the same time and the poems are all about Christmas. in a new and superior edition is an event. collection carefully edited and revised. of this journal. We strongly advise our student in the first position and it is new wprk we have incorporated only his of music. We have drawn together under It is one of those new and appropriate All of the compositions of Schumann Special introductory price in advance of readers to send in their order as early as many of these books are wholly practical necessary to lighten the drudgery of prac¬ greatest successes. These anthems are this head those albums most suitable for and utilitarian. They are books that will volumes that will be welcome to every might be called phantasies, as no more publication, 50 cents a copy, postpaid. tuneful and of intermediate difficulty. possible as the mails about Christmas time emotional and romantic composer ever tice by the use of. suitable pieces. Pieces gifts. More value can be given in this be used—not thrown aside after one read¬ child at this time. If you are in search which are attractive in melody, varied in Special introductory price in advance are very much congested and delays are way to a musical person than in almost of a musical gift for a child nothing can lived. This group, however, including inevitable, especially so at this time when ing to be forgotten like a piece of fiction. rhythm and which will afford material for of publication, 20 cents a copy, postpaid.), any other manner. There are few gifts that last as long as a be more appropriate than this. The music Soaring, Whims, etc., are the best of his Child’s Own Book the postal service is not of the best. On pianoforte works outside of the severely the study of tone production and the The prices range from 40 cents to 65 good book and few that are ever appre¬ and the words are delightful and we are various bowings. In our new collection Liszt—Tapper all these gifts that we have listed there is cents, and if cash accompanies the order, aiming to make the volume attractive and difficult compositions. These works were Twelve Melodious Studies a decided deduction from the usual rates ciated as much. Remember the words of of first position pieces will be found just These little volumes, which have ap¬ these books will be delivered to any ad¬ Douglas Jerrold, “A blessed companion interesting. composed during the years 1836 to 1839. peared from time to time, have been mar¬ for Pianoforte and besides this we pay transportation. Schumann was then at his mental prime, the right material. The book begins with dress, postpaid. The titles are all ex¬ is a book—a book that fitly chosen is a Our special advance price on the work the very easiest pieces and advances by velously successful, and the one that we By Albert Franz We take this opportunity again of wish¬ as he was only 26 to 29 years of age. He planatory—we will name a few of them: life-long friend.” This issue jof The Etude will be 25 cents. progressive stages. These pieces are all are now about to publish is one of the ing the readers of these Publisher’s Notes Standard Elementary Album, eighty- had not shown the slightest indication of Albert Franz is known chiefly through a “Yrery Happy and Merry Christmas.” lists a fine collection of very desirable gems and they will not be found in an¬ most interesting of the series. There is no his many delightful teaching pieces for two melodious easy pieces, for 40 cents. Christmas books. We have more to suit the mental breakdown which obscured his more interesting man in the musical world Young Players’ Album, seventy melodi¬ last days. He poured his beautiful, sym¬ other collection. young players. In his new book of every musical purpose and shall be glad From the Yellowstone— Special introductory price in advance than Liszt. Mr. Tapper, the author of studies one finds the same fluency of New and Artistic ous pieces in the earlier grades, for 40 to advise you about them if you will send Four Songs pathetic soul into these works, and they of publication, 35 cents a copy, postpaid. these little works, has prepared a very will remain forever among the gems or melodic invention coupled with a knowl¬ Music Calendars By Thurlow Lieurance unique and interesting volume for the edge of the technical requirements of Popular Home Collection, forty-six pianoforte literature. The advance o little ones. It will be bound in similar These calendars are practically the size pieces in medium grade, for 40 cents. Mr. Thurlow Lieurance is best known publication price for this work is 25 cents, Composition for Beginners pianoforte study. These new studies are of a postcard and are arranged to be set A Christmas Gift— style to the rest of the volumes in the set. of about the same grade as those by Souvenirs of the Masters, by Spaulding, through his many successful settings of postpaid. This work appears as a nu By Anna Heuermann Hamilton Our special advance price is but 12 on the piano in easel form or they can be “The Etude” for 1921 the songs of the North American Indian. Streabbog, Op. 63. They will prove juSt twenty-seven easy arrangements, for 50 ber in the Presser Library. There is no more reason why a child cents, postpaid. tacked on the wall. The calendar pad is Many other of his songs, however, have right for pupils who are finishing the In looking for a gift for a musical per¬ should not learn how to write music as 3 x 1% and above it is given a pleasing proven popular. In his new set of four second grade. For 65 cents we have a number of son and at a medium price, do not over¬ well as to write the English language. We poem with an illustration and, melody for albums of advanced grades, suitable for songs he has struck out into a new path. Violin Studies Kohler’s Children’s Album Special introductory price in advance look what a twelve months’ subscription all have musical ideas and all that we need of publication, 25 cents a copy, postpaid. the same. Artistically printed on a high advanced students or for any music lover to The Etude would mean. A notice of These are songs of the outdoors, genuine By Kreutzer