Gardner-Webb University Digital Commons @ Gardner-Webb University
The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
2-1-1909 Volume 27, Number 02 (February 1909) James Francis Cooke
Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons
Recommended Citation Cooke, James Francis. "Volume 27, Number 02 (February 1909)." , (1909). https://digitalcommons.gardner-webb.edu/etude/544
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected].
THE ETUDE RECITAL Ne;w Publications THE EDITOR’S COLUMN MUSIC for the obtain- DELAYED LETTERS. Juvenile Album The Isle of Jewels Women’s Club Collection In order to avoid delay, letters intended for Fc FOR the pianoforte OPERETTA FOR YOUNG PEOPLE Part Songs and Choruses the Editorial Department should be addressed Price, 35 Cents A MONTHLY JOURNAL FOR THE MUSICIAN, THE Owing to mechanical troubles and the u CARL REINECKE Text by JESSICA MOORE This is an invaluable collection for the Duets, Trios and Quartettes thus: MUSIC STUDENT, AND ALL MUSIC LOVERS. Christmas and New Year holidays, all matters “Editor of The Etude, if Price, 75 Cents Music by GEO. L. SPAULDING use of clubs, choruses and high schools. It consists of interesting and effective part for Organ, (Pipe or Reed), Edited by JAMES FRANCIS COOKE beyond our cot .'rol, there was some delay in “Theo. Presser, Publisher, -fiendid si set of teaching pieces, twenty Price, 50 Cents songs and choruses, sacred and secular, in Subscription, $1.50 per year. Single Copies, 15 Cents. sending out the January number of The Etude. in in a... me v 1i veteran composer and teacher. two, three and four parts, with and without . Foreign Postage, 72 cents. “1714 Chestnut Street, Phila.” X These ip* a are qualified to be ranked with One of the best operettas for young incidental solos. The numbers are all gems, Violin, Piano, ’Cello, Etc. We trust our subscribers will overlook this In no case should letters be addressed to 8 SchumaR i “Album for the Young.” Meu- people ever written. It is by the authors well assorted, in every style and suitable for ■e allowed for ob- winter days put one vviimn for in condition to accomplish big things. Every any light opera. As the characters per¬ Price, 25 Cents Great care and research have b< M'l'iplion i- Explicit directions will be subscribers have taken advantage of the liberal sonify various popular jewels, the oppor¬ This useful little work contains brief necessary to get together all the worl sent at me time of expiration. club offers which it has been possible for us article in this issue of The Etude is worthy March Album tunities for picturesque staging can readily mention, in chronological order, of every RENEWAL—No receipt Is sent for renewals. On literature for these combinations. Bel to make, and which we are glad to make be¬ of permanent preservation. Do you ever stop FOR FOUR HANDS event musical^ history, from the ^very the wrapper of the next issue sent you will is only a partial list. be printed the dnte to which your subscrip¬ cause we know that the prices are low and to think that you will find boiled down in Price, 50 Cents junct, in the nature of a ready reference tion is paid up, which serves as a receipt for that the papers which we have featured will one article the experience of several years of l A compilation, unique of Its kind, con- boob, to any musical history. It should be your subscription. Anthem Devotion CABINET ORGAN MANUSCRIPTS.—All manuscripts intended for publica¬ disappoint no one. some able teacher? We endeavor to induce tion should be addressed to THE ETUDE, 1712 and PIANO Chestnut Street, and should be written on one side One of the most valuable offers, the great¬ our contributors to make every article a les¬ sgjsisiss of the sheet only. Contributions on topics con¬ est bargain, perhaps, of all, is that of The son. The primary object of The Etude is to nected with music-teaching and music-study are solicited. Those that are not available will be re¬ Etude arid the Woman’s Home Companion for teach. It is not a newspaper for musicians, turned. $1.85, but after February 15th the price of this but a musical paper for the home, the student Price: Single Copy, postpaid, 25c Keyboard^ Chart ADVERTISING RATES will be sent on application. club advances to $2.10. and the teacher. Whether the article be upon Per Dozen, $1.80 Forms close on 10th of each month for the suc¬ ceeding month’s issue. Little need be said of the Woman’s Home technic, musical history, interpretation, theory This is the fourth and latest volume of our high- , THEODORE PRESSER, Companion, it is well and favorably known in or any other musical subject, it must be of the 1712 Chestnut St., Philadelphia, Pa. every.home throughout the entire country, and kind that our readers will find profitable. Well-known Fables Set Entered at Philadelphia P. O. as Second-class Matter. Copyright, 1900, by Theodore Tresser Co. this opportunity to get it for twelve months We believe that you will find the present issue for only 35 cents added to the year’s subscrip¬ particularly so. It has no sensational features, to Music tion price of The Etude should be taken ad¬ but every page contains at least some one vantage of by every woman and in every home. thing that will provide you with food for much CONTENTS Your order must be sent before February 15th. careful and helpful thinking. Let us know Mmic”by Geo?*L.CSpaufdfng The two papers can go to different addresses. how you like this “work-a-day” issue. It will Price, 50 Cents Bill® help us. “THE ETUDE” - February, 1909. The Etude can go to a new subscriber or be a renewal; get a pupil or a friend to subscribe to The Etude and have the Woman’s Home ARE YOU NINETY PER CENT. ASLEEP? Review of European Musical Articles, A Celebrated New York psychologist con¬ Arthur Elson 80 Companion for yourself at a cost of but three Juvenile Song Book The Masters and Their Methods..1 rthur Elson 81 cents for every issue on a twelve months’ tends that we are all ninety per cent, asleep. On the Quality of Work to be Given a Pupil, subscription, $1.85 for both papers. We had an idea that the pushing, rushing, E. R. Kroeger 82 The Etude Annual Prize Essay Contest. 82 electric American people were very much Opportunities for Young Oratorio Singers, Hundreds of our subscribers at this season awake, but he maintains that we work upon Emilo de Gogorea 83 only about ten per cent, of consciousness. Useless Musical Exercises.IFm. Behbow 84 of the year are impressing upon their pupils Robert Schumann’s “Carnaval,” and musical acquaintances the value of The Occasionally we delve into the ninety per cent, 24 Progressive Studies for Edward Baxter Perry 85 Etude. We have a special plan which is par¬ of our slumbering consciousness or sub-con¬ The Etude Gallery of Celebrated Musicians. 87 sciousness and then we do great things. Good¬ Shall I Teach? .E. M. Bowman 89 ticularly available in just such work. We shall the Pipe Organ CABINET ORGAN Developing Interest.IF. Francis Oates 91 be glad to send full information on this sub¬ ness gracious! what will happen to us when Optimism In Teaching.A. IF. Borst 91 ject to any who are interested enough to send our remaining ninety per cent, of American and VIOLIN A Teacher’s Course.A. J. Goodrich 93 New Songs Without Do You Think?.Dorothy M. Latcham 94 a postal card asking for it. The plan is ad¬ activity wakes up? Mr. Perlee V. Jervis has Price, $1.25 taken up the interesting subject of “The Sub¬ ■ An Amateur Orchestra-Charles 8. SMlton 95 vantageous to the subscriber and lucrative .to 1 Words 11 Self-help Notes on Etude Music..P. IF. Orem 96 the recommender, without any unpleasant feat¬ conscious Mind” and shown its application to 1 PI Teachers’ Round Table.N. J. Corey 121 FOR THE PIANOFORTE re Avoid bloodiness.Charles E. Watt 122 ure. For the use of subscribers only. practical pianoforte study. This is a timely VOL. IV. JUST ISSUED The Servants of the Brain.Percy Ould 122 article which will appear in the next issue and The Meaning of Applause. .Gustav L. Becker 123 which you will all enjoy. The Young Artist’s Treasure Box, PROFESSIONAL ADVERTISING. Standard Compositions Johannes Brahms 123 Does any sort of professional advertising FOR THE PIANO m Some Suggestions for Young Teachers pay? It seems almost as though a letter just MUSIC THEN AND NOW. received by us answers that question. This The well-known American piano virtuoso, BiKSSa&u m Voice Departmen., teacher has had a one-inch advertisement in Mr. William H. Sherwood, will contrast in the Price 50 Cents Each Edited by Dr. IF. R. C. Latson 12.Y Graded and Compiled by CABINET ORGAN, Organ Department. . .Edited by Gerrit Smith 128 The Etude during the past fifteen months, and next issue musical conditions in Europe a W. S. B. MATHEWS PI Violin Department. .Edited by Robert Braine 130 this is what she says: quarter of a century ago and in America at ^ VIOLIN and ’CELLO Children’s Page. 132 “I want to tell you what splendid results I the present day. This is a patriotic article The Story of Carl Maria Von Weber, m C. A. Broicne 132 am getting from that little advertisement. It which all Americans should read. It is diffi¬ Answers to Puzzles. 132 brings me more answers than anything else. cult for Mr. Sherwood to write without sand¬ A Musical Valentine Party. 133 3 Some Interesting Facts About Beethoven.... 133 “Sincerely yours.” wiching stimulating little thoughts for the Why Little German Children Are Musical. .. 133 The value of the columns of The Etude from student and teacher in every paragraph. This PIPE ORGAN Publisher’s Notes. 134 an advertising point of view are exceptional. article is only one of many excellent features UBS Book Reviews. 135 and VIOLIN Questions on Music.IF. G. Evans 135 There is no other trade or profession that en¬ that will appear in the next issue. Answers to Questions. 130 joys the use of a paper devoted entirely to n The World of Music. 137 their particular line of work that reaches the A WORD OF THANKS. Club Department. 139 IN PRESS Staccato and Legato. 140 number of persons that The Etude does. It is Again we desire to extend a word of thanks for SALE AT LOW ADVANCE PRIi Recital Programs. 142 a conservative estimate to say that this issue SEND FOR BULLETIN m to the very large number of our readers who of The Etude will be read by 700,000 music have been good enough to take time to write LANDON BATCHBLLOR. ^KtadCTgarten MUSIC. lovers. to us and tell us how much they enjoy The & In advertis«^=^ffi_ few considerations are Staccato Polka.... Clara Gottschalk Peterson 97 Etude More than this, we want to thank s S.CHKD SONGS,' Low Voice. Melody of Love (Plano and Violin), necessary, , -definite purpose for the them for working so enthusiastically to make — E. Engelmann 98 advertising,'TitUr of selling something or to others acquainted with the great Opportunities '°fetionnEPERT°IRR .vwaai *- > Valse Courante.E. Parlow 100 Danse Bustique (4 hands!.Wm. Mason 102 bring replies to be worked up by private cor¬ that The Etude presents to all students. One PiP« °rga“ Sweet Memories.Geo. D. Martin 106 respondence, or what might be termed the very Larghetto from the “Clarinet Quintet,” reader says that she once laid a copy of The IF. .4. Mozart 107 usual general publicity, that of making one’s Etude on the table and placed three five-cent Strolling.//. Chretien 108 name and reputation known. March in B Flat (Pipe Organ) .. Jf. Read 110 pieces (the price of the paper) beside it. The Prelude in E Minor.F. Mendelssohn 112 Second, the preparation of copy keeping the comparison in values was ridiculous. THEO. PRESSER Souvenir of Messina.Theo. Lack 115 first idea in view. This is most important. We are even more anxious to know the THEO. PRESSER, Philadelphia, Pa. | Spring Song.H. Tolhurst 116 This office would be glad at any time to assist 1712 Chestnut Sl„ Philadelphia, Pa. Trumpets.H. Doppler 117 shortcomings of The Etude. When you see The Sailor Boy (Vocal).Julrs Jordan 118 in that. Our rates for purely educational use how we may improve any particular depart¬ For Luck (Vocal).Laslett Smith 119 are extremely low. The very basic principle ment will you not be good enough to write OTDIf^S 9 7r|M m PI AMOQ ^ noted, for Purity, Power, and Resonance of Tone; Respon- of The Etude is to further musical education. to us about it? It will help us to help you. A I If ||j£| (ft /rlULtll lrt|1|VU siveness of Touch, Unsurpassed Construction, Workmanship, and Excellence; and New Artistic Designs of Cases.
132d Street and Alexander Avenue, NEW YORK THE ETUDE when addressing our advertisers. - 75 THE ETUDE TH E ETUDE -WANTED- HEW PUBLIC! ONS TO ETUDE READERS ORCHESTRA AND BAND LEADERS Special flREATEST REDUCTIONS PUBLICATIONS OF G. SCHIRMER: NEW YORK EVER MADE ON and piano) 25c ea To A New Two-Step “MY CHARMING MAID” Readers E. T. Pauli Music Co.’s --- '-■> and piano) 15c each. Oesterle’s Instructive Course Drawing Room Favorites of THE “ARCADIA.” “PRAIRIE VIOLETS” and Best Publications “MY CHARMING MAID” A series of progressively arranged Piano Pieces from the for the Piano ETUDE The 3 for 50c postpaid beginning of the first to the end of the third grade. Only We publish the well-known waltzes; A Series of Graded Pieces for the use of Piano Students. 28 Magnificent Marches Wedding of the Roses. Remembrance of Compiled, edited and fingered by Paw Paw, Chimes of Heaven, La Vends, Compiled, edited and fingered by Nothing Better Published Love’s Whisper and Wonderland Waltzes. _ Mr. Sydney P. Harris. Mr. Send for Sample Parts. Harris' style of writing is forceful, dainty LOUIS OESTERLE and convincing. We will mail to any ad¬ I Sen Hur Chariot Race. Universal favorite.50c LOUIS OESTERLE dress in the United States or Canada, post¬ M. L. CARLSON & CO. ..I.wip* £ MUSIC PUBLISHERS Three. Volumes, each about 100 pages. paid, any of the following compositions at Dawn of the Century March. Latest and bestmarch..50c the special rate of two-thirds off the reg¬ Couauerer March Two-Step. Flue bass solo..50c 1132 Masonic Temple, CHICAGO, ILL. Four volumes, each about 100 pages. ular price, as follows: Ice Palace March Two-Step. Bright and b. UHant..50c Price each, net, 50 cents A SOc piece for 17c Murdt Grutt March Two-Step. Special good swing..5oc N'. Y. and Conej Isle Cycle. Fine bass solo.50c Price each, net, 50 cents A €Oc “ “ 20c A $1.00“ “ 34c ¥Se JoUyfBlac^wnp2^Vhe newmidibit?.'.'.' '.50c These pieces, not excluding those for beginners, are “show Romance—Piano Solo, Gr. 4 j Key Dfiat. Price, 60c The work of selection in this graded “Instructive Course” 1 —Violin and Piano “D “$1.00 pieces” in the best sense of the word—pleasing and attractive. “ —String Orchestra “D “ $1,00 We’ll^sSmd by the Flugf Fine martial — has been entrusted to Mr. LOUIS OESTERLE, a teacher of The compiler has selected each with a special purpose in view ody?» : _ 7he»“ei* great practical experience and recognized authority. The vol¬ Th"9Mldi?l*htFlyer.'V°Th^?eat riurSdmiLol,...... 50c and has devoted great care to the choice of numbers widely umes represent the best music by the best composers, who have varied in character and in style. All major and minor modes contributed to the literature of these grades. Beginning with The following numbers are fine parlor com¬ are represented; the fingering is everywhere fully given. positions, unexcelled for teaching. Grade 3. the ‘elementary grade (in the easiest possible five-tone forms) Throughout the dominating thought of the compiler has been Regular Price, 50c. SPECIALto Etude Readers, 17c these teaching pieces are arranged in systematic progressive Soulful Eyes—Novelette. A pleasant flowing composition to provide the pupil with music that he will enjoy playing, in order to the end of the fifth grade. Stress has been laid on tune which his technical development will be furthered uncon¬ MjmGuardian Angel-—Reverie. Chaste and refined. and rhythm. There is not a single number but will please the sciously, and his musical sense and appreciation aroused and SEE OUR SPECIAL PRICES pupil while developing his musical intelligence. stimulated. Any slnglecopy, 20c.; any 4 copies, 60c.; any 6 copies, 80c.; any 8 copies, $1.00; II Will be sent for examination. Will be sent for examination. you mention THE ETUDE, and your money Catalogue back, if not more than satisfactory. id Instru- Daisy Doyle. A pretty melody on the Irish order. * MUSIC Address all correspondence to the Publishers
it SPECIAL PRICES, will be mailed The Sydney P. Harris Co. anyaddn DETROIT, MICH. E.T. PAULL MUSIC CO/ THE ALBRIGHT MUSIC CO., 195 Wabash Ave
NOVELLO PUBLICATIONS free to A Handy Pocket Ledger SENT ON APPROVAL NEW SONGS TEACHERS For Keeping Correct Accounts With Pupils; SOME SUCCESSFUL SONGS - byDi - An Invaluable Time Saver. HUMOROUS QUARTETS SECULAR Ugh. We will mail the above COMPLIMENTARY upon receipt of TEN (10) CENTS for a copy of MEN’S VOICES EDWARD GERMAN, Rolling Down to Rio, (words by Kipling), (baritone) A CATALOG The Black Cat Band .... Vane .10 Merrow Down, . . . ( “ “ << V (medium! Comprising a Five Short Encores . . . Cartwright .12 The First Friend, ..(“•• «« <’/ ‘*1 THE DYING SHEPHERD carefully The Tale of a Dog .... Geibel .10 SIR EDWARD ELGAR, Pleading, (Three keys) . } How Much Wood would a Wood¬ In Moonlight, (Three keys) By the famous EDUARD HOLST selected list of chuck Chuck .... Linders .10 singable and The Early Bird.Heartz .12 SETH BINGHAM. A„ <>»'“' composer of “ Dance of the Demons,” etc. Carefully fingered, phrased and pedaled. We make melodious Isaac Ben Moses.Geibel .10 INTRODUCTORY OFFER! this liberal offer that you may become acquainted with this composition and appreciate its value as a Nonsense Medley .... Macy .15 3rd grade piano piece that your pupils will practice and enjoy. No more than one copy at this price postpaid, if you msntion “THE ETUDE” to a person. This offer for a limited time. QUARTETS HUMOROUS QUARTETS ALICIA A. NEEDHAM, Songs for Soldiers, fiW k..'.V ' ' ' M. WITMARK & SONS MIXED VOICES AND DEP’T T 48 WITMARK BUILDING, NEW YORK The Village Choir .... Wilcock .10 Don’t Stop to Think . Geibel .06 King Bell and Ding Dong Katie .10 S. COLERIDGE-TAYLOR,'As*l'he,Moon^s1oH^SI>ler|Cdouc, (C^ i CHORUSES Lullaby Up-to-date Geibel .10 Eleanor, (Two keys) V * Ye Catte Smith .10 Onaway, Awake, (Tenor) | AMERICAN GRAND TRIUMPHAL MARCH. for Mixed, Male The Cakes of Pan Geibel .12 and Women's The Mouse . Stone .12 SACRED By LOUIS A. DRUMHELLER, dp. 66. Voices will F. E. WARD, Let not your heart be troubled, (Tenor) be sent Twilight Murmurings HUMOROUS QUARTETS D. STANLEY SMITH?RUoUoutn00,Song’to(oar!tt0,!^r ’ i ’ ’ WOMEN’S VOICES F. L. SEALY, Light of Light, (Soprano) S God, (Two keys) What the Pussy Cat Did Corliss .10 HORATIO PARKER, clmXT^L’, (Soprano): . ! ] . . . stamps by FREE The Early Bird .... Heartz .12 EBERLE MUSIC CO. The Black Cat Band . Vane .10 86 West Avenue BUFFALO. N. Y. (on application) Pussy’s in the Well Nevin .10 /VC. MARKS, Dawn ofEast”^ (T w*o s)f to any address. When Malinda’s got the Mis’ry in her Hed . Geibel .10 CALAMARA^Ave M^ia (cT'enor'oi^S1^ 1 — ^ Don’t Stop to Think . Geibel .06 HARRY ROWE SHELLEY, Cro sW tb-RPL. Brehm’s Monthly Bargain The Mouse. Stone .12 W. COENEN, Come unto Me (Thref ke! ?ar’ (Cont’ or Bar-) • • nd variations in 3rd D.PUGHE-EVANS,LeadKindlv L^ht yrV ’ \. . ' This music mil be sent approval to anybody G. W. TORRANCE, 1 „ the R^io^Sop^ T 1. anywhere. Your regular discount allowed, plus postage. Sr-BliS £ TonoO : BREITM BROS., Erf S.A ; looSoooooooooooSoo gggggg ggggggggggg WHITE-SMITH MUSIC PUBLISHING CO. COPIES SEN', Q„ APH.GD.y he above is an excerpt of a march by Louis A. Drumheller, easy, full of harmony, and under inds. Will sell for a limited time at 1 O cents, or BOSTON NEW YORK H. W. GRAY CO., NEW YORK~ a American Grand Ti...... C SORORITY 62 £i 64 Stanhope St. 13 East 17th St. Pride of the G. A. R. (S_.,.March. $0'§- The Three Pieces U MAZURKA OR 3-STEP. By Chas. E. Roat NOVELLO & CO., Ltd Eents ,ar A Dream of Mother (Aria pathetique).. Postpaid for 25c >n THE ETUDE when addres LONDON DRUMHELLER BROS., 107 North Second Street, HARRISBURG, PENNA. 6 Please mention THE ETUDE when addressing our advertisers. 76 THE ETUDE THE ETUDE 77 Sprinq Recitals J U S I PU Ul-lsnCiW* The “PftPTPAIT” Series New Practical PRACTICAL of Vocal Albums Publications Kindergarten Method of Music SPECIAL OffER TO $1.00 = $1.00 Teaching Helps By CHARLES W. LANDON and DANIEL BATCHELL0R EDUCATIONAL PIANOFORTE TEACHERS AT ALL TIMES a Portrait of the Composei WritingPrimerforMuskStudents A Complete, Concise Treatise on the Teaching of Music to lohr album B00SEY & CO. M. S. Morris PUBLICATIONS : AYLWARD ALBUM A primer giving writing exercises Young Children. The Result of Years of Actual Experience in be done separately from the book, -OF - KICUU ALBUM TKAINIV LAMBERT ALBUM paper or music tablet paper. We wot the Daily Teaching of Little Folks. recommend Clarke's Music Tablet. T Price, One Dollar Net, Cash, Each beginner is taught the rudiments THE JOHN CHURCH CHAPPELL & CO., Lid., 37 w. urn sr.. NEW YORK Margaret Anderton’s music by writing the exercises, l’rlc This is the first work published with whi h the music teacher can do Music Cards kindergarten work; the first published book where kindergarten principles COMPANY For use by students and teachers— Clarke's Music Tablet a simple and rapid means of learn¬ have been scientifically applied to music for the use of the young child. CINCINNATI . . NEW YORK ing all musical notes and facili¬ This method is a great work, far in advance of the “ Songs and CARSE FOR PIANOFORTE tating rapid sight reading. ;rt E. Carse Price, 40 cents, net work is the result of an experience of tweniy-five years of music *nd ILLUSTRATED BY PHOTOGRAPHS and accurate) For the Kindergarten dergarten teaching. This book will place in the hands of the intell:gent pian [st7 Price'$2.00 po.tp.id to any fddre« C°nCe' Sweet Songs for Sweet Singers By Margaret Anderton 7 as in any other f CARSE TECHNIC PUB. CO., Los Angeles, Cal. Twelve songs for