for Pianoforte, Opus 210 grade beautifully tinted card stock. Each to express them is the writing technic. or performer: the gift in proper form can be sent to nature songs. The thematic material is Wherever the violin is played the name This little study or recreation book con¬ calendar is enclosed in a separate envelope Various enterprising teachers found that Album of Descriptive Pieces. the recipient. original with Mr. Lieurance except of the of Kreutzer is a household word. The sists of thirty numbers. These numbers Elementary Studies and the prices are 8 cents each or 75 cents this was not only acquired with ease, but American Composers’ Album. What does it mean? For the nominal occasional introduction of an Indian mo¬ studies by this master bear the same rela¬ that many children were charmed by it. average about a page in length, and while for the Pianoforte a dozen, assorted. Concert Duets. sum of $2 a reminder of the giver arrives tive. These songs are entitled A mountain tion to violin playing as do the famous Miss Hamilton’s book is not the case of an each one has decided educational value, it By Kohler, Opus 163 In addition to the new calendars de¬ For 50 cents will be found listed some once each month during the entire year, Madrigal, The Eagle and the Lark. My Dexterity studies of Czerny to piano P ? enthusiast with lofty theories striving to has also real melodic interest. The pieces scribed above we are also offering our regu¬ very interesting volumes: and besides the inspiration and instructive Collie Dog and Farewell Cabin Mine. ing. We will shortly add to the Presser bear characteristic titles, such as In the These second grade studies are founded work out an ideal without actual experi¬ chiefly upon scale and arpeggio passages. lar line of calendars with composers and Celebrated Compositions by Women reading matter, not less than two hundred These songs will be published in an at¬ Collection a new and special edition of ence. She has been a practical teacher for Garden, By the Fireside, Soldiers’ Song, various musical pictures. These calendars Composers. and twenty-five pieces of new music is tractive volume with an explanatory this famous work. The editing, is >y Swiss Melody, Christmas Bells, etc. This They have the special advantage, in that years and has tried out all her work very the two hands are treated alike; that is ^o are 11 inches by 14 inches in size and Celebrated Compositions by Famous included. preface or reading by Mr. Lieurance. Frederick Hahn, whose work is already carefully indeed. The book is intended book may be taken up as a regular part prove useful as well as attractive adorn¬ Composers. No more valuable a gift and certainly There will be separate editions for high, well and favorably known to our readers. of the second grade work; its use will tend say, whatever passage appears in the right for very little children as well as those hand in one study appears also in the left ments for the studio or home walls of For the small price mentioned these one that could not be more appreciated by low and medium voices, respectively. The new edition of this work will prove to inculcate rhythm and style. a little along in years. The special ad¬ hand in a later study. Moreover, the two a music lover. Price, 10 cents each, $1.00 volumes will be delivered to any address, a musical person could be selected, irre¬ Special introductory price in advance of to be everything that it should be. vance of publication price is 60 cents, Special introductory price in advance anywhere. Order early! Special introductory price in advance oi a dozen. spective of the price. publication, 50 cen.s a copy, postpaid. postpaid. of publication, 30 cents a copy, postpaid. (Continued on page 860) publication, 40 cents a copy, postpaid. the ETUDE DECEMBER 1920 Page 861 THE Page 860 DECEMBER 1920 Etude and Pictorial Review, $3.75, a hands are frequently combined in such a Premiums for Obtaining saving of $1.25. . — Qn manner as to afford practice in independ¬ “Etude” Subscriptions Etude and McCall’s Magazine, $2.90, a ence. These are exceedingly good early Just as this issue is going to press we saving of 60 cents. , studies in mechanism. are preparing and will have ready for In any of the above clubs, excepting the Schools and Colleges Special introductory price in advance delivery our complete Premium Catalog. first, the magazines can be sent to differ of publication, 20 cents a copy, postpaid. We depend very largely upon our sub¬ ent addresses. On page 830 ot this issue MIDDLE WEST, PENNYSLVANIA AND SOUTHERN scribers, the music teachers who have we will devote one-half page to a more been with us for many years and our complete list of clubs with other maga¬ Russian Album friends to let it be known how valuable zines and we will be ready to send to any for the Pianoforte The Etude is to all interested in music. of our subscribers who desire it, by the Detroit Conservatory of Music Interest in the music of the modern The Etude gives to the music student, time this issue is printed, a complete cata¬ 47 th Year COMBS CONSERVATORY Russian composers is still growing. The the music lover and likewise to every one log of our Etude clubs. We will be very Francis L. York, M. A., Pres. Elizabeth Johnson, Vice-Pres. PHILADELPHIA piano music of these composers displays who so desires a constant monthly receipt glad to send this catalog, without charge, Finest Conservatory in the West THIRTY-SIXTH YEAR genuine originality and a high degree of of a large batch of new music. A Residential and Day School of unparalleled Facilities for attainiug a complete musical Many of our teacher subscribers de¬ Offers courses in Piano. Voice, Violin, Cello, Organ, Theory, Public School Musi, and invention together with masterly work¬ Drawing^ Oral Interpretation, etc. ^Wori^hMed on^ best^ modern^ and educational manship. Our new Russian album will mand that their students, each one sub¬ scribe to The Etude and add it on their A SCHOOL OF INDIVIDUAL INSTRUCTION contain the very best and most admired regular lesson bill. of the works of these composers, including IN (Theoretical and Applied Branches Taught Prirately and in Classes) In return for all of these favors we Because of its distinguished faculty, original and scientific methods, individual instruction, high pieces by Arensky, Cui, Grodzki, Karg- very much desire to give the most liberal JAMES H. BELL, Sec. Meals,. breadth of^ci ad moderate cost, combined with efficient mar le Combs anoff, Kopylow, Liadow, Pachulski, Rebi- cash deductions, or better still, premiums SANTA koff, Wrangell, Rimsky-Korsakow. They Special Notices All branches, Norma! Training Course for Teachers. Public School Music Supervision. of a musical nature. The best value can Military Band Department. Four Pupils* Recitals a week. Two Complete Pupils’ will prove a most attractive volume in be given in the goods of our own publi¬ Symphony Orchestras, Reciprocal relations with University of Pennsylvania, every respect. CLAUS cation. We include, however, for those ^ ANNOUNCEMENTS (Dormitories for Women) Special introductory price in advance who are so interested, popular premiums BURR0WES COURSE of music study of publication, 40 cents a copy, postpaid. A School of Inspiration, Enthusiasm, Loyalty and Success of general merchandise that have been LAND Kindergarten and Primary—Correspondence or Personal Instruction Illustrated Year Book Free proven from time to time. We want to send this Premium Catalog A CHRISTMAS WANTED and FOR SALE Happy Pupil*—Satisfied Parents—Prosperous Teachers- Classes are doubled by use of this method “Etude ” Rate 10c per word GILBERT RAYNOLDS COMBS, Director °ffiCBroad*and Reed Street, Renewal Offer to every one of our subscribers who is in¬ PLAY FOR GIRLS Mc^l’ritoir «mon application™to KATHARINE BURROWES terested. A postal card will bring it. We like to make each month some spe¬ AND BOYS 171 NORTHWESTERN AVE. - - - - DETROIT, MICH. cial offer to those of our subscribers who Christmas Gift Club School Music a specialty. West or Nor desire to renew during that month. To WORDS AND MUSIC preferred. Address H. 'S., care of Tub THE ALLENTOWN TEMPLE UNIVERSITY SCHOOLofMUSIC anyone sending us the required amount, of Magazines BY a small additional sum added to the sub¬ There is hardly a home in America that Gertrude Martin CONSERVATORY OF MUSIC COURSE IN does not subscribe for two or three or ANNOUNCEMENTS DETROIT INSTITUTE OF MUSICAL ART »MIDDLE WEST” scription price of $2, we will send, post¬ Rohrer Rate 20c per word —GUY BEVIER WILLIAMS, Presiden 210 N. 7th Street, Allentown, Pa. Harmony by Correspondence paid, some of our most valuable works at even more magazines. The price of paper A School which offers every advantage incidental to a broad musical education WITH CERTIFICATE most unusually low rates: and printing this year unfortunately does 60 Artist Teachers, including 12 of the leading members of the Detroit Symphony Orchestra Strong Faculty, Thorough Instruction not permit of the low prices and the bar¬ PRICE, 30 CENTS NET The only school in Detroit with its own Dormitory for Women Under PHILIP H. GOEPP, Mus. Doc. Students May Register at Any Time For Catalogue, Address H. B. MANVILLE, Bus. Mgr. For catalogues address the Director The Etude, one year, with : gains which it has been our good fortune to CHEERFULLY SENT Dr. Wi.iiler, Buffalo, N. Y. Hudson’s A B C of Piano Music.$2.25 be able to offer in years gone by. How¬ FOR EXAMINATION 'KULKLKS $3.no ami upward-, 1115 to 1121 Woodward Avenue, DETROIT, MICH. Presser’s Beginner’s Book . 2.40 ever, our Subscription Department has respoiimleuce lessons, $5.00. Wm. made, through successful efforts, clubs LITTLE pla; admirably adapted for Concord Place, Chicago, Ill. Pittsburgh Musical Institute, Inc. Bilbro’s General Study Book . 2.35 \ y School or day 3731 ' ?HaTn Philadelphia Bugbee’s First Grade Studies. 2.30 with the leading magazines for a limited Sool Spaulding’s Tunes and Rhymes, with Over 1100 students last year. Affiliated time, at comparatively small prices. Here _ all”through that the children’s MacPHAIL SCHOOL A MUSIC with University of Pittsburgh — degrees words . 2.35 are some of the best bargains: happiness depends largely upon their own Musical Academy Root’s Introductory Lessons in Voice efforts to help others. 7 he properties, scenery for Music Students. Culture. 2.50 Etude, American and Women’s Borne Minneapolis, Minn. SS-KBI vancedpupils tmder eminent artist^teachers.^heory. The Standard Organist—Pipe Organ Companion, all to one address, for $5.25, dialogue is delightful. There are nine musical Instrumental and vocal. Students’ Symphony Orches- Piano Voice Violin Organ Theory numbers, including a Christmas carol. Properly Complete courses in Piano, Voice, Violin, Organ Collection . 2.30 a saving of $1.25. Dramatic Art and Public School Music For prospectus address CHARLTON LEWIS MURPHY, 4259 Fifth Avenue - Pittsburgh, Pa. Orem’s Harmony Book for Beginners.. 2.75 worked out. the performance will take about Managing Director, 1617 Spruce St. Etude, American and McCall’s Maga¬ Fvnerlenced coach to organize Lyceum and Chautauqua Companies. Catalog FREE. Students may enter now. Chopin’s Waltzes or Nocturnes. 2.40 zine, $5.40, a saving of 50 cents. Kohler's Sonatina Album . 2.50 more, may take part. HARlio'V roursu taught b.v mail. Writ Mendelssohn's Songs Without Words.. 2.65 Etude, Pictorial Review and Modern THEODORE PRESSER CO., Phila., Pa. Phillip Goepp (Music Doc.), 221 S. 17th St ^—jw ESTABLISHED 1857 Schumann’s Album for the Young. ... 2.25 Priscilla for $6, a saving of $1. Philadelphia, Pa. HUNTINGTON COLLEGE CONSERVATORY REX ARLINGTON ^Dhfctol Music Ltepartment of HunUngton^oIIege^EndnweL uft^STunauretioned standing* #i% nr A BfllYV CONSERVATORY ol advantages a y ’ p,ANO VOICE, HARMONY, HISTORY OF MUSIC, PUBUC i EiADV/l/ 1 BALTIMORE, MD. Courses Offered: school music, languages, expression and dramatic art HAROLD RANDOLPH, Director c—Courses Giving Teachers Practical Work Applicable to Their Needs BOARDING FACILITIES EXCELLENT—NO BETTER ANYWHERE One of the oldest and most noted Music Schools in America. Address, Box 512 - - - HUNTINGTON, INDIANA