E QUARTETS. Octavo YOUTHFUL DIVERSION . Heyser 10c HU Shine Attams 10c The B. F. Wood I
246 Summer St. 6 East 17th St. will be in every way to t BOSTON NEW YORK ing sonr * n or traditional ch NEW WOMEN’S QUARTETS. Octavo 12 Rathbone PI., Oxford St. Konigstrasse 20 melody i Merriest Girls of All - - Adams 10c LONDON, W. LEIPZIG ilody. ^It may be^regarded Sweet Twilight - - - Heyser 10c The Runaway Goosie (trio) - Heyser 10c Price, SI.00 net “Tunes and Rhymes for the Playroom,” and it Hear the Streamlet’s Son e (trio^Adams 10c Melodious Five Finger Advance Offer: Jvhee rdVoduce adnd"niy£iyn7oium\Vo7r TuT of Their Publiceti and in it both y< FILLMORE MUSIC HOUSE 2 CHESTNUT ST., Studies in Duet Form Suggestive Studies for 41-43 Bible Hoc Designed to student by easy stages to the spon¬ taneous perception of rhvthm of THEODORE PRESSER melody and of harmony as well as to the necessary training of the PHILADELPHIA TEACHERS 11 TEACHERS 11 fingers and hands. The pans as¬ signed to the pupil provide mateiial SCHOOLS. CONVENTS, AND CONSERVATORIES OF for individual technical practice The First Study of Bach By A. K. VIRGIL: MUSIC The Latest English Eg Virgil Method—Foundation Exercises LittleGirl in Red ARE SUPPLIED WITH EVERYTHING NEEDED IN THEIR WORK r--r:r BOOKS I and II, Each $3.00; Cloth 25 cts. Extra STEP BY STEP-A Text Book in Pit PROMPTLY - ECONOMICALLY - SATISFACTORILY ..... Players and Students. By THEO. PRESSER. PHILADELPHIA. PA. Mary of Allendale EDUCATION IN MUSIC-A Book f„.
The unique but reasonable methods of the music years as a publisher, have revolutionized supply house of THEO. PRESSER, the out¬ the music-deading trade.
growth of his intimate knowledge as a teacher vill pay every one interested in any manner to 1 wo KeYs- Price, 60 cents 3H TH EDITION investigate at first hand the liberal system and of their needs, and perfected during twenty policy followed by this house in its efforts to_ hC BvBy rKKathariney.Ptx Songs of Ireland T RyH- Harty Price,S1.50 Equipped FOUrBBy?M M.C D.ne Babcockd SOI1 D9 DS For Medium Voice. JF^ce, SI.00 Published by THEODORE PRESSER. 1712 CHESTNUT STREET. PHILADELPHIA "77* boosey&co. THEO. PRESSER 9 E‘ 17ih s<- NEW YORK Philadelphia, Pa. CARL FISCHER, CoN°Epw vs^k e 3n the ETUDE when add 1 THE famous picture of Beethoven, which has sidered a desirable road to competence or fame. THOSE who take an interest in remarkable coin¬ been selected for the cover of this issue, re¬ This is especially true of comic opera. The actor cidences will note that in the year 1809 some veals a side of his character which’stands places himself in the hands of a stage director, who of the most famous men of the last century preeminent—his almost abnormal love for nature. at once makes the player acquainted with the fact were born. Birth is probably the least significant In Vienna there is a little brandy shop which now that he is under discipline more rigorous than part of man’s existence. The years of hard battle occupies the house in which Beethoven wrote many that of the military academy. The actor is not to accomplish great things are cast arside to cele¬ of his immortal works. The jovial keeper in pilot¬ supposed to have any intelligence other than that brate the day of a man’s birth. Nevertheless, it is ing tourists through the house says, when coming sufficient to obey the rule of the stage director. somewhat astonishing to find that all of the following to one room, “Some people call this Beethoven’s After weeks of long and tedious rehearsals, often statesmen, scientists and art workers were born in study, but if you want to see his real .study look lasting way into the night, and during which he is that prolific year, 1809: Gladstone, Lincoln, Darwin, out of the window.” Out of the window one sees a only paid by advances upon his future salary, for Tennyson, Poe, Mendelssohn and Chopin. (Some beautiful pathway leading to a wooded hill and which he is obliged to “touch” the manager, the authorities insist that Chopin was born in 1810.) thence to the inspiring country beyond. Probably actor goes en tour. During the first two weeks he How different this merry old world would be if these great men had never been born! What would no other composer made such continual efforts to is often informed that he will he paid only half music be without the master works of both Chopin get close to nature. His daily walks into the coun¬ salary. He arrives at the theatre, and often finds and Mendelssohn? Handel and Bach, the two great¬ try were regularly pursued during his entire lifetime. that he will be obliged to dress in a horrible, little, est composers of their day, were both born in 1685. Mr. H. E. Krehbiel, in his excellent collection of ill-ventilated, dirty hole. Sometimes he may find a Wagner and Verdi, the masters of modern opera, quotations from Beethoven’s writings, devotes a really comfortable dressing room, but more fre¬ were born in 1813. Another unusual coincidence is whole chapter to the subject of Beethoven’s “Love quently it will be like a' kalsomined bath-house, that many of the most widely circulated magazines of Nature.” Among these are the following fine located in the cellar of the theatre. Here he smears and newspapers of the present day were founded in lines: “How happy I am to be able to wander his face with dirty grease paints, and then has the the year 1883. The Etude may be included in this among bushes and herbs, under trees and over privilege of cavorting before an audience during the list. rocks; no man can love the country as I,love it. next three or four hours. One may as' well try to Woods, trees and rocks send back the echo that man become a surgeon by apprenticing himself to a HOW do you like being placed in a class with desires.” “My miserable hearing does not trouble butcher as try to become a famous operatic singer freaks—near'that of the idiot? Not a very me here. In the country it seems as if every tree by entering a comic opera chorus. comfortable position, is it? Read what Pro¬ said to me:. ‘Holy! Holy!' Who can give complete It is we.ll for teachers of music to realize that fessor W. I. Thomas, of the University of Chicago, expression to the ecstasy of the woods. O! the in advising their pupils to take the stage as a career says, in the December number of The Amefican sweet stillness of the woods!” “When you reach they are urging them to enter a life that any unbiased Magazine: the old ruins, think that Beethoven often paused observer will describe as an extremely undesirable “Particularly endowed brains also unquestionably there; if you wander through the mysterious fir • existence. Even when stellar honors come to reward do unusual forms of work, as i2 the case of musi¬ forests,- think that Beethoven often poetized or, as the actor who climbed up the rickety ladder of cians and mathematical prodigies, but this particular is said, composed there.” “Nature is a glorious theatrical fame, he is confronted with a homeless, endowment is not necessarily associated either with school for the heart! ’Tis well, I shall be a scholaY nomadic life of eternal appeal for that most fickle of great brain weight or with great all-around intelli¬ all things—Public Approval. in this school and bring an eager heart tq her gence. Musicians are among the most unintelligent instruction. Here I shall learn wisdom, the only of the professional classes, and mathematical ERSONALITY plays a most important part in wisdom that is free from disgust: here I shall learn P prodigies (that is, ‘lightning calculators’) are in the success of every- man and woman. We other respects usually near the class of idiots—their to know God and find a foretaste of Heaven in His frequently hear people say, “I like him. I whole output is mathematics.” knowledge. Among these occupations my earthly don’t know why, but I like him. He convinces me Shall we, musicians, rage and fume and declare days shall flow peacefully along until I am accepted and I trust him.” A pleasing personality is a great that college professors are as a class educated fools, into that world where I shall no longer be a student asset for the teacher, the student .or the virtuoso. or that experimenters in psychology are biased ob¬ but a knower of wisdom.” It is quite easy to count many visiting performers servers of real life? Rather let us look into Pro¬ Think of these elevating thoughts. Do they not who have failed to win American dollars solely be¬ fessor Thomas’s statement more critically and con¬ bring you nearer to a proper conception of Bee¬ cause they were unable to please personally. A servatively. Unfortunately it is partially true. It thoven? If you would learn to interpret the words of great poet has written, “The face is the mirror of is likewise unfortunate that it is at the same time the great master, you must listen to “the echoes of one s personality.” Who you are and what you do very incomplete. It may also give thousands of the woods, the trees and the rocks.” are written clearly in your countenance. This is one people an entirely erroneous impression, which in of the reasons why portraits are of such interest some cases might prove disadvantageous to the EACHERS of music, especially teachers of T to students. For this reason we are inserting a page musician. The American Magazine, as a champion of voice, frequently have parents come to them of portraits in another part of the journal. These fairness, owes to the musicians of this country an for advice about the stage as a career. Just are so arranged that a teacher can cut them out explanation of Professor Thomas’s shot-gun state- why. musicians are supposed to know anything of and use them in her educational work in clubs, or in the inner workings of the theatre is not given forth. making scrap-books for children, or by putting a Professor Thomas might easily point to the case The chasm indicated by the footlights, between the composer’s portrait on the fly sheet of one of his of “Blind Tom,” whose total idiocy no one could orchestra and the stage itself, is as deep and as wide compositions. Accompanied by a concise biography, as the Grand Canon. Nevertheless, the music question. We have also known personally a musi¬ they have an educational and journalistic value en¬ cian in a German city who was undeniably of a teacher, who in many cases has never been behind tirely apart from the above method of using them. the proscenium arch more than a half dozen times, very low grade of intelligence. So proficient as an We should like to know the pleasure of our readers orchestral performer was he that the leader of the takes it upon himself to advise the young aspirant in the matter of continuing this feature. If enough for histrionic fame. court orchestra assured us that he was an invaluable readers take the trouble to write approving of the There are men and women upon our American aid. He could play from memory long passages plan we shall be glad to continue it, otherwise it from the Wagner music dramas, and had accom¬ stage to-day who are as noble, refined and intelligent will be discontinued. You can help us immensely as the best of our citizens. But, leaving out all panied the performances for years. He was never¬ by taking an interest in matters of this kind. If theless unable to recall anything of Wagner’s question of the possible immorality accompanying you feel that this feature is of advantage to you the lives of some actors, the stage can hardly be con¬ “Dramatic Legends,” and seemed to have been in your work just drop us a postal and tell us so. oblivious to everything that had ever happened upon THE ETUDE 81 80 THE ETUDE (a great loss to the liquor tax, said the town offi¬ . considered Tschaikowsky not really national, hve c° lslde that he used fewer folk-tunes than cials) and better days began for the young genius. the stage. It is to cases such as these that Pro¬ Foang-Hoang, or sacred bird. The notes of the It ,s quite h.s pathetic symphony thrills the In Vienna, Beethoven often made himself objec¬ fessor Thomas undoubtedly refers. He might as male bird corresponded to the black keys of the piano, tionable as a lodger, because of his careless habits th.?yi dworld while many of their fantasies on Co.=- well have said, “The piano-playing machine is un¬ while those of the female followed the white eys, The Masters and Their Methods during work. He would declaim loudly about the intelligent because its gray matter consists solely and as everything feminine was regarded as unim¬ Whw„nes fail to cross the Russian border. From S1, this let us be of good, cheer; for we may all beauty of neatness, while his room was littered with of rubber pneumatic tubes.” portant in China, the scale of the male bird was loose music-sheets, stale cheese, and remnants of a We would like to acquaint Professor Thomas with become great American composers without being By ARTHUR ELSON adopted. dozen feasts. Still more unconventional was his the fact that the successful musician of to-day must doomed to wait for the much-discussed Amencan A good idea of the rhythmic character and fie- habit of pouring water over his wrists in intervals of of necessity be a person of wide experience, liberal quent iterations of the Chinese music may be ob¬ school. education, broad purpose, high icftais and keen in¬ composition; for he displayed a sublime disregard tained from our own song, “There is a Happy Land, FREDERIC DELIUS. for the welfare of the ceiling in the room below. telligence. Far, Far Away.” The Japanese national hymn is To the uninitiated the art of composition may numbers. But making due allowance for this, Anyone who has had the pleasure of knowing Beethoven worked with the utmost care for details. another example of the pentatonic scale, beginning An English writer gives information about seem to be something fearfully and wonderfully Handel was still a man of remarkable activity. men of the type of Stephen Emery, Dr. Geo. A. His life, offers an excellent illustration of Carlyle’s and ending on the second degree, like one of the Frederic Delius, who is now -making such rapid Unfortunately we cannot always say that Handel’s Root, Prof. Hermann Ritter, Macdowell, Paine, made; and, in fact, the composer who creates beauty saying that genius is a capacity for taking pains. He old Grecian modes. Most widely known, of course, advances in international fame. Delius was born musical ideas were fully developed in his own mind Foote, Clarence Eddy, Paderewski, Joachim, Sir where nothing existed before is entitled to the same would polish and repolish his music, altering a note hi the Yorkshire borough of Bradford, but is of before he put them on paper; for very often the Hubert Parry, Richard Strauss and William Mason, are the beautiful Scotch songs. Although the later respect as the much-praised agricultural gentleman, here and a phrase there, until his works finally grew German parentage. The writer therefore declines to representing various branches of musical endeavor, ones often used scales of six or even seven tones, who makes two blades of grass flourish where one ideas came from the brains of others, and were into the models of expressive power that we now claim him as an English composer, alleging, in sup¬ will realize how extremely absurd and unjust Pro¬ they all derive their best effects from intervals that grew before. He is like the inventor, who evolves adopted by him with alarming frequency. This habit know. In their first shape his great compositions port of his stand, the Irishman’s question as to fessor Thomas’s general statement is. The work belong in the five-noted scale. something from his own brain; but there is much of plagiarism earned him the title of “The Great were often merely groups of detached themes in his whether he would be a horse if born in a stable. of these men indicates keen mental powers, wide Very expressive in passages of sorrow and lam¬ mechanical work for him in giving his invention a Robber;” and a full account of his peccadilloes may ever-present notebook. With this in hand he' would information and broad grasp. If Professor Thomas entation is the Hungarian scale. This can be We may add that Delius was born in a -borough." be found in a recent .English work entitled “The often spend hours in a natural seat in a tree at but is not therefore a rabbit or a mole. tangible shape. and those who agree with him will take the trouble made fr.om our scale of A minor, by including I) The first really studious composition to have any Indebtedness of Handel,” written by Sedley Taylor. Schonbrunn, just outside of Vienna. It was here, At the age of twenty, Delius went to Florida, to read the articles by Mrs. Bloomfield-Zeisler and sharp, F natural and G sharp. The so-called whole- lasting effect on the music of to-day was due to the This borrowed material, however, can represent in the open air scented with the meadows, that some Emil Sauer, in the Christmas issue of The Etude, tone scale of D’lndy and Debussy may not claim where he lived on an orange plantation, and spent only a tiny part of the composer’s actual work; and of the world’s greatest music had its inception. much time in composition. Three years later he contrapuntal schools. In their earlier stages, espe¬ they will, we believe, discover evidences of an in¬ a very definite existence' yet They have used it even this small amount was usually much improved began a period of study at the Leipsic Conservatory. cially in the Netherlands, we find composition almost telligence that any professional man or woman somewhat, but do not write long harmonic passages by his treatment. When accused of purloining SCHUBERT A NATURAL MELODIST. Since then he has married, and lived for several wholly mathematical in character. Counterpoint is might be glad to possess. in it; and when they do, the public will probably another man’s theme, he once replied, “That pig Schubert was the reverse of Beethoven—rapid in years in the environs of Paris. The occasion for the art of writing note against note, or supporting wish they hadn't. doesn’t know what to do with such a tune.” And his work, but almost never revising. His speed is this brief biography was the performance of his melody by melody, instead of by harmony or chords. N past years musicians were not expected to in his great oratorios, written at an age when most shown by the well-known story of his composing I cantata “Sea-Drift” (Im Meerestreiben), at the It was best adapted to vocal music; and we find the have any training other than the special work men retire from active work, he showed a zeal and “Hark, hark, the lark” in a restaurant. A friend Sheffield musical festival. He became known by his earlier writers reveling in more or less intricate leading to fine technical performance. Two arrangements of the voices. Especially was this enthusiasm that deserve the highest praise. “All showed him the poem, and in about twenty minutes centuries ago they held menial positions as did sur¬ ' “Appalachia,” for orchestra, but the writer consid¬ true in canon, where the same melody was found in heaven and earth seemed to open before me,” he the song was completed on staffs ruled on the back geons and poets. Notwithstanding thsir genius and ers “Sea-Drift” and “A Mass of Life” to be his best each voice, as in a round or “catch.” The “crab” said, in describing his sensations during the com¬ of a bill-of-fare. labors for civilization and humanity they were sup¬ works. The cantata is a series of sea pictures, with canon, for instance, was one that could be sung position of the great “Hallelujah” chorus. But he who is quick to create may be quick to posed to be inferior to men who, although idle, in¬ no very definite plot, but a great deal of very definite backward as well as forward; and other forms Haydn passed a large part of his career in the forget. Schubert once lent a batch of manuscript competent and not infrequently diseased, were ab¬ musical beauty. In all his work Delius shows a comparative quiet of the household of Prince Ester- surdly supposed to have a divine right to rule their harmonic luxuriance that is truly remarkable. were started in the middle and sung in either direc¬ songs to his friend VogI, which the latter transposed. tion, or treated in other devious ways. In later hazy. Socially his condition as leader of the Seeing one of the copies a week or two later, Schu¬ Prince’s orchestra was not much to boast of. , The Gradually came the great awakening. Musicians times this strict formality gave way to (or was bert played it over and then remarked, “That’s not MAKING MUSICAL HISTORY. united with) a more melodic style, and the motets, salary was none too princely, and the continuance bad; whose is it?” found out that a broad, general education made a of the band was often in doubt. Its chief was little broader man and ofttimes a better musician. The In Germany, the critics are not supremely happy masses, and more secular madrigals that resulted are Schubert was undoubtedly the greatest natural sung and enjoyed even now. Especially is this true better than an upper servant, and for many years melodic genius that the world has ever seen. In Etude has continually urged the necessity for a at the production of “Eugene Onegin.” Die Musik was addressed as “Er,” in the third person, like the solid, “all around" educational training for musi¬ thinks that its structure is antiquated when com¬ of the works of Orlando di Lasso and Palestrina, the his youth his teachers all agreed that they could great masters of the Flemish and Italian schools. ordinary household retainers. But at least his time tell him nothing that he did not seem to know al¬ cians. It is necessary to specialize in music, but pared with the music-drama, and expresses sym¬ was largely his own, and he used it to good purpose specializing at the sacrifice of a broad, general edu¬ These two men are said to represent the climax ready by instinct. Afterwards his friends would pathy for any young composers whose works may in developing the symphonies, quartets, and sonatas cation may easily result in turning out the kind of of the contrapuntal schools; but in reality the poly¬ urge on him more thorough study, to supplement have been crowded out by its performance. An¬ that have made his name famous. a musician that Prof. Thomas places in a class near other foreign work to be heard in Germany is phonic style, kept alive by the organist—composers his melodic gifts, and would cite the example of of the Protestant Churches in Germany, reached its that of the idiot. “Job,” by our own F. S. Converse, which was well MOZART’S REMARKABLE GENIUS. Beethoven. In his great C major Symphony, Schu¬ This class is becoming smaller and smaller each received at Hamburg. Among native novelties. culmination in the works of Bach. The consummate bert showed something more than is found in his Mozart affords another example of great natural year. Let us not transgress by prosecuting our Bernhard Seckels, known by his serenade for eleven genius of Bach showed itself early, and he was barely purely melodic utterances. He had arranged, too, genius. We read of his precocity, and his playing educational zeal to the point of the academic dry¬ solo instruments, has now completed a symphonic out of his teens before his wonderful gifts became for a thorough course of counterpoint, with Sechter, with his sister at several of the European courts; but ness and dullness that some of our university en¬ poem, “The Garden of Semiramis.” Waldcmar von known. Men of age and experience gave him their but his early death prevented this and undoubtedly the same early development is shown in his composi¬ thusiasts mistake for artistic finish, but let us all Baussnern’s “Jugend” symphony was well received, homage, and rejoiced that the noble art of counter¬ deprived the world of many masterpieces. tion. Mozart had actually had some sonatas pub¬ join in the fight for bigger, broader, grander men while Yolbach’s B minor work in this form con¬ point had found a new master, and was not to perish lished at the mature age of seven! All through life and women in the field of musical art. tinues its successes. Pfitzner's music to Ibsen's from the earth. LATER COMPOSERS. he gave instances of the utmost facility in composi¬ Fest auf Solhaug” is to be heard at Weimar. Weber was another composer who was doomed BACH’S FACILITY. tion. At ten, when the Mozart family were being “Mise Brun,” opera by Pierre Maurice, aroused en¬ to hard work during youth. His father wished to dined by the nobility at Munich, Wolfgang wrote, REVIEW OF EUROPEAN MUSICAL thusiasm at Stuttgart, under Schillings' leadership. The most striking feature in the case of Bach have for a son a boy prodigy of the Mozart type. a little piece between the courses, to entertain the •ARTICLES. Bruch s Gustavus Adolphus” won a well-earned was the ease with which he improvised. At present company. A year later, visiting the monks of Selon Weber did not satisfy these exalted expectations, triumph at Upsala; and it is a pity that his heroic we admire his works for the truly marvelous skill Frederic Delius. and hearing that they needed an offertory, he wrote but he gained valuable experience in traveling about BY ARTHUR ELS0N. cantatas are not heard oftener in America. with which real musical feeling is blended with the it for them at once, with paper laid on a window-sill. with his father’s theatrical troupes. His knowledge utmost intricacy of structure. The exquisite tracery of stage effect, united with his use of the German “NATIONALISM IN MUSIC.” The statement that Nikiscli is to lead the per¬ In Italy he showed his power of memory by writing In the Revue Musicale, Maurice Gandillot finishes formances of the second Ring at Bayreuth, next of his delicately wrought fugues has been unequaled, down, from one hearing, all the parts of a Miserere folk-songs, did much to insure the immense national a set of articles on the scale. This is a subject of Iii the Signale, Dr. Leopold Schmidt writes on summer, reads a Iitt]e ]ike a cjrcus , ,,d but either before or since his time. Their beauty of triumph of “Der Freischiitz.” form is as potent as the most grandly planned sym¬ by Allegri. more than historical interest. Although we confess nationalism in music. Of course, the scale is a large means really that Bayreuth will have to be con- Schumann was essentially of the romantic school. phony in making us appreciate the force of the say¬ But the most noted instance of Mozart’s speed in to having only two scales, the major and the minor, factor when it enters in, as it does in some cases g u a ed on the advent of this virtuoso conductor. His youth was that of the average healthy German ing that “Architecture is frozen music.” But Bach’s composition was the overture to “Don Giovanni.” we cannot deny the soft impeachment that we are But frequently it does not come into the discussion at student, tinged with Jean Paul Richter and senti¬ ™ag,n.?r hlmselfr enters a new field, owing to contemporaries and auditors were able to see that The night before the performance had arrived, and occasionally found with more than two in our pos¬ all, for many nations use the same scale for folk- mental philosophy. His best work was done under *a com*c son£» by him. in twelve his unexampled skill was a natural gift, and that even this important piece was not even begun. .After a session. ■ Then there are not lacking composers who music of the most widely different character. Some conditions of happiness, especially after his mar¬ as woB ‘ 1 rTaiM,S t0 be scen if hc will succeed his improvisations at the organ showed the same rest of an hour or two, the composer made his usual claim to be inventing new ones; and the strangeness as well ,n vaudeville as in grand opera. riage. The piano was his favorite instrument. His scales, too, like those of the American Indian, show qualities as his more finished works. preliminary sketch of themes, and started in. With of some of their music would seem to lend proof symphonies charm by their wealth of beautiful ma¬ different intervals from those in ordinary use, and ud his Tvm lerne s “Enfants a Bethleem” follows Bach was too poor to publish his “Art of Fugue” him was his wife, Constance, who, according to her to their assertions. terial, but he was never really at home in the actual cannot form the basis of a school of music. It is in the usual way; so he engraved it on copperplates usual custom, entertained him from time to time by The ancient world was better off than we are. only in those countries where composers can build S.'ZgFE JS'- °Y* e-r* himself. Less famous than his “Well-Tempered telling stories of her own invention. Kept awake by technic of orchestration. He even made a mistake Greece, and her great imitator, Rome, possessed upon the popular style that any really national Clavichord,” which proved the feasibility of our pres¬ these, and refreshed by an occasional sip of punch, once, giving the beginning of his first symphony to seven modes, or scales, one beginning on each note music results^ “C'°„ "■« Me. h., alre.dy pro,,,, ent scale of equal semi-tones, it contains more in the the composer plunged into the task of scoring the the horn when the theme could not be played of our diatonic scale. One of these, of course, cor¬ In this sense, American composers are at a dis¬ way of written instructions. One of the gems of the work, and on the next morning, at seven o’clock, the properly by the open or ordinary tones of that in¬ responded with our major mode, though it was not advantage, for they have not much of real worth work is a six-voiced fugue, actually improvised by completed overture was handed to the copyist. strument. At rehearsal he raised the figure a major third, and it is so written to-day. the most common one. India, in ancient times, was to build upon. The only great orchestral work pro¬ the composer when playing before Frederick the The orchestra for which Mozart wrote was practi¬ vastly better off than Greece. Legends tell that duced as yet is the “New World Symphony” by -«■ * - • Great. With such natural gifts as this implies, the cally the classical orchestra—first and second Mendelssohn, again, was a boy prodigy. He ap¬ peared in public as pianist at the age of nine, and when the god Krishna came to earth he was met the foreigner Dvorak. In England, Sullivan could “Maia.” NaDlesnhfV 86 TH E ETUDE o-enius as champion of the romantic school of music. Schumann, to whom the composer was deeply at¬ here by a series of crisp intricate staccato pas^ges Biindler is the German word for band or company, THE ETUDE GALLERY OF CELEBRATED MUSICIANS tached from her fourteenth year and to whom he for both hands, not particularly melodious, but from Bund which means a league or union It stand, teresting, original and strikingly characteristic. ! as in several other of his works, for a little was secretly betrothed at the time this work was How to use this gallery. 1. Cut on dotted line at left of page A^1S^'j'°t^eS40y uise depictures to make musical scrap books of written. He pays a delicate tribute to her charming band of faithful friends, adherents andl allies oi closely Tlwing the outline of the picture. 3 Use the p.cmres m class work o dub work 4 J by means ,{ hinge on the fly Schumann, who rallied under his leadership around personality in this dainty lyric. The melody con¬ No. 19. AVEU. (AVOWAL.) sists of a little phrase of four notes, constantly the standard of Modern Romanticism and helped portrait and biography by pasting in the book by means of th^h.nge^^™^J5“uSerenat."-MoBkow.kL) __ reiterated, in different positions but with the same Evidently an avowal of love, from the tender bear it forward to the victory which was later sheet of a piece of music by the composer represented. ( Marche rontincate accent and inflection, so as to simulate the syllables pleading character of the music, made under COY r of the name Chiarina. of the confusion and the concealment of the masKs, ^The^PhiliStines, as used by Schumann in his mu,|. in what the Germans call “A solitude for two, cal and literary works, were the enemies of the No. 13. CHOPIN. which is nowhere more complete than in the midst romantic movement, the opponents of progress, the of a crowd where each is engrossed m his own conservative somewhat pedantic advocates of the The next character represented is the well-known fast degenerating classical school. Against then composer Frederic Chopin, for whom Schumann felt Schumann and his associates waged perpetual war- and expressed profound admiration. He has here No. 20. PROMENADE. done an exceedingly clever bit of imitation of the fare and like King David, he ultimately compelled Polish composer’s most familiar and characteristic Again a musical fragment for the band, in the them to pay tribute to his own genius at.d to the form of writing, viz., the Nocturne, in which Chopin mood and movement indicated by the name. dynasty of the Romantic School of Music. Hence excelled all other composers, and by means of which, the significance of the title March of the Davidites in connection with his waltzes, he firs became . . . No. 21. PAUSE. against the Philistines. widely known to the musical world. To emphasize the careless, irresponsible mood of This number is an exquisite specimen of the The name implies a pause in the progress of the the Davidites and their contempt for the conven¬ Nocturne, a tender lyric melody with a certain plain¬ procession, but the idea is not carried out in the tions, traditions and critical standards of the Philis¬ tive undertone and a flowing arpeggio accompani¬ rather impetuous music so designated, and its pre¬ tines, Schumann has woven into the march very ment. It might easily be mistaken for Chopin’s cise significance is not clear. cleverly a quaint old tune of the 17th century, known own work, both as to general mood and details of throughout Germany as the Grossvalerlans (Grand¬ construction. In fact, Chopin’s personality seems father-dance), and a favorite college song at the manifested in it, which of coursp was the composer’s German universities. It was also adopted in this intention. country and is familiar to those whose memories No. 14. ESTRELLA. reach back over half a century, sung to the following Estrella was a romantic name applied by Schu¬ doggerel: mann to Frl. Ernestine von Fricken, a gifted and attractive young lady residing at Asch, with whom the composer at the time of writing the Carnaval was on the closest terms of friendly intimacy. Her tnd Tim Doolan personality is indicated, as well as her participation in the masquerade, by this very winning bit of The accent and rhythm of these words exactly match those of the musical notes. This old tune seems to have been a sort of battle- No. IS- RECONNAISSANCE. (RECOGNI¬ hymn or rallying cry of the Davidsbiindler and ap¬ TION.) pears in several of Schumann’s works. In this Schumann has endeavored in certain portions of march he plays it with a real facetious gusto, pass¬ this work to express not only the general mood ing it about from one hand to the other, now in of the Carnival time and some of the characters playful staccato effects, now in big pompous octaves in the masquerade, but also special emotions and always appearing in a new key when least ex incidents connected with some of its phases. In pected. He seems to flaunt it deliberately in tb this case, for example, the music indicates the feel¬ faces of his shocked critics, in the spirit of pure fut ing of glad surprise arising from the recognition of and bravado. The march closes with a spirited finalt two of the maskers of each other’s identity, the like a joyous defiance hurled at the foe. sudden pleasure of coming in contact with the fa¬ The “Carnival” as a whole presents Schumann's miliar personality of friend or lover in spite of the genius, not in its most profound and strictly musical disguise, in the midst of the noisy, rollicking crowd. aspect, but in its flood-tide of youthful vivacity, of exuberant fancy and fertility of suggestive sym¬ i No. 16. PANTALON ET COLOMBINE. bolism. It is best characterized by the German Pantalon is the harlequin of Italian comedy, a expression Geistreich, for which we have no English fantastically dressed buffoon, the distinguishing synonym, but which means rich in mentality. PORTRAIT 0 1. SCHUMANN, : feature of whrise costume is that trousers and stock¬ The work is replete with graphic realism and re¬ ings are all of one piece. The name is derived from No. 22. MARCHE DES DAVIDSBU NDLER calls Schumann’s own words of his earlier composi¬ the patron saint of Venice, Panta'eqne, and is a CONTRE LES PHILISTINS. tions: “At that time the man and the musician in common one among the Venetians. It is quite (MARCH OF THE HOSTS OF DAVID AGAINST me were always trying to speak at once.” generally used by other Italians as a nickname for THE PHILISTINES.) one of whom they wish to make sport, particularly if a Venetian. Colombine is' the' sweetheart of This final number is the longest and most preten¬ Pantailo'n; and the two characters figure largely in tious of the work and demands special attention as it contains many and varied points of interest. It is the pantomimes of all countries! We are to imagine A society known as the “National Society 0 them passing in' this procession hand in hand. a.bold, dashing and at times humorous composition, Musical Therapeutics,” numbering many well-knowi It may seem to the player of this composition in an almost frivolously jolly mood, written in three- thinkers upon its Board of Directors, has recent! that Schumann, has given quite too much time and four time, to which it is obviously impossible to been founded. Its object is “to encourage tb prominence to the clown in various types. But any¬ march, unless in a sort of hopping, halting fashion, one who has lived through the Carnival season in ^like a man with one leg longer than the other. This of music in its relation to life and health! one of the German Catholic cities knows by experi¬ ’odd conceit has undoubtedly some humorous and While we feel that music is only one of the man: ence that the streets are full, of masked clowns on symbolic meaning which however is not apparent, at things which contribute to health and happiness Mardi Gras, even in broad daylight, and they form least to the writer. the statements made in the announcement of thi the favorite disguise in all processions and balls. The title of this number has a double significance society are interesting. The writer dwells upoi The Philistines, as all know, were a people of e depressing effect of certain songs. It shouli No. 18. VALSE ALLEMANDE. Palestine continually at war with the Jews. King be remembered that this effect is more liable ti David won signal victories over them and compelled e .ue to the words of the song than to th Another number by the band, an old-fashioned Cl Moreover, it is unquestionably true tha German waltz, of a graceful but'rather slow and them to pay tribute to himself and his successors ‘stately character. Again Philister or Philistine is a term which for 1 P-eop e ,finfi a kind of morbid pleasure am generations past has been contemptuously used by • . ■ !