alparaiso university Atlanta Conservatory of Music ■I brenau college conservatory jfl V A SCHOOL OF MUSIC THE FOREMOST SCHOOL OF FINE ARTS VAIPARAISO (Accredited) INDIANA IN THE SOUTH The Uni ^todof Music offers courses in Piano, Voice, Violin, Organ Theory and Public School Advantages Equal to Thoae Found Anywhere [usic. Students mayayattend the Music School and also take the regular work at the University. Students may enter at any time. Send for THE EXPENSES ARE THE LOWEST Catalog. GEO. F. LINDNER, Director Tuition, $36.00 per ■er of twelve weeks. Board with Furnished Room, $90.00 per quarter. Catalogue Peachtree and Broad Streets, Atlanta, Georgia YeEABK-STEBENTSrACCEPTEH AT ANY TIME

Minneapolis School of Music, LAWRENCE CONSERVATORY MR. and MRS. CROSBY ADAMS ^4 DEPARTMENT OF LAWRENCE COLLEGE Annual Summer Classes for Teachers of Piano ORATORY AND DRAMATIC ART for the Study of Teaching Material MONTREAT, N. C. Write (or booklet containing 'OOtmie^aind^^rong

ALL BRANCHES OF MUSIC AND DRAMATIC ART C ARL J. WATERMAN, Dean APPLET ON, WIS. '"mONTREAT, NORTH CAROLINA SO Artist Teachers ar Book Free on Requel