*J Pathetic songs that they could not fim , , ■ , No. i8.; PAGANINI. the students of the German universities, to desig¬ the JiE Cr mu,s'c- The effects then depend upo: nate the townspeople and other outsiders felt to hannv Perament of the individual affected. Bright Here figain Schumann has introduced and un¬ be antagonistic to the student life and spirit It was happy nausm might even have what might be terme Ml mistakably identified the personality he wishes to retained by Schumann long after passing his college Deramf-nP CPCt. uPon some naturally morbid ten have pass before our mental vision, by means of years, and has come to be very generally adopted fact that "ti f ls a wc,,-kno\vn and inexplainabl an ingenious imitation of one of the best-known and by the younger blood” among poets, musicians and tries taP, T most sujc'des in all the civilized coun ' diikin'ctive'characteristics of Paganini’s style, both artists, to denote conservatism and mediocrity Per haoniest P,ajj °" bngln days in May and June, th as player arid composer. This celebrated violinist haps Mathew Arnold has best summed up the feel year ’ gladdest, sunshiniest part of the whol was noted throughout Europe as the superior of ing in the following sentence: “On the side of all players of his time in technical mastery of his beauty and taste, vulgarity; on the side of morals instrument, but particularly in the special form of thShemP’- h°wfver’ in th^ joy of music and fee and feeling, coarseness; on the side of mind and agement ‘t P of. music- as an aid in the encou. technic known as staccato bowing. The startlingly spirit, unmtelhgence; this ts Philistinism ” Emerson •jth®1«s,ck’ cannot be underestimate! brilliant,-almost demoniac, effects which he produced The David in the title as used by Schumann is , along this line have never been equalled before one of the allegorical personifications of which h» know“SJe " V*" to * «"*• «*• tion ’ g0 wk«never I wished the abk or since. Hence he is very naturally represented was so fond. It represents Schumann’s creative *3. IS "SSSr «* - THE ETUDE 89 ETUDE 88 THE but, in a limited sense, true—are often manifest in youth and even in childhood. SPECIAL NOTICE TO ALL ETUDE READERS The close observer of child-life will hav*e noticed ___ , _____ ^ accompanied by concise biographies. It w some child in his acquaintance who is endowed with This page is designed to furnish the teacher and the student with portraits of musical celebrities of ‘ahnukf prove a great educational aid. .^e want to SHALL I TEACH? a penchant for explaining things; he is forever pull¬ keep you in touch with the personalities of these famous men and women. Used in the manner suggested jcTUDE kindly write us at once. removi ing his toys in pieces to see how they are made, pleasure in the matter. If you feel that you would like to have us continue this as a regular feature of THEw to continue it. The page mayor may not De remov, how the wheels go round, and, having discovered number of letters from our readers to convince us that this gallery is of real value to them we will be very g > would thus receive during the ? , P postal froinyi By E. M. BOWMAN from THE ETUDE at the pleasure of the readers. Some may prefer to retain the page in the issue The reader wo ^ ^ not fail to let us have a postal trom y< the details of the machine and the “reason why,” he of famous musicians —many of which would be impossible to procure, except by purchasing several dmere articles? Kindly write to-day. _ seems possessed with an irrepressible desire, if he with your opinion. Do you want this gallery or wouid you rather see the same space filled with the cu»toniy^^ be a talkative child, to tell all about it. The inquiring mind and the communicative tongue Shall I teach? This is a big question. It is one simply duty, something due-to-be-done. To go the are two pretty good indications of the embryonic of the most important questions that could be asked. second mile is an expression of good-will, something teacher, and these, I think, may be disclosed in GIACOMO MEYERBEER. It is big with import to the asker. It is big with super-due-to-be-done, an offering of the heart, an childhood. In youth other important traits will MORITZ MOSZKOWSKI. import to those affected by the acts of the asker. ideal. manifest themselves, so that the “call .to teach” if PETER ILJITCH TSCHAIKOWSKI. The famous dramatic composer was If asked at all, it should be answered only after Apply this now to the giving of a lesson. What imperative and promising will, as a rule, be heard Moszkowski was born at Breslau, thoroughgoing consideration, or, to put it more em¬ is to be the purpose in giving lhat lesson? There Tschaikowski was born on Christ¬ born in Berlin, September 5. I79L died early enough in life to enable the one thus called August 23, 1854. His father, a Polish phatically, it should be answered after “meditation is but one proper answer—the imparting of instruc¬ mas Day, 1840, at Wotkinsk, Russia. in Paris, May 2, 1864. Of Jewish fam¬ to properly prepare for his exalted vocation. I be¬ gentleman of independent means, early ily, his real name was Jakob Liebmann and prayer”—and I say this reverently, not flip¬ tion; the diffusion of knowledge; showing another lieve that the teachers who have best served their recognized his son’s tabent. Moszkow¬ He originally intended to become a how to understand or how to do a thing better than lawyer, but eventually studied composi¬ Beer. A wealthy relative made him his pantly; for if a decision to become a preacher of day and generation have had this experience. To ski was taught at home, in the Dresden that one can now understand or do it. Instruction, tion at the St. Petersburg Conservatory heir on condition that he should prefix righteousness is a proper subject of meditation and those who have been called, teaching is a pleasure; Conservatory, and at the Conservator¬ then, is the idea and the very best kind of a lesson under Rubinstein. In 1866 he became the name “Meyer” to his surname. prayer—and we all agree that it is—the decision it is not a struggle, not toilsome. It has been my ies of Stern and Kullak, in Berlin, that could be given, the lesson that would impart an instructor of harmony at the newly- Giacomo is the Italian form of “Jakob.” to become a teacher of music, and all that may be privilege to study with such teachers as Dr. William where later he taught for several He was a pupil of Clementi for piano, included under music, makes the question “Shall the largest possible amount of knowledge and skill years. He made Berlin his headquar¬ founded Moscow Conservatory, a post Mason,' Franz Bendel, August Haupt, Edouard and commenced his composition stud¬ I teach?” one that may well receive like considera- would be the right ideal; not the money earned, the ters, making many tours through Ger¬ which he retained until 1877. Through Rhode, Carl Friederich Weitzmann, Alexander Guil- ies under Zelter, Mendelssohn’s teacher, fame secured, or the immunity from maculate hands. many, and also to Warsaw and Paris, the generosity of a lady admirer, whom mant, Edouard Batiste, Sir Frederick Bridge, Sir but soon left him for Anselm Weber, Granted then that the question is one of great This, too, would be the finest type of an ideal to establishing for himself a high reputa¬ he knew only by correspondence for George Macfarren, Dr. E. H. Turpin" and others, importance, and that an enumeration of the pros pursue, for the reason that t would be altruistic, tion as a pianist. In 1897 Moszkowski some years, he was provided with an tj and later studied under the Abbe Vog- and not one of these teachers ever seemed to be and cons by one who has been over at least a goodly something done for the alter ego, our other self, the moved to Paris, where he now resides. i income of about $2500 a year, which g1 ler, at Darmstadt. Later he went to giving lessons for any other reason than pure love of He is best known as a composer of i enabled him to devote himself entirely g Vienna, and studied piano under Hum¬ portion of the path that will have to be followed other fellow. When a teacher gives such a lesson it. Doubtless they were all glad to receive their salon-music, and few writers of the I to composition. His life was an un- « mel. He had already composed an by the teacher would be of value, the writer of as this, teaching ceases to bo the so-called “drudg¬ honorarium, but this fact was never revealed in the day have a more pleasing style. He eventful one, and was passed partly in 5 oratorio and two operas, but they had these lines, at the invitation of The Etude, will ery” or even work; it becanies play, instead. manner of giving the lesson nor in the amount of seems to possess the special gift of St. Petersburg, partly in Italy, and g not been very well received on account try to set forth some of the main points which The lesson period is then never long enough for time devoted to it. On the contrary, it was observ¬ being able to compose characteristic partly in Switzerland. In 1891 he came ® of the heavy contrapuntal style in should be the subject of reflection by any who are either teacher or pupil; the pupil conies with eager¬ able that these great teachers always took ample music of varied national character, I to New York for the dedication of 3 which they were written. In order to contemplating the career of a teacher. Teaching ness to the lesson, he is likely to be better pre¬ time to fully finish the lesson. That, indeed, was from a Hungarian czardas to the well- the Carnegie Music Hall. He died of ^ correct this fault Meyerbeer went to is a vocation which is truly one of the noblest that pared, the progress is rapid and sustained, the les¬ one of the distinguishing characteristics of the known "Spanish. Dances.” Though his cholera at St. Petersburg, November 6, Venice in 1815, and commenced writ¬ can be mentioned, and worthy the best efforts that son-fee is not too high, the relation of teacher and greatness of their teaching.. Realizing this, they salon-music vies in popularity with that 1893. His music is extremely char¬ ing in the style of Rossini, who was may be exerted. pupil becomes one of confidence and personal always reserved time to do so. They did not over¬ of his distinguished sister-in-law, Mme. acteristic of the Russian temperament, at that time in the height of his pop¬ The principal heads under which, as it seems to esteem, teaching comes to its rightful place among crowd their lesson schedules. though modified with Teutonic ideas. me, this discussion should be conducted are the professions and the teacher develops to a noble Chaminade, he has also written in the ularity. He wrote many operas in this In these days, when 'some teachers in great musical It possesses much fiery energy and is style with considerable success. In I. Aim. larger forms, having successfully pro¬ manhood or womanhood. centers in America, having great vogue, become such duced an opera, Rodbdil, der Mmr-en- highly colored in its harmonic basis 1826 he went to Paris, and it was here II. Aptitude. To show that this altruistic ideal is wholly prac¬ money-grabbers that they give twenty-minute periods konig, Berlin, 1892, the music to and strange rhythms. He is at his best that his greatest success was achieved, III. Acquirements. tical, as well as correct in theory, let us consider at $5.00 per period and chop off the lessons to the Grabbe’s Don Juan and Faust, 1896, and in compositions for the orchestra, commencing with Robert le Diablc. Les If I were a young musician coming along to the this ideal lesson, for a momem, from the pupil’s second, like a butcher lopping off Frankfurters at other works of distinction. He has an thpugh much of his chamber music is Huguenots followed, and many other time of life when the question of a choice of oc¬ point of view.. The teacher has agreed to reserve so much per link, I sometimes wonder which is attractive personality, and in a biog- extremely attractive. There is a strong familiar ones. In 1842 Meyerbeer went cupation presented itself for decision, and I felt a definite lesson-period, at a stipulated fee, for the worth the most, the lessons or the links. “Apt to raphy-h'ft wrote of himself to a friend in pessimistic note in almost all his music, to Berlin -as General Music Director. inclined to adopt the profession of music teacher, exclusive use of this pupil, and this teacher not Teach” forsooth! “Apt to Touch” would hit it off Americajhe describes himself as “a very which is possibly due to his Russian He composed a considerable amount of I would ask myself first of all “What is my aim in only fulfils these lower mechanical conditions but better—or “apt o’ Reach!” tidy, aimiable'man.” ancestry. He was a man of melancholy sacred music though his name is in¬ teaching music?” Is it chiefly to make money; to lifts the lesson itself into ideal conditions; how now disposition and suicidal tendencies. The teacher who had the greatest vogue of any separably associated with opera. make a great name; to make propaganda for some can the pupil pursue’an altruistic ideal? He can do so master who has ever lived, the master of masters, patent system of teaching; to exploit some appliance by being as considerate of the teacher as the teacher the one whose time and strength, because of his to be used in music study; to gain a nice easy living is of the pupil; namely, by learning the lesson in genius and its possible application to widest influ¬ without getting my clothes soiled or my hands be¬ an ideal manner, that is, by ideal practice, the kind ence were worth more than can be easily computed, grimed by manual labor? Or am I moved by a of practice which the pupil knows would be ap¬ namely, Franz Liszt, taught literally without money desire to disseminate the knowledge of true art proved by the teacher; by coming promptly 'to the and without price. He had an independent but and teach the skilful practice of it. lesson, thus not depriving the teacher of any part modest income, enough to meet his very simple CHARLES FRANCOIS GOUNOD. EMMA EAMES. EUGEN D’ALBERT. It is all right, as a secondary consideration of or kind of opportunity to execute his plans for needs, and he devoted a considerable portion of his course, to make money, to work for fame, to propa¬ the progress of the pupil, and not encroaching time to giving lessons for which he would receive no One of the most eminent of French This distinguished American dra¬ Eugen D’Albert was born in Glas¬ gate good (though patented) systems of teaching on the time which has not been reserved for him; compensation. This was altruistic, indeed. Few sacred and dramatic composers, Gou¬ matic soprano was born in Shanghai, gow, Scotland, April 10, 1864. His and appliances, or even to get a living without the by enthusiastic effort to understand and to apply could follow such an example literally, but all could nod, was bom in Paris, June 17, 1818, China, August 13, 1867. Her parents father was a well-known musician in unpleasant features of manual labor; but, to work the instruction given; and lastly, by paying the les¬ copy his spirit and so adjust lesson-fees, lesson- dying there on October 17, 1893. His were American missionaries. At the that district, and was responsible for for the promotion of true art is a very different son-fee with promptness plus a generous apprecia¬ periods and lesson-ideals as to merit the reputation, father was a well-known painter and age of five she went with her mother, his son’s early training. Eugen then and a very much nobler proposition. He or she tion of the teacher’s never-to-be-paid-in-full services. Apt to Teach. engraver; his mother was also very a talented musician, to Bath, Maine. went to London, where he studied com¬ who is not actuated chiefly by this ideal will not Briefly restated, the true function of the teacher, highly gifted, being much interested in After learning the first principles of position under Sir Arthur Sullivan. find the music teacher’s career the beautiful and irrespective of fee, fame or other considerations, is musical, artistic and literary education. ESSENTIALS TO SUCCESS. music from her mother she proceeded Prout and Stainer, and the pianoforte joy-imparting ministry it should be. I call your to give ideal instruction. Now, would this be your Gounod was sent early to the Lycee to Boston, where she studied under under Pauer. In 1881 he won the attention to the emphasis I lay on ideals. I ask steadfast purpose in the event of your deciding in In answering the question, “Shall I teach?” if you Saint-Louis. He was already a .pro¬ Miss Munger. From 1886 to 1888 she coveted Mendelssohn Scholarship, you to weigh every word in my next sentence and the affirmative the question “Shall I teach?” can say that, independent of the rewards in fees ficient pianist. In 1836 he entered the studied in Paris, singing under Mme. which entitled him to study abroad. He then to test the statement until you, yourself, are If you can answer yes, we may now proceed to and fame, you would really enjoy imparting musical Paris Conservatoire. Here he won the Marchesi and stage deportment under proceeded io Vienna, where Richter fully satisfied of its truth or its falsity. knowledge to your pupils, you may safely consider Second Prix de Rome in 1837, and the consider the second of the main divisions of our M. Pluque. Owing to the intrigues was his teacher. Richter recognized yourself a proper candidate. We may next consider Grand Prix in 1839, which entitled him question, namely, aptitude. which surround such business she had his talent, and sent him to Weimar, TRUE HAPPINESS CONSISTS IN THE PURSUIT OF AN the third and last point in this paper, acquirements. t-o study in Italy, whither he went. ! I IDEAL. The Apostle Paul, enumerating to Timothy the some difficulty in gaining a foothold where he studied under Liszt. Liszt The teacher of music should be thoroughly educated. He also went to Vienna before finally on the French operatic stage, but gifts and graces befitting the office of a bishop, says I was much impressed with the young You may apply this maxim to any line of action among other things that he must be vigilant, sober, By that I mean broadly educated in the general arts returning to his beloved Paris. He de¬ eventually was cast for the role of I musician and dubbed him “the young or any relation in life that you choose and it will voted himself to church work, and, in¬ of good behaviour and apt to teach. This expression and sciences, and specially educated in the art of Juliette at the Grand Opera in Gounod’s Tausig,” on account of his remarkable stand the test. A man may saw wood and find it deed all through his life he was pro¬ he uses twice over; St. Paul knew the value of music. The day is past in which a grammar school Romeo et Juliette, succeeding with technic. D’Albert is perhaps the only hard drudgery, but, in the slang phrase of the day, foundly moved by religious sentiment, words and always employed them discriminatively. education suffices for the teacher of music. It has great applause in a role previously sung i man who has vied with Biilow in per- he may “saw wood and say nothing,” thus letting and at times thought seriously of tak¬ £ “Apt to teach” signifies adapted thereto by nature, always been “past,” but people have not recognized by Adelina Patti. She remained in orming the feat of playing five Bee¬ the wood-sawing appear on the surface to be all ing holy orders. While always es¬ naturally gifted in the work of imparting knowledge it. They have seemed to think that if a person Paris for two more years, and then thoven sonatas in succession at a single that he is doing, while the real man, the soul and teemed by musicians, it was not until to another; having an inclination to do so; a could play or sing and “knew the notes” they were made her debut in London, appearing Gewandhaus concert in Leipsic. How- heart of him, is keeping up such “a d-1 of a the production of Faust, in 1859, that tendency to analyze, classify and expound; the, so- entirely competent to “teach music." I have repeat¬ at the Royal Opera House, Covent thinking” that he doesn’t mind the manual labor real success came. During the Franco- -er’ >*.>s n°t only as a pianist that to-speak, “call” or perhaps spiritual attraction or edly heard such opinions expressed. I have heard Garden, in the part of Marguerite, in this brilliant musician has made his a bit. German war he retired to London, Gounod’s Faust. In October, 1891, she drawing-to the vocation of teaching; the inclination persons express surprise that such and such a mark, but also as a composer. He has This is not idealizing wood-sawing, exactly, but where he resided somewhat unhappily, appeared for the first time in New or combination of inclinations which compel one to one “gave all his time to music!” They thought written a considerable amount of it illustrates in a homely way how a superior thought though he did some important work York, and since then has been appear¬ firmly believe that teaching is his vocation. The that he or she ought to work “at some regular thing chamber music, and has not neglected can minimize or obliterate what may be thought to there. He returned to Paris in 1875. ing regularly in New York and Lon¬ distinction should here be carefully drawn between daytimes and do up their music evenings;” music, he larger forms, having several operas be drudgery. In some such way one may invest Probably no French composer has at¬ don during their respective reasons, profession and vocation. of course, not being a “regular thing.” Of course every act in life with a superior or paramount tained so wide a popularity a.s Gounod. with the exception of the season ° _1’S crS?*t> and also some orchestral this was a rural view of musical art, but we are not His work is noteworthy for a loftiness 1892-3, when she appeared in Madrid, The operas which have been thought, an ideal, and so raise that act out of the A BROAD ASPECT. so very far removed from this and kindred notions, attracting most attention at present are of conception, and spiritual ecstacy and the season 1895-6, when she was realm of the disagreeable and up into the agree¬ Some follow music as a vocation; many only as even in the city. In contradistinction to this and all alternating with sensuousness. able. Here is the Scripture warrant for this course. suffering from ill-health. halt K d and “Maffda,” both of which a profession. As Polonius in another connection other superficial views of music, I venture it as my have been recently produced in New Christ said (Matt. 5: 41) ; “And whosoever shall says, “ ’tis true 'tis pity; and pity ’tis ’tis true.” The opinion, that, with the exception of metaphysics, compel thee to go a mile, go with him twain.” To professional teaches because it seems expedient; the there is no study so difficult as music. go exactly one mile because compelled to do so earnest because he cannot help it. I have no doubt For the successful mastery of music there is re¬ leaves no latitude for the exercise of good-will or that the indications of the so-called “born teacher”— quired not only a high order of intelligence, but, in the expression of the heart. To go one mile is a term, which in its large sense is a misnomer, addition to that, an exceptional temperament and THE ETUDE 91 90 THE ETUDE extent the musician deals in emo- MAKING MUSIC PAY. it. To give to a worthy charity, or for a genuine after the business end of every step she made; she and other standard composers of the classical or • Is ffiut here self-restraint shows its value. There emotional endowment. There is further required an benefit, or to please personal acquaintances in a advanced by degrees until at the age of twenty-eight of the romantic schools is generally sufficient to °th; emotion that is to be welcomed and the emo- extremely delicate physical organism; that is, an home, is one thing, and will certainly make genuinely she has more concert, church and oratorio engage¬ give one a good general idea of the characteristics .. that is to be shunned. There is a difference ear that is sensitive to all the characteristics of helpful friends, but to give indiscriminately to whom¬ ments offered to her than she can fill, and is in ad¬ of those writers. Once familiar with these .it e between sentiment and sentimentality True senti¬ tone—pitch, power, quality, etc., and in every sort of So many details enter into the subject chosen that ever has the effrontery to ask is quite another, and dition teaching a class of pupils which would alone comes an easy matter to get at the technic and ment is ennobling; weak sentimentality is mentally combination—and a mechanical sensibility or adapt¬ it is difficult to classify them or treat them in an will not bring lasting advantage of any kind. All furnish her an amply sufficient living. Of course, inner meaning of all the rest. . prmrvating One strives to awaken the finer nature, ability that makes performance possible. The study absolutely logical order. Many students—in fact, this applies, however, more to the student than to the pessimistically inclined might say that in this of mathematics, of sciences, of language, etc., re¬ There is also a literature of preparatory technics, the faighe? emotions in a pupil, but at the same t.me the majority of students, I think—hope, during their the young artist who has really done his preliminary case it was wholly a matter of natural endowment quires intelligence—the use of those faculties which that is, etudes, which must be carefully selected from ' one must decry the spasmodic hysteria that passes earlier study at least, to make money later on as work thoroughly and has served an apprenticeship, and that the pretty voice was the whole secret of apprehend, classify, deduce and apply. the superabundant supply and perseveringly Prac' for emotion in many neurotic young women. The artists, or public players, if you will, including in and it is more difficult to advise the latter as to the success. Having watched this career intimately Music requires the use of the same faculties, and ticed. The Bach Inventions, Tausig’s selected Clem- eacher must keep a hand on the safety valve in this this general term all concert and church work. Many means of marketing his wares. I am confident that the natural voice was but one to an equally high degree. In addition to this, music enti’s Gradus as Parnassum, Chopin’s Opus 10 and matter. As Miss Call says, one must fight shy of ft should be remembered constantly, however, that of three deciding elements. These were besides the involves feeling and execution; that is, temperament 25, and Kullak’s Octave Studies, Book d, cover the others intend from the beginning to be teachers, the “nerve-strain of sham emotions. his personality will have fully as much to do with Heaven-sent gift an unswerving devotion to study in and technic. Mathematics is a science. Music is ground for a student who is talented and ambitious No one is more frequently called to use dis¬ and—truth to tell—these choose the easier path, for unless there is present a positively compelling gift, his success as will his musical ability and his class its most exhaustive and minute details and a charm both a science and an art. As to languages, music to become a superior pianist. The studies by crimination than an educator. Rules and regulations room preparation. Geniality and a whole-hearted of personality, both natural and acquired, which is the language of languages, the language of the Loeschhorn, Op. 84, 65, 66, 136 are useful to those are well_as bases for action, but frequently a de¬ the road to success via the concert stage is a thorny one, and few there be who travel it to the success and sincere interest in the work of your fellow-man, made friends' everywhere and which was never sub¬ Soul. All that pertains to dramatics or to poetry less gifted. The Bach Inventions thoroughly mas¬ parture must be made from strict methods and rules which, like the rumored pot of gold at the end of and of the world in general, will put you so in touch ject to moods and tenses, but was as invariable as is comprehended and surpassed in music. The tered in the original keys and transposed to other to suit the necessities of an abnormal pupil. , Lecky the rainbow, seems surely to be there, but which is with conditions as they really exist that you will the day itself. study of every science and of every other art pre¬ or to all other keys lay a foundation in discrimina¬ dwells on “The importance of compromise.” The nearly as elusive. be ready and capable of doing your best whenever The same devotion to study, the same care of pares for and leads up toward music. Hence the tive touch and polyphonic playing which is un¬ practical suggestion here is to suit methods to pupils. musician should have a broad general education. He equaled by any other course of study that I am able In a late issue of The Theatre Magazine Maxirae El¬ opportunity offers, and of maintaining any advantage business detail and the same determination to be needs mathematics and other sciences to discipline to mention. The Bach Preludes and Fugues, and liott tells young girls who think they want to go on once gained, while, on the other hand, it will be agreeable always will win success in any other line his mind and train him to habits of accuracy in all passages of a polyphonic character or in expres¬ OPTIMISM IN TEACHING. the stage not to do it, and points out how and why simply impossible for you to make the least im¬ just as it won it for her in her particular line. The observation, analysis, synthesis and classification. sive melody in the works of any composer whatso¬ they will be much more happy and comfortable in pression, either with the people who make concert pianist has a double advantage in looking for public From the study of language he can learn the prin¬ ever, after such study of the Inventions, become ■ almost any other walk in life. She admits, however, engagements or with the public, if you are too re¬ work in that he can act as accompanist as well as ciples of dramatic expression; from poetry, the prin¬ that all the advice and all that anyone else could served, or if you are indifferent to the thoughts and soloist, but he must not for a moment belittle the ■’ .... , The lesson hour should not only be profitable, but ciples of rhythm, climax and cadence. He should The discriminative, intelligent investigation and it should be made an enjoyable one to both the offer will be wasted on the girl who is born for the whims of other people. importance of either branch. As a solo player he study metaphysics to learn about the constitution trying out of mechanical accessories which appear stage and that this one will go on in spite of all diffi¬ must be as thoroughly a -musician* as completely a giver and the receiver. We have all heard of pian¬ CONCERT OPPORTUNITIES. and general laws governing the operation of the to be useful in the teaching or mastery of touch and ists studying with some celebrated European mas¬ culties, and wring success from the profession imper¬ tone poet as must the singer or violinist, and if he Concert bureaus, managers of large music houses, mind. He should study history to know the main of technic, analysis and m morizing, etc., is to be ter who suffered great mental anguish whilst await¬ atively, simply because she must succeed, or die in the would play adequate accompaniments also he must committeemen and women of societies, clubs and facts concerning the development of the race and heartily recommended. The same course should be ing their turn to play. And these are usually the attempt. So it is with the greater careers of the have a special preparation and an exhaustive knowl¬ the world in which he lives, and especially the story pursued in respect to the so-called systems of ones who intend to make music their profession; opera and concert stages, and those who are destined churches, influential teachers, editors, Chautauqua edge that is required in almost no other branch of music and musicians. teaching. Prove all things: hold fast that which is they are in earnest, and like the miner, are prepared for these places will know it of a surety from the managers and leaders of any kind of society circles of art. It is not enough that he be able to read All this implies at least a high school, or (better all have it in their power to help you occasionally— good. Last, but of vital importance, the would-be to dig patiently and to suffer privations before they beginning, and no environment—no difficulty in the accompaniments quickly and accurately, but he must still), a collegiate education. Such a full course is and the cultivation of all these may give you an teacher should familiarize himself with the Art of can expect gold. Even here, the instructor who has world—can stop them. This class is, however, most have an unfailing taste and a knowledge of the pos¬ not always practicable. The emergencies of life opening chance; after that, it all depends upon- your¬ Teaching. Any bookstore supplying school books an agreeable manner, who is not forever dwelling certainly a very minor one in comparison to the sibilities of not only every instrument and com¬ sometimes interpose insurmountable barriers. Self- will have the up-to-date works on this subject. The self; if you are thoroughly fitted for the work, and on the faults, but puts in an encouraging word when, great army of boys and girls who study music more bination of instruments, but he must also under¬ education or a university extension course is the great Book of Nature, together with observation, if you are indefatigable in your efforts to please ever possible, will obtain better results. He is, fur¬ or less seriously and who hope to make their living stand the voice thoroughly and intimately. alternative. Discriminative reading, association, ob¬ experience and an inexhaustible store of patience out of it. your public, you may become one of the small army thermore, likely to keep his pupils longer than the TEACHING OPPORTUNITIES. servation and experience are reasonably good sub¬ and tact will supply the remaining items which of public entertainers who are paid, and may hope pedagogue who employs opposite tactics—an im¬ To this larger class, then, a few commonsense stitutes for a course in college. The principal differ¬ should be enumerated under the head of acquire- to fill at least a limited place in the great amuse¬ The second great field of endeavor, and the field portant consideration. To walk about the room in suggestions, and a little advice may not be out of ence between the education secured outside and that ment field. And, be it known, this is a field which in which money is made most readily, is that of the order to hide your irritation, to scribble over the place and is offered in the hope that it will at least gained inside college walls is that the latter is likely Shall I Teach? If your aim is sincere; if your is continually widening—for music societies and teacher’s studio. Writers and educators will dis¬ music pages, to make cynical remarks—such conduct create thought in the right directions, and in the full to be more harmonious, better proportioned, better aptitude is sure; if your acquirements are sufficient. clubs are springing up with great rapidity all over agree to the end of time as to the rights of beginners tends to weaken the tie which should exist between knowledge that even as there are no two faces ex¬ systematized, and in the end, more economical. the country, and if you can invest your work with in this field, and while some will be too stringent teacher and scholar. actly alike in the whole world, so it is certain that Turning now to the strictly musical portion of there are no two individualities alike, and each one a personal charm and artistic excellence, besides in the requirements, others will be too lax. It is It is doubtless trying to hear a youngster protest¬ the proposed music teacher’s acquirements we may DEVELOPING INTERESTS. must think out his own salvation in the music-busi¬ evolving a program which will depart a little from safe to say this, however: Any earnest student, any¬ ing that there is no music in some of your favorite ask ourselves, “What are the fundamental and ness world, using such suggestions as may be made • the hackneyed routine, you will succeed. But you one who is determined in his own work to press on classics, or objecting to practice the necessary tech¬ essential things to be- acquired by the one who is BY W. FRANCIS GATES. here merely as illustrative guides. must be sincere. If you have a voice and desire to to high planes, is certainly privileged to teach any¬ nical work. But does the incessant harping upon asking the question ‘Shall I Teach?’” If I could I sing in oratorio, for instance, you must, besides thing of which he is himself certain, and may there¬ would have the answer to this question done in red A man’s life is measured by the interests to which your undoubted right to be dictator with your OPEN FIELDS OF MUSICAL ENDEAVOR. fore safely begin to teach when he has enough he responds. This does not mean the range of his learning good voice production, apply yourself to ink in The Etude, then magnified to 500 diameters protege pay? A tactful director will rather meet There are possibly five fields of endeavor open to positive knowledge to keep well in advance of his environment, but the range of his attention. A acquiring the oratorio style; you must learn a great and hung on the studio walls of every studio in such cases by playing a little of the music, elucidat¬ the musician, 1. e., (1) The concert stage. (2) The pupil continually. Whenever a young teacher asks man’s world is bounded by the range of his activi¬ repertoire and be tireless in your effort to find out musiedom, namely: ing certain phrases by .viva voce remarks. Whilst it teacher’s studio. (3) The work" of the composer. me how he shall increase his class my invariable ties; if he plays the piano and does nothing else his the minutiae of this special line. In other words, is true that without a certain degree of monotony answer is, “Give each lesson so admirably that it life is narrow; moreover, his influence over cithers (4) Church Work. (5) The work of the critic and you must be a student always, and just as surely as THE IMPORTANCE OF TONE AND TECHNIC. it becomes impossible to master any art, it is cer¬ writer. Few persons confine themselves exclusively will serve as a standing advertisement for you.” will be in proportion to his breadth of culture, ex¬ tainly judicious to let the strain be as little irksome you reach the point where you are satisfied to do “I must teach the production of GOOD TONE to any one of these branches, and, as a matter of even the smallest thing in a commonplace and And this is the only true advice, alter all; for worth perience and interest. Note the broad interests of as possible. The Frenchman’s proverb of not being and CORRECT HABITS IN TECHNIC.” fact, almost any musician has a gift for at least two lackadaisical way, just that surely will begin the is the positive requirement in teaching, and it is Schumann, Wagner, Berlioz, Liszt. A man’s results able to enjoy partridges always for dinner applies This is the first and most important thing to learn, of them, and occasionally there is one who can at still rare enough to command immediate recognition from his environments and opportunities will be in here. Vary the routine. end of your dream of permanent success. . the first and most important thing to teach, the least dabble in all. The stage, in the sense of mak¬ Not only must you know the specialty you have in and respect. This may be