CINCINNATI CONSERVATORY of MUSIC, established i867. 1 WARD-EELMONT ST. LOUIS, MO. 52ND YEAR CLARA BAUR, , For Girls and Young Women Conducted ^accordlng^to methods^ ^To the oWdent^dealring gene^iicom^ inLsngnta^ KROEGER offers CONSERVATORY ADVANTAGES Elocution—MUSIC Languages5 in Plano, Violin, Voire and Fine Organ^ yean DJ£ SCHOOL OF MUSIC E. R. KROEGER. Director Faculty of International Reput ^Ward-Belmont, Belmont Heights, Box 1 K, Nashville, Tenn. ALL BRANCHES OF MUSIC TAUGHT HARMONY BY CORRESPONDENCE SEND FOR CATALOG Musical Art Building EUGENE YSAYE Season 1919-20

School of Music 1 OF WARREN, OHIO * SHENANDOAH COLLEGIATE 9 1 CONSERVATORY; INSTITUTE LOUISVILLE, KENTUCKY THE SCHOOL OF DAILY INSTRUCTION IN ALL LEADING SCHOOL OF MUSIC IKK SOUTH A SCHOOL WHOSE GRADUATES SUCCEED BRANCHES OF MUSIC > Ask for Booklet FREE.* s"c.LBOX°ilO, DAYTON, VA. to^ritafOTpartfcSlars"1 FREDERIC A. COWLES, Director | THEODORE PRESSER CO., Music Publishers and Dealers, PHILADELPHIA, PA. Addre*. LYNN B. DANA, Preiic Please mention THE ETUDE when addressing our advertisers.

Please mention THE ETUDE when addressing our advertisers. TEE ETUDE TEE etude DECEMBER 1920 Page 863 Page 862 DECEMBER 1920 Games as Short Cuts By S. E. Hitchcock Schools and Colleges The question to ask about a proposed game for an instructive purpose is this: ILLINOIS “Does it represent a short cut or a longer Schools and Colleges way round?” Here are a few devices NEW YORK AND NEW ENGLAND C? wmThirty-Fifth Season—^ which have proved profitable in teaching music to little children: 2 CHICAGO MUSICAL COLLEGE 1. To impress the fingering of three- ©7>e The Leading and Largest School pf Music in America 55th Year tone arpeggios on young piano students SALVINI School Fletcher Music AMERICAN =:r| (when uniform fingering is employed), tie IRGIL Piano Conservatory WINTER TERM NOW a narrow red ribbon on the fourth finger, of Singing THE HOME OF THE VIRGIL METHOD right hand, another on the third finger, left 206 W. 71st STREET NEW YORK V Method School THE GREATEST OF ALL TEACHING METHODS CONSERVATORY Unsurpassed faculty of 100 eminent instructors hand. It is against the rules to make a MARIO SALVINI, Director For full information apply to Organ, Theory, School of Opera^Orchestral dressed-up finger work. Grand Opera Department for the purpose of givi EVELYN FLETCHER-COPP BOURSES and private le i in Piano, Voice, Urgan, t neory, ocnooi ui wp— MRS. A. M. VIRGIL, Director 31 York Terrace, Brookline, Chicago’s Foremost School of a_-id School of Act: Teaohers’■"anchors’ certifies*--certificates for' l teachers of Plane 2. If a Czerny study is prescribed “ten performances of artist students VJ Instruments, E —■ __ Medals3dals awarded. Public Recital weekly 11 TEACHER OF ADVANCED PIANO PLAYING 'hi8 school presents Democrac; School Music. Diploma times a day,” have the pupil use ten white Highly endorsed by _Free Advantages. D

The key to the child’s wonder-world of real music “Music Appreciation for Little Children

—for Little Folks Everywhere —for the Mother in the Home —for the Teacher in the Kindergarten, Classroom, Conservatory and Studio

A pioneer work in the fascinating field of using music in early childhood 177 pages. 6 four-color illustrations from mast^Plec of painting. 70 illustrations in line drawing, half-tone, notation, etc. Handsomely bound in cloth, stamped in gold. List price $ 1.00 (15c additional by mail).

A delightful Christmas gift book

It takes three to make music —one to create —one to perform —one to listen Few children will ever become creators or even per¬ formers. Obviously all may be listeners. Music is a language and should be heard long before reading it or writing it. Neglect of ear training in early childhood can never be fully made up by any amount of musical education in later years. Little children learn to listen and later listen to learn by means of Incomparable Victor Records especially made, selected and classified to meet the needs of the child during the sensory period (one to eight years) guided by the expert pedagogic presentation to

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