questioned by the layman proportion to his powers of attention. One will Have a large variety of well-written and attrac¬ foundation stone on which the entire superstructure travel to Europe and come home impressed only by ing an artistic success that is far reaching and which mind, but you must be so broadminded as to em¬ or the very young teacher, but it can be proven by tive pieces. Some precocious little one may shy at must rise and the very thing, in its last analysis, on the discomforts of travel; another will come charged brings returns of handsome proportions, is so elu¬ brace in your research every branch of the musical hundreds of cases that have come under my personal the term Sonatina or Rondo. It is not surely diffi¬ which all future success must depend. The maxim with figures as to distances and .expenses; a third sive and is so set about with its special difficulties experience. cult to supply an impromptu christening. Another of art, and include in so far as possible all arts as well, just enunciated applies equally well to either singer will add to these the appreciation of the manifold as to be almost beyond ordinary effort to catalogue The question of locality is a personal one, the city the fair sex, with an incipient leaning towards showy to say nothing of literature, and whatever of science works of art and beauties of scenery. Concentration its requirements and its difficulties—but two things may have even remote bearing on your work—for being good for some, but the country furnishing a gowns, may be unfavorably impressed by the mere In a canvass that I made a number of years ago of attention on details as well as generalities is are positively and absolutely necessary for it, these much more open field nowadays. The question of outside of a new piece. Something may be said nothing is more certain or more queer than the among 300 or more of the leading piano teachers in essential. being (1) a natural gift of very great proportions, interchangeability of the arts, and nothing more re¬ methods will enter into the equation also, and a here, in parenthesis, in such a one’s favor, as a all parts of the United States the result showed King says, “The chief test of education is whether and (2) an ambition and a determination which will markable than the fact that literature provides the knowledge of many methods will.be found invalu¬ badly printed, or an old copy, like a slovenly and that about 95 per cent, of the pupils coming to these it has awakened permanent and valuable interests.” balk at no effort nor sigh at any entailed sacrifice absolute standard for interpretations and that able. Business sense will be necessary, too, and the gloomy teacher, is by no means likely to instill teachers for advanced instruction were deficient in Not to cram the mind with facts and theories, but even though the former means a lifetime of slavish science governs all. very first asset along this line is the “smiling face” tone production and the legato touch. In piano¬ to awaken interests. This is a valuable thought for ove at first sight. Should a pupil come tired and devotion and the latter incurs the giving up of al¬ before referred to and the willing disposition—but, playing correct habits in these two items are funda¬ the music teacher as well as for the school peda¬ listless it may be wise to commence with one of most every other hope 'and ambition in the world. ONE YOUNG WOMAN’S EXPERIENCE. after all, positive worth in the teaching is the ulti¬ 11s old pieces. This may prove an active stimulant, mental and essential. I am glad to believe that gogue. Absorption in any one class of interests But, leaving out of the consideration this one phase A young lady of my acquaintance went into a mate measure, and this will be attained only by a so that, before the close of the lesson, his mind there has been a marked improvement in the quality defeats its own end. Life is complex. The brain is of professional music, it still is entirely possible large music center at the age of eighteen with no singleness of purpose and a determination to study of teaching during the last twenty years, and that, complex. It demands outlets of various kinds for may have recuperated so much that he will cheerfully and very reasonable to expect some returns for care¬ assets at all except a very pretty voice and a most continuously and to experiment wisely and to be attack: something with which he has a tough strug- more and more, teachers and students are coming its varied energies. One cannot succeed to the ful study even from the concert stage. In fact, the charming personality. Fortunately she was told at always sincerely honest. to recognize the importance of correct technical utmost by dwelling in a haze of higher aesthetics. Zu' f lan even come across an exceptional case best teacher is he who has had a practical experience once that very hard study was necessary, and, still" ADVERTISING. habits as a pre-requisite to rapid progress and real The mundane must be recognized. The physical has advisakf1 * exPense of one’s amour propre, it seems in public, and who, throughout his life, makes at more fortunately, she accepted the dictum. Putting artistic worth. The would-be teacher, then, must advisable to abandon, at least temporarily, the House-to-house soliciting for pupils is not digni¬ its place and its rights, as well as the psychical. least occasional appearances. herself under a good teacher she applied herself so master every essential feature in the technic of his fied, nor is it very productive; newspaper advertising Open air pleasures and social enjoyments are as wBI nlovement which has occasioned ill- If this is done primarily with the idea of increas¬ conscientiously that very soon he recommended her art. He must also become familiar with the litera¬ helps only in the way that it gives a desirable pub¬ necessary to the well-rounded musician as elaborate mincini: V °e-S n0t impl* the sacrifice of any ing the teaching, list, it will of necessity be done for a small church position. In this place she made ture which he is to teach and with the standard licity to your name—but personality means very technique or delicate nuances. sump wn’,1- m®tance- a pupil wishes to take up largely in a complimentary way, and every young a circle of friends just as wide as the church itself, works of the composers in the branch of music in much indeed, and positive worth in teaching caps the James says, “Our education is a ceaseless com¬ one meet ks vu a£.ove his powers to execute—every player should stand willing to give of his services and diligently applied herself to the mastery of which he labors, and also, so far as possible, with promise between the conservative and the progres¬ in that line in such places as he is certain there will climax of lasting success. However, you must be the standard works in other branches. tor r .th-s type'Here hcannotberig,,t church music so successfully that when, after a year, original and you must use your brains wherever you sive.” It is an assimilation of the old and a wel¬ problem b'H ^ tlme and >’ours over an unsolvable be a helpful influence toward increasing his class she had opportunity to sing 'a small oratorio part The works of every composer of importance dis¬ come to the new, yet without being either an “old roll. Many benefit concerts, church functions and are; even though you do not seek professional con¬ close a certain individuality, to understand which it and made so thorough study of it that, coupled cert work, you must play well, you must read con¬ fogy” or a wild-eyed innovator. It is very easy for meKwith me fm,iIar occurrences are not always parlor invitations are quite worth while, in spite of with her pleasing voice, her knowledge carried her is necessary to study several pieces by the same the musician to become enslaved by old methods the fact that there may be no immediate money re¬ tinually, you must be alive to all arts and every form composer. For example, if Schumann’s piano pieces to an unusual success for a beginner. This led to of education, and you‘must be a wideawake mem¬ and stock ideas. He should strive rather to keep a complral^h^l ““k Tailey^U offin ‘ac- turn for the work; but the line should be drawn were under consideration, one would naturally call other engagements; each of these was treated just ber of whatever community claims your residence. mind open to methods and ideas and material that strictly wherever there is possibility of remunera¬ as faithfully, and each in turn served as a stepping to mind as representative of the Schumannesque are new to him. Ruts are easy to dig, but hard to tion and a constant effort should be made to get You must be businesslike, too, and must learn to style the Novellettes, Phantasie Stucke, The Kreis- stone to others of a continually increasing degree of get out of. A man is liable to consider his rut is SS £ money payment whenever possible. For instance, be quick, accurate and sensible in all your dealings- leriana, Les Papillon, Carnival, Etudes Symphon- low oesfilff f,ear;” in the trai" of Which fol- importance. In addition to this steady advance along essential to civilization because he is in it The no self-respecting musician should ever appear when and if to all these requirements you add a willing¬ ique, etc. The thorough study of half a dozen selec¬ the client wb^ and otber ills. On the other hand a special line which seemed to suit her better than young musician should try to combine the opposing he knows that all other details of the function ex- ness to live economically at first you can find a tions, each by Bach, Haydn, Mozart. Beethoven, ought to be haPP6rS t0 ma^e but little headway any other, she did other public work as occasion features of conservatism with progressiveness He cept the music are paid for at market rates, nor field where you will be accepted as a teacher— Schubert, Schumann, Mendelssohn, Chopin, Liszt offered, changing from one church to another when should create new interests. learn nolhi^l^"^ RuS,kin’S truism: “if ^ should he ever give his services when he knows possibly it is at your own door; but if not there it studying it.”S art you become something by the new conditions were favorable and in advance that another is reaping a pecuniary advantage from is not far away. If the first place is a small one ’re¬ of the old financially, and always looking carefully member that conscientious work there will inevitably THE ETUDE 93 92 THE ETUDE all the elements of existence, whether he 11 conscious TECHNICAL DRILL. open the path to a more productive one. It is alto¬ WHAT IS AN “EAR FOR MUSIC?” of it or not, and is highly sensitive to the varymg moods of humanity and to nature in her endless The mechanical features of piano technic have gether likely that most young teachers and concert been so thoroughly exploited that little remains to players will be able to do a little in some other line BY LESTER C. SINGER. ' her beauty, grandeur and strength. This ^avle’hidden within himself unless he finds some be said about these physical considerations. Sup¬ than the one chosen for specialization, and it is best posing the pupil knows the proper position of hands that this should be so. To be a good musician implies that one must means of expression that others may at least catch Success or Failure: A Teacher’s Course have a good ear, and in the popular mind the organ a glimpse of the man within. Herein exists the and arms and understands the principles of finger Church work is so much in evidence everywhere action, I would earnestly recommend that nearly all and the worker in church music is so advantageously of hearing constitutes this sense, but a musical ear real ear for music, and without these elements de¬ By A. J. GOODRICH material used for practice purposes be as musical , laced in regard to finding entrance into other fields consists of vastly more. . veloped in some degree only mechanical and often¬ and interesting as possible. A large percentage of that every singer should have a few years’ experience In fact, music appeals to all the higher instincts times discordant music will result. But with proper exercises and etudes are so unmusical and uninter¬ at least in the choir loft, and a knowledge of the and perceptions, and one who hears music in its cultivation along the right lines those faculties can true significance comprehends that it “partakes of esting that they act as deterrents rather than as organ, in so far at least as it carries in church serv¬ be wonderfully developed. The essential principles of education are similar, is to be exercised in order that the music chosen may the character of the illimitable.” Shakespeare dis¬ Dvorak, upon being asked what teachers helped stimulants to the pupil’s progress. Interest in the ice, should be added to the study of the piano whether applied to small children or large. There be such tts is most desirable for the class to hear teacher; and there will always be the occasional cerned this relation- and in the “Merchant of him the most, replied, “Hard study, a great deal lesson and in the practice hour is the mainspring of are certain requirements which may be termed uni¬ and to understand. pupil who will specialize on the "king of instru¬ Venice’’ says: "Look how the floor of Heaven is the pupil’s activity; take away the pleasure of prac¬ of thinking; I studied with God, with the birds, the versal. The lessons must be inspired with interest ments,” and by acquiring a dependable concert thick inlaid with patines of bright gold. There is tice and the music task becomes futile and per¬ trees, the rivers, myself.” This is a hint to the so that they will be anticipated with pleasure. Love TEACHING RHYTHM. repertoire fit himself for giving organ recitals, not the smallest orb which thou beholdest, but in functory. Even scales and broken chords can be student with a desire to develop his true musical and kindness should be ever present; the desired in¬ which, especially in the case of opening of new his motion like an angel sings. Such harmony is in Rhythm is usually the most difficult detail for the so explained and applied as to excite the pupil’s ear, and every student can cultivate this sense in formation is to be elicited from the pupil as much as organs, etc., may be turned to good money value. immortal souls.” class to describe, though it requires little more than interest and therefore his best endeavor. All scales some degree. possible, and not imparted by the teacher. While It is inevitable that the really good student must The diaphragm of a telephone receiver is con¬ a tolerable understanding of fractions. One-third in complete form are a difficult proposition, and my each separate lesson should be properly systematized add harmony, analysis, composition, history of music scious of neither sensation nor intelligence. The of the class may indicate by pencil taps the meas¬ observation leads me to the conclusion that com¬ and graded, the fact must not be ignored nor lost to and music literature to his special study, and if he fit organ of hearing is no more intelligent than the SECURING A GOOD LOCATION. plete scales are usually given prematurely. Three, view that there are several correlative subjects equal ure or common beats; the second division may in¬ himself for teaching these branches he will find the mechanism of the telephone, but, like the telephone, four and five notes of a scale should be practiced BY EDITH LYNNWOOD WINN. in importance to technical drill. Indeed, technical dicate in the same manner the rhythm of the ac¬ field much less occupied than is the piano field, is capable of receiving and transmitting any sensa¬ companiment, while the third division may mark before undertaking the complete tonal series of that tion of sound the intelligence of the listener can work should not be the first assignment—that would and if he seeks for position in a college he will find the rhythm of the theme. This is for preliminary particular key. the ability to teach these branches an invaluable appreciate. In other words, the mind is the hearer When the young musician graduates from some be like placing the horse behind the wagon. First work only. After this I would recommend the fol¬ asset, while, wherever he may be, he will find great and not the ear. So the term “musical ear” is school, college or conservatory, he begins to look of all create a necessity or a desire for sonant ex¬ MELODIOUS PRACTICE MATERIAL. about for a good location. It sometimes comes to pression .by means of auricular training, musical lowing plan: Each member of the class is to be use for a knowledge of transposition and the abil¬ found to broaden into the fullest conception of The teacher should be provided with a collection music and to include all the elements of thought him without looking. It is better for him if he stories illustrated, singing, notation exercises, etc. provided with a sheet of letter paper ruled hori¬ ity to arrange scores, be it as accompanist, choral of etudes and simple recreation pieces calculated to and feeling that go to make the musician and the seeks it. When he has once got it he looks about The actual performance at the piano (or organ) zontally and vertically so as to form squares and director or church organist. ■ interest the pupil and at the same time serve a good for material. This will not come to him even if should be held off as a goal to be reached by those oblongs for indicating, i, the metre; 2, the move¬ purpose as ♦-clinical practice material. Several of CONSERVATORY WORK. The study of the cause of sound and of music he is holding a salaried position. He must serve only who have acquired some elementary knowledge ment; 3, rhythm of the accompaniment; 4, rhythm the “Etudes Enfantines,” by Lemoine, may be used The regular salary attached to most school posi¬ has been much neglected by musicians, but has his apprenticeship. The old life of study is over; of music. To begin the music lessons by seating the of the theme; 5, mode. Under metre, pupils will for this double purpose. As a rule, I would exclude tions makes them much in demand, and most young within it elements for the cultivation of the higher for a time at least he must put his shoulder to the child at a piano is ill-advised and impracticable. write (after listening to a few measures of the se¬ all pieces containing simultaneous chords in the teachers think they are vastly preferable to private musical perceptions. It shows the relation of musi¬ wheel and do some good, hard, tactful drudgery. If What can the child know of the thousand tonal mys¬ lection) f, f, forf- Under movement it will suf¬ work. This, however, is open to serious question; but cal tones and harmony to the laws of nature and he puts himself heart and soul into the work teries hidden in the mechanism of a modern piano¬ fice for an elementary class to write the approximate accompaniment. These have a tendency to stiffen the muscles and thus counteract the good work if the work in the college or conservatory is very unfolds a consciousness of the finer musical feelings pupils will come; they are sure to be moved by ear¬ forte? designation, as fast, moderate or slow. For the which every experienced teacher aims to do in the much desired it may usually be found when due that will be expressed by the student. nestness of purpose. I could speak at great length HEARING AND THINKING. third question they will endeavor to mark in short way of free finger action and relaxed muscles. The preparation has been made and a systematic search By a knowledge of the seen and tangible the of this subject, but I must only state here that one’s The auricular and the mental faculties are first notation the actual value of the notes of the accom¬ is made for it. Do not, however, apply for a posi¬ connection can be made with the finer elements success is not only dependent upon one’s power to paniment. Under 4 they will indicate the value of chords should therefore be in some simple broken to be practiced, and after a while this cultivation form, or like an “Alberti base,” so as to afford exer¬ tion in a city conservatory with no especial prestige, that constitute the unseen and intangible, which, work, but upon one’s “staying qualities.” We must will continue naturally and almost automatically. the melodic notes, and at 5 give the mode, ma. or mi. nor anything short of very unusual preparation, cise for the fingers. (See Sonatina in C, Op.. 20, I, after all, is the element of music that appeals, that give the work a chance to grow by degrees. There Good listening is most essential, and it may be Abbreviations may be freely used; in fact, some kind for no field is more overdone, and nothing is more by Kuhlan, or the Mozart sonata already mentioned.) which is so much felt and so little explained. Start¬ are no doubt good reasons why a teacher should stated as a fact that pupils will play incorrectly until of shorthand system is essential where so many sure than that you will meet refusal in that line; Simultaneous * chords are necessarily played with ing with the physical principles we can gradually not remain at one school too long, but there are their own sense of hearing reveals the imperfections details are to be appprehended and indicated while but, working up through a private class, aspire to work up to the mental comprehension governing arm or hand motions, and these are precisely what always strong reasons why, with an occasional period of touch and tone. The act of listening to and for the music is progressing. Herewith I give part of the music department of some small college, and, the higher elements of music, when we can finally must be avoided in acquiring digital dexterity. There of study or leave of absence, he should keep to a certain elements of music (metre, rhythm, mode, etc.) one of these analysis sheets as it should be marked eventually, if you want very much to do conserva¬ cast aside the physical supports, and expand into are comparatively few pieces i.i grades one and two good field. tends to awaken the dormant mental faculties, be¬ after listening to a section of the favorite sonata by tory work, find an unoccupied location and open one an atmosphere of freedom governed by a more per- ■ that meet these requirements, but the following are The music teacher hardly outgrows usefulness in cause the hearing of music detail is a species of Mozart, beginning thus: of your own.. feet law than on the lower plane of physics and recommended: First Melody (a la valse in C ma.), a place if all the lines of effort and results are widen¬ auricular observation. For the vocalist there is no better paying field technique. ing. No matter how forbidding the field may be, Fr. Thome; The Brave Boy, Gurlitt, Op. 197, III; that that of teacher of singing in the public schools, Therefore, a good ear for music means much more or how hard our lot, or how unwilling in after years THE POWER OF THOUGHT. The Hobby Horse Ride, Ch Dennee, Op. 27, VI; and proficiency in that particular line insures a E=] than the organ which conveys the sensations that he may be to go back, there is no place in the world Fairy Footsteps, F. E. Farrar; Discontent 'A mi.) continuity of engagement hardly equalled in any “Guard well thy thought, for thoughts are heard 1 we. call sound. It means intelligence expressed like his first teaching field; he seems to be tethered Reinecke: The Jolly Miller’s Boy, G. Ho- rth, Op. other line. The work of the composer is very in heaven.” p Allegro. through time, rhythm, tone quality and intonation, to it still, whether he lives near or far away. He 89, III; Synthetic Series of Piano Pieces (v.'ith new much like that of the concert artist—Heaven-ap¬ The whole world admires music, and if the teacher all governed by perfect law and order. It means a has rushed away to the outer world, eager to see explanatory illustrations), Florence A. Goodrich; pointed—and will take care of itself. If you have sense of the beautiful and of the poetic and dramatic fail to inspire the pupil with interest in the lessons and hear. What a fallacy it is to try to force to a Echo, G. P. Ritter; Up in the Morning Early. L. a gift in that line it is bound to find vent; if not, instincts. Think of the comprehensive sense of the fault is not in music, nor in the plastic child. E. Orth; Forest Brook, Gurlitt, Op. 207, V. In these don’t worry, for there are composers to spare speedy head what it takes years to round out and Here lies the principal difficulty. The most un¬ music in the works of Richard Wagner. Contrast perfect! little recreation pieces there are a few dhords, but already. The work of the critic and writer is also the passion and intensity of human feeling ex¬ promising child must never be condemned, even Music teaching is growing in America. In Eng¬ • - these are not troublesome. There are many piano largely indicated by natural inclination, but it can pressed in “Tristan und Isolde” with the “Lohen¬ mentally, for the thought of the teacher is sure to r t r- f land they are deploring the fact that there are too solos which may serve an excellent purpose as finger be developed, and if he cares to acquaint himself grin” prelude, in which there is a strain of harmony reach, and therefore to influence, the pupil. All many students turned out every year from the col¬ exercise, and if by this means the interest of the with an endless amount of detail knowledge and to expressive of a higher world, in which human God’s creatures are sacred, and all human beings pupil can be awakened and maintained, why should acquire a fluent style of writing, almost any musician leges and music schools, and so few vacancies or feelings take no part, one feels that one has are created in His spiritual “image and likeness.” these important considerations be longer ignored? may write a little, and if he will persist in the effort caught a glimpse of something beyond one’s present places for music teachers. It is not so in America. Thought, which is essentially spiritual, governs the In the South, especially, every town of importance Indeed, it may safely be said that unless the lessons he may do an amount of it which will materially state of being. universe and rules the world; if our individual is giving employment to young piano teachers fur¬ are made interesting and attractive they will surely affect his prestige and his income. We all know of the adverse conditions of the thought be wrong we may be sure that results also nishing a studio, piano and other necessary outfit ? * result (as is too often the case) in failure. The life of Beethoven, and his works show the struggle will be wrong. Kindness is the only beneficent and composer, the publisher, the pupil and the teacher but in the end there is always a triumph, an uplift¬ tor music study. More teachers are being trained controlling influence that can be applied to children, POINTS FOR PRACTICAL STUDENTS. each year for service. So it is in the middle West, 2. 3. 4. 5. all suffer when the lessons prove fruitless. ing hope and faith. Wagner got much of his in¬ to adults, or to dumb animals. The alert and faith¬ to a certain extent, and in the far West our good Rythm of BY S. REID SPENCER. spiration from Beethoven’s great works and these ful dog recognizes a kindly, musical voice almost Metre. Rythm of Theme. Mode. master minds met on common ground. Again, teachersSay there are many openings for young as readily as we do. melt Accompaniment Don’t be satisfied with your best. Nobody’s best Chopin heard and enriched the world with gems of Fast,or There is one thing more, and that is our large Ma. is good enough. Constantly strive to make it pianoforte literature. In his “Military Polonaise,” THE NECESSITY OF EAR TRAINING. 4 Alio. , , , - -- yia.ui iun what grandeur, what stateliness! In the Nocturnes cities are too overcrowded with music teachers. r r rlrtrr damental cadence harmonies be presented in thi better. There is no such thing as continuing in a With regard to the different methods of ear train¬ such indescribable elegance and charm and in the Some believe that in the absence from a city center right way the pupil will be attracted to them am stationary condition even for an instant. The work ing the teacher must follow his own judgment, and . Berceuse we find not only the graceful rhythm in ideals must shrivel up and die from sheer stagnation. Since the first phrase usually contains two differ¬ the benefits will be manifold. I do not refer t< you are doing now will either be better than that pursue that course which is best adapted to his pur¬ the rocking of the cradle, but in those caressing ent rhythms, the class is to indicate at least two the dry, impracticable “thorough-bass” systems o you were doing a minute ago, or it will be worse. vtcti y^U take my word for it? The man whose pose. But in a general way it may be stated that passages, gems of the pianist’s art, one feels the lsion does not abide when the reality of the art- measures of the theme. In the fourth measure of Europe written theoretically, like arithmetical exer Which shall it be? this first essential element of music-education should delicate sentiment and beauty of the mother’s rwr°nmtnt °f a city is past has no “instinct the melody there is a quintole on the second beat. cises, but to such harmonies, worked out at thi If a teacher should direct a pupil to play some¬ be simple in illustration, direct in application and thought for her child. He thus idealizes the picture that reaches and towers,” in fact he is not even piano, as will aid the pupil in sight-reading, mem thing at a certain speed and the pupil should not do easily distinguished. The class should always be An exact representation of this is not to be expected, it well, some of the blame should be upon the as he weaves through it those exquisite passages that ered0?16 y a paras>te as my bunch of mistletoe gath¬ but it may be indicated by a tr. or by a gruppetto orizing and.understanding good music. By mean1 set forth a poem in tones. ered from the friendly branch of a sturdy tree that seated with their backs to the piano, so as to en¬ of adroit questioning by the teacher, pupils mai teacher for taxing him beyond his capacity. When courage the hearing rather than the seeing of music. symbol. thir ecause it nods to me on rainy days when discover the cadence harmonies separately anc the teacher does not set the speed and the pupil “STUDENT MUST BE PATIENT.” Scales, diatonic intervals, measure, movement and With a class of beginners one question may be chooses it for himself by so doing he assumes the afterward apply them collectively. Inexperiencet expect to equal the mastei cbsftoSrbWK0n^ “ the studio a»d visions come rhythm will require considerable practice in order to assigned to each member, and if there are more than entire responsibility for the consequences. The he borderland of the commonplace. instructors are naturally inclined to tell many thing, but, with a better understanding of what a good e name them accurately after a single hearing. During five in the class, questions 3 and 4 may be given to teacher has a right to expect a satisfactory perform¬ which the pupil ought to discover independently for music really means, he can cultivate that broad these auricular lessons it is well to illustrate the four or five pupils. Those who are quite proficient ance under these circumstances. Information thus obtained is much more valuable perception which gives an insight into the mast Is most essential in sacred service, difference between good and bad tone effects— in rhythm should be given some other feature to The thumb is the keystone to the arch of a correct and more lasting than that which is imparted bi works and establishes a higher concept of art ai because8;?® 1S *he,most important part of worship, one being silvery, the other leaden. The three .indicate. Question 5 is to be given to those who method. It requires four times as much training the teacher In truth, the latter method is usuafi of life in all its relations. A knowledge of t which is m?S j u ?ud .prayer of the congregation, kinds of. minor scale, also the chromatic and the do not recognize quickly the difference between as the four fingers put together. If it is controlled physical laws underlying the art of music unfol in lono-et- i ved.by ll witU greater power and upheld valueless because it stifles thought and prevent- pentatonic scales are to be introduced at the proper major and minor. From time to time the analysis the rest of the fingers will give little trouble. When to us the cause of its aesthetic effects. It furnish is onlv n -\V,0tl0n t*lan hy the silent prayer, which mental development. Soon as a perfect major com slowly practicing a scale towards the little finger «ne; also major and minor concords in simultane¬ sheet is to be extended so as to include all features groundwork for the cultivation of the ear in ous, broken and arpeggio forms. Even these ele¬ S5rbe'n discovered, its theoretical construe- see that the thumb takes its position quickly and broadest sense. 3 which ought to be observed and specified. These tion and root-note (or name-note) ought to be SWEET MEMORIES—G, D. MARTIN. MARCH IN C (PIPE ORGAN)—E. M. READ. suitable for harmony rather than f always 1 This is a new and very pretty drawing-room piece, that the most delicate tonlb r ^lody, seem rather out of Mr. Martin’s usual style, but never¬ This composition has many points of merit. In the first place it is admirably suited to the instru¬ cannot impart to an afr b ^ °f wblch !t » capabl theless one of his best efforts. While this piece of spirit and vvac£ywhlb4 dif6rent shade does not call for extended comment, nevertheless ment and will sound well on almost any organ even one bt moderate size. While rather easy to or the breath of the fl ,• be b°W of the violinis tJier® a few points which demand attention. In p ay, lying well under the hands and without com¬ On the other handler" £'peTha ^ produci the first place, expressive playing must be insisted which, like the pianoforte 'I P h ?S "°. lnstrumer upon: the piece must not be rushed through in a plications m the pedals, it is nevertheless fuller and more brilliant in effect than many more difficult chords the whole range'of ty *!? powerfl careless manner. The proper execution of the >ts treasures in all their wnnrfeT? y.'and dlsclose and pretentious march movements. It may be used Hoffmann. wonderful variety of form.- THE ETUDE VALSE COURANTE EDMUND PARLOW / r THE ETUDE THE ETUDE MARCH IN G THE ETUDE 117 THE ETUDE ’gist Prelude in E Minor. Edited and fingered by Maurits Leefson. Felix Mendelssohn. TRUMPETS MILITARY MARCH T.H. DOPPLER Allegro moderate aUamarcia m.m J-116 g/ 1 ; \ -a i a J 5_ L’istesso tempo m.m.J.=H6 1 3x-“ . I»»p1 1 3 A—- i 4 1 w < ^ % P * -= J > <«g ... r C i F=$iFF$iFF=P5F 3 4 * 3 5 5 4 k-TT4. -fl E-ff f.r.L J—K-U14-r .N ; ‘ f ^ %—i— 4 2 3 3 2 5 5 5 3 14 3 -- 3 15 4 jZjSJESZ _ r l-M M g §£HTii * ,£ jr^ $_ £ • ll££J . * f r $ fc== i ^ -Sr^-^rrr zfir*rfmir | * THE ETUDE 119 118 THE ETUDE To Lionel Smith, Providence. THE SAILOR BOY Words and Music by JULES JORDAN Moderato 1. Who so con - ten - ted, so hap - py as he— Yon gallant 2. Life for the sail - or is fill’d with de - light Wheth-e* b\ sail-or boy out on the sea?_ Show me his e - qual for worth if you can,_ H s the em day - time or wheth-er by night Sun,moon or star his corn-pan - ion and guide. As ' r the KATE WOODLAND NOBLE LASLETT SMITH ploy-ment that makes for a man;. See as he climbs yon - der tall sway-ing mast_Spread -mg the bil - low he gai - lydoth ride:- When ends the night-watch of what will he dream? As o’er his sail toe or mak-mg it fast,- Bar - ing his brow to the fresh - en - mg- breeze LaLh meat' pi -lo» the star-light doth gleam Tie of his ^true love whowgits on the qua*“ w“fs fof her dan-ger, a king if you please. Give him a cheer then, give him a sail - or from o - ver the sea— Give her a cheer then, give her a cheer; _ Cheer for the cheer,_ Glad - ly she’ll 121 THE ETUDE THE ETUDE 120 Mason. Do not begin your practice until you under¬ stand every word of it, and have the principles well fixed in your mind. Devote one hour of your practice to the Mason exercises, fifteen minutes to THE TEACHERS’ ROUND TABLE each book, taking very little at a time and sticking to it until you have worked it up in accordance with Conducted by N. J. COREY directions. Begin at a very slow speed, and advance in conducting this Department designed to assist Teachers and Self-Help Students the metronome, notch by notch, as speed is ac¬ l-'-ns enables him to treat different subjects with profit and inti--readers. Mr. Corey is co _,L..-THE EDITOR. quired. Do not expect to approximate the given speed number the first time over. Work each one up to about half speed the first time, adding to the rapidity at each review. It will probably be wiser acquiring a technique that was of their money and, worse yet, of the years of their to forego the practice of the fourth book, containing octaves, etc., for a month or two, devoting twenty MISSED. lives that they spend to little purpose. It is time for musicians to wake up and expose all such fraud, minutes a day to each of the other three. The for robbery of time is as much a theft as any other remaining half hour should be spent on the Czerny. stealing. Follow out the repetition directions explicitly. At and beauty of tone. I was given a course In first practice each finger passage at a speed of about classical music, but with very little attention to What is technique? It is simply the ability to play technique. My work with him, however, was an a' given order of music. Of course, the technique sixty to the sixteenth note, with the high finger absolute delight, and I gained a delicate touch and action and firm down stroke. Then practice two a singing tone all the more readily, I feel sure, on necessary to play Beethoven’s “Appassionata Sonata” account of the freedom from drudgery. is much greater than that required for a Clementi notes on a beat, and afterwards four, as written. ‘‘Now I want to make my sense of beauty ef¬ Then advance the metronome by degrees until about fective through a surer technique. Otherwise, In sonatina, but in either case the requisite ability competition with pupils of the ‘brilliant’ school, I represents so much technique. Without it, neither two-thirds of the indicated speed is attained, and can hardly hope to make my style of playing at¬ then go on to the.next one. As the fingers gain more tractive. I play most of the Beethoven sonatas, composition could be played. And this technique but much too slowly. Chopin I can scarcely play cannot be acquired except by means of hard work rapidity, keep them dlose to the keys, maintaining at all. Only in ‘andante cantabile’ can I feel the same supple finger action that was secured in thoroughly a" ’- and plenty of it, even by the most talented. Mental my difficulty is conception, or the application of brains, is equally the very slow practice. The second time over you have -— to this teacher without previous prep¬ may try for the full speed, although you may have aration, and that In helping me you will help essential in this work. Ten minutes of intelligently " ’-‘ technical work that will give directed practice will accomplish more than an hour to go over them a third time before this is possible. irity,’’ and am eager to practice, Whatever more time you may have for practice w hlch volume, if anv, of Mason's of lackadaisical dawdling. Touch and Technic’ will fit _., Your condition is a serious one, for it means that may be spent on piefces as you please. But the other book be more suitable?” you must spend months in making up what you technical regimen must be followed out faithfully YotJe letter indicates a most amazing condition of have lost, or, rather, what you never had to lose. If, and vigorously, never dawdling, if you wish to make affair® Does your teacher expect pianists to play while in coliege, you had spent a proper portion of up for lost time and acquire a “swift security.” The withe '.t fi'ct learning how? Acquiring facility is your time in the practice of technique, both your Round Table hopes you will be successful in attain¬ simply learning how to play. One can no more play delicacy and singing tone, in which you pride your¬ ing your object, and will expect you to report on without technique than he can pick figs from thistles. self, would have been greatly augmented. To as¬ results. Every little while someone breaks loose in the sume that a perfected power of execution could in musical papers and advocates learning to play with¬ any manner hinder or injure any quality of touch out practice, maintains that technique vitiates soul¬ is a manifest absurdity. A perfect technique is only ful interpretations, that keyboard drudgery can be secured by means of right motions of the fingers, ELEMENTARY COURSE OF STUDY. done away with, etc., etc., ad nauseam. No more hands and arms, and right motions never injured wearisome ideas ever came snoring down the touch or tone of whatever quality. The facility to centuries. use one’s hands and fingers freely, and in a certain One of these apostles of the spiritual healing proc¬ sense automatically, for in correct and facile finger ess of learning to play the piano once spent a action one is hardly conscious of effort, leaves the season in this city. She gave talks at people’s houses, intelligence free to devote itself to every minutiae legitimately after having your advice to follow.” and explained how children could learn to play with¬ of tone quality and interpretative nuance. out practicing. That mothers were delighted you Whatever faith you may have originally had in Your question is one that would be impossible to can well imagine. In future all that would be neces¬ those who rail against technique, and promise to answer fully in the space at command. To answer sary would be to place the child on the piano stool, make a player of you without the usual “drudgery” it in detail would require all the space of several let her get in a state of rapt contemplation, through of hard work, you have now found out for yourself issues of The Round Table. I can only give a some ecstatic vision obtain a “mental conception” that there is no truth in it. You also wish now to few suggestions, which experience will help you to of the music, and then she would be able to play it. make up what you have not had, and without the amplify, and any knotty points you may happen People were too vague to even take note of this supervision of a teacher. Nowhere is the super¬ upon you can inquire about separately. person’s own inconsistencies. At one of her ex¬ vision of a teacher more needed than in the acquire¬ First. The hand should be shaped, correct posi¬ planatory talks, after expatiating on how wonderfully ment of technique. Teaching the piano is not so tion learned, and ■ some control over the muscular the beauties of Beethoven’s “Moonlight Sonata” much telling the pupil things that he does not know movements obtained, by means of exercises on the could be brought out by the “mental conception” as watching over his practice to see that he does table. Lay the hand .flat on the table; draw it up method, she played the first two movements in the everything correctly. A few wrong motions will into position; repeat many times. dullest possible manner, and then remarked that she ruin your “delicacy and singing tone.” Therefore, Second. Place the hand in correct position. Ex¬ would omit the last movement, as she had been you will need to bring to bear upon your work all tend the fingers as far as possible; then draw under deprived of her usual practice. No one thought to the wit you have in your head. You will need to the hand. Then practice the same with each finger ask her why, if she had once gained a thorough study most minutely, over and over again, all printed separately. This simply to help gain a control over mental conception of it, she should ever need to directions, as in Mason’s “Touch and Technic,” for the finger muscles. A book, about one inch thick, practice it again. The practical application of her example, to niake sure that you understand perfectly may be placed under the wrist if desired, to help theory to humanity in the shape of young children every direction. hold it at correct height. was apparently a failure, for, like the Arab, she Then, too, you must get rid of the idea of Third. Up-and-down motions of the fingers may silently folded her tent at the end of the season “drudgery.” To look upon your practice as drudgery be begun. First, all together, then separately, very and departed. No one ever thought of her again, will hinder your progress, for drudgery is irksome. slowly, without counting. Then try and develop But if you are really interested in accomplishing a and those who wanted to learn to play the piano quick motions with counts, a count on the up mo¬ purpose, whatever tends to bring you nearer to that went back to work. tion and one on the ,down; then the up-and-down end will not seem like drudgery. You will doubtless Now, mental conception without work is of no motion to one count; then two strokes on a count, more help to a pianist than it is to a man who has remember Sentimental Tommy’s advice to “put your not more at this stage. heart in your work.” This will make the driest exer¬ L ip a cord of wood to saw. He may have a fine mental Fourth. Practice the fingers in pairs after the cise seem interesting. conception of his cord of wood all sawed and nicely same manner; the slow trill. The counts absolutely piled, but nothing short of a vigorous application of It is difficult to lay out a course of technical the same as in the third. N-- 0 practice for you, for I do not know how much time m ■ T--~ up and down arm touched will accomplish his task. Fifth. Practice three fingers, four fingers and ~uH~ — you intend to set aside for it. I will assume, how¬ And in same manner nothing but constant work five fingers, successively. For this use the five- ever, that you intend to devote one and one-half will enable the would-be piano player to acquire a finger exercises in Plaidy or any other similar book hours daily to strictly, technical exercises. Two technique. or method. Write them out for the pupil, not in And hours would be better, if you could hold yourself ^ its worth can not_ be told. _ Many musicians can gain a perfect mental concep¬ notes, but in figures, as follows, for example: to it. .Begin your work at once and continue it, tion of music that they are unable even to attempt 1 3 2 4 3 5 4 2, indicating the repeat marks by i-i^qr . ( . Jjr jj>|-j to play. If this were not true, what could the con¬ without interruption, until your summer vacation be¬ the customary dots. gins, and then take account of stock and see what ductor do with an orchestral score, which may con¬ Sixth. If the child cannot read notes, teach her you have accomplished. Then will you kindly let sist of from twenty to forty lines of music, all played a very few at each lesson, letting her read them ns know how much benefit the advice of The Round at once by the various instruments, and which he aloud to you. Make this a part Of all the previous ng. Table has been to you, whether you can see any • > ■ f could not show the players how to perform if he lessons, if necessary. > 0 gain or not? It will probably take a year, however, did not know himself? On the other hand, many Seventh. Repeat all of this work, except the r\ for you to perceive substantial progress. play with a facile technique, but exhibit no mental first exercise, at the keyboard. This is the only way conception of the music. It is only too apparent, First procure a metronome. It will be absolutely you can successfully start the child to making cor ^==== then, if one is to interpret the music of the great essential. Then a complete set of Mason’s “Touch rect motions, as in this way she can keep her eye 1 P. p. composers, mental conception and technique must and Technic,” and a copy of Czerny’s “Forty Daily on the hand constantly, while if you begin with PTO hand in hand. Any instructor who teaches in Studies,” Op. 337. Make yourself master of the notes .at once, it will be almost impossible to fix the any other manner is defrauding his pupils both preliminary reading matter in the first' book of attention on the finger motions and position. THE ETUDE 123 122 THE ETUDE Applause and Professional Performers. his art to carry him past small difficulties safely, Eighth. Take up “First Steps in Pianoforte the fifty selected by Biilow, in a season's work, and in his case it was proven before his school Of course, all this applies mainly to students and Study.” You will find sufficient material here for while the other would find the twenty-one selected course was finished that his stamina was insufficient the applause awarded them at amateur concerts, al¬ the elementary stages, unless you wish to dictate by Presser ample for her purposes. With so fine a to carry him to any kind of success, for the brilliant THE MEANING OF APPLAUSE though in essence the same thing applies to any of certain technical exercises for special conditions. selection at your command, it will hardly be neces¬ work of his “happy” times was so quickly nullified 11s. But none of us like to look a gift encore in Ninth. You can begin the scales after the student sary to go into further details at the present time. by the indifference of the other moods^ that^there the mouth—called back three times, we are not has acquired a fair condition of hand control. Use There should be made a distinction between the going to sit down in the wings and analyze all the was not, n r could there ever be, a steady and s By GUSTAVE L. BECKER scale preparatory exercises for some time previous. work of these two classes of pupils. There are fun out of it. Sometimes, of course, it does hurt Then teach the scales, each hand separately, one many who wish to make use of their music for home ^ifis^aid on good authority that there are almost our feelings when some little thing we allowed to purposes only, are limited in the amount of time octave at a time. After correctness and familiarity no absolutely healthy persons in the world; that all get on our recital program against our better judg¬ in which they can practice, and yet wish to do their have been gained, use both hands at once, after of us “feel badly” comparatively often—and certainly ment brings down the house. I suppose Paderewski work well as far as they can go. Teachers should which treat two-octave practice in same manner. no one will deny that we are environed to the limit There was once a normal college in the West that you have played Schumann’s Slumber-Song, for in¬ was not always delighted when people in his earlier not endeavor to force them through the same severe Tenth. After the “First Steps” have been com¬ with disagreeable and disheartening conditions, and for one reason or another abolished applause at its stance, if you have played it very well they will tours sometimes made more noise over his own Min¬ course that musicians expect to follow. No method pleted, unless the pupil is unusually bright, it is a non-responsive and offensive people. But, in spite public exercises. I think it was because they said prefer to keep still—possibly for fear of waking the uet than over the Waldstein Sonata. There must should be so cut-and-dried that it cannot be made good plan to take the first book of the “Standard of all this, there is surely a force which can keep it was getting to be a sign of personal popularity, baby. You will not have the quick-darting thunder have been times when the strokes of their hands fell adaptable to the needs of all classes of pupils, what¬ Graded Course,” as a review, omitting the first two us in a reasonably steady mood, and if we will but not a testimonial to good work. However that may that follows the close of Chopin's Polonaise Mili- on him like a sort of aesthetic bastinado. But let us ever may be their purpose in their study. The pur¬ or three pages, and using some first-grade pieces. try to cultivate this power we can learn to be al¬ be, the exercises languished, and next year the ap¬ taire, and will almost always follow it with an be honest, and own that applause in moderation suits pose of those who wish to use their music for a Eleventh. After this is finished, begin with the ways the same in our : work, or at least approxi¬ plause was reinstated. I wonder what would happen uncritical audience, however it may be rushed us all very well; only let us consider the source second book of the Standard Course, using-enough home accomplishment is a thoroughly laudable one, if some governmental ukase should silence applause through. It is music essentially exciting; its spirit and their study should be carefully planned, and mately so. This power may be named one thing by sometimes, and see whether the clapping of two supplementary pieces to keep the pupil interested, one set of thinkers and another by some different at all musicales, concerts, piano recitals—especially communicates itself to the hearers; at the close they hundred possibly unmusical people last night is as and gradually work into the Liebling’s "Selected may require more thought at times than that of the pupils’ recitals. It certainly would make a -differ¬ have to let off steam. musician who wishes to do the standard work that set, but whatever it is, it is real enough to govern trustworthy an estimate of your work as the talk Czerny Studies.” ordinary life events and there is no question what¬ ence to the careers of some students. But what It is something like what experts say of stage- you have with your teacher next morning, when he I hope the foregoing will prove of substantial help all musicians must know. ever but that it is possessed by all artists and by sort of a difference? dances where performers with dresses of the same tells you what you had better work up before you to you, although it by no means can take the place all great teachers and workers of other descriptions. In effect, applause is the meeting-point between design, but each line in a different color, dance on play that piece again in public. of a practical normal teacher’s course, if it be pos¬ Try then to find this happy plane whereon you performer and hearer. It establishes friendly rela¬ line by line. When the blue rank appears there are sible for you to avail yourself of such. If not, by AVOID MOODINESS. may be always equally proficient in your work. If tions: at the best it may say a great deal; at the murmurs and movements of approval, so with the close and careful study and observation you can you are really sick, go to bed and call a doctor, worst it says that we appreciate your industry and lilac, and green, and the other colors—until the red help yourself a great deal, and not unlikely make THE YOUNG ARTIST’S TREASURE BOX. BY CHARLES E. WATT. but if you only “feel badly,” don’t allow that to will make enough noise to get you off the stage, line comes on. Then instinctively everyone bursts a first-class teacher of yourself. You can comfort dominate your day, for you can throw it off if you hoping that you will not conie, back. I say “at its into applause. It is not more beautiful or more pleas¬ yourself with the fact that many who have had all Aphorisms by -Poets, Philosophers and Artists. Clara Morris, in the very interesting lecture on ing, but more exciting. So Kamenoi Ostrow No. these advantages have never become more than will. If you have a little trouble or sorrow don’t worst,” because this faint, perfunctory beating of “The Stage,” which she gave in a few cities several let that ruin your work either, for—if you are teach¬ palms is the worst we are apt to have in American 22 is blue and a Rhapsodie Hongroise is red, in that second-rate teachers, chiefly because they neglect to years ago, told a most pathetic story of a young COLLECTED BY JOHANNES BRAHMS. ing, your pupil is entitled to a good lesson, whether concert rooms. One almost never finds even the sense; after one you applaud, although you had really apply themselves diligently and intelligently to their colleague of hers who received a telegram that her your mental state be happy or sad. If you are play¬ most atrocious performance followed by a complete rather not make a noise; after the other because you work. Constant study will be necessary for you in father had died suddenly one evening just before The following aphorisms are taken from a col¬ ing before the public you owe it to your art, as and ominous silence, and American respect for the want to make some noise yourself. But you would your teaching work. she was to go on the stage to play her part. There lection made by Brahms in his early life. The well as to your future prospects, to do yourself full individual usually keeps us from the Latin hiss or be surprised to see how much the composition has to was no time or opportunity to secure anyone else, original consists of three small manuscript books in justice, even though you may have had disagreeable do with it, in the average audience, and how com¬ and so the poor girl had to go through a long and the English boo. the hand of the master, himself, which are now in news that day% or though some detail or environ¬ paratively little the laborious excellence of the per¬ SELECTING STUDIES. exacting play in which she enacted the part of a Of course, on the theory that applause is the at¬ the possession of the Gesellschaft der Musikfreunde ment of the occasion does jar on you. formance. Indeed, when it comes to applause, la¬ daughter who has left home, and who in the play tempt on the part of the audience to express its (Society of Music Friends), and Herr Max Kalbeck, reader of The Etude for many borious excellence has little chance beside tempera¬ T have greatly enjoyed and been receives word of the tragic death of her father estimate of the player’s ability, a pianist who was in Vienna. They were arranged in a suitable order ■neflted_ by reading__ The RoundR Table Department. ment. a question also, and should appreciate a~ also. Miss Morris made the picture wonderfully THE SERVANTS OF THE BRAIN. willing to receive applause when he played well by Professor Carl Krebs and published in the fall For one pupil I '-’-- - vivid, and her description of the grief of the young should not take it as an affront when the audience Op. 299, Book ...--- The Personal Element. of 1908, under the name of Des Jungen Kreislers What set of studies would better follov - lady was touching, but she pointed out clearly that BY PERCY OULD. expressed by hissing that they considered his octaves Schatskastlein, by the Deutsche Brahms-Gesellschaft, Op. 740 too far In advance? Another used Loesch- quite too bad to be passed over in Silence. The fact Of course, at a pupils’ concert, the personal element horn Op. 66, Book I. What should she take next this was part of a stage career and that the play in Berlin. [Editor’s Note.—It Is doubtless difficult for our readers that we all of us feel the hiss to be an un-American enters largely. When Mamie Smith plays at the In Loeschhorn? My reason for using both Czerny had to be gone through with even in the face of to realize the extent of musical activity in different parts of Under the tone-art the sea of our heart surges and Loeschhorn is that the two girls are near institution, or at least to be used only for people teacher’s concert, Mrs. Smith would be an unnatural neighbors, and I do not like to use the same studies such sorrow. the world. On our own Western prairies, where less than like the ebb and flow of the tide under the influence fifty years ago Indian massacres were frequent occurrences, who applaud before the orchestra stops; the fact mother if she did not really want Mamie to have the An oratorio singer left her only child in the city stand flourishing towns, with finely trained musicians of the moon.—Jean Paul. one evening and went out to sing an engagement in achieving excellent results. On every continent where that we instinctively suppress our adverse demon¬ most applause of anybody, and to that end puts a A genius can be kindled only by another genius, You would better follow Czerny’s Op. 299 with a neighboring suburb. The child had been some¬ Christian civilization has entered, music has followed. In strations and show disapproval only by showing little extra snap into the approval she manifests by selections from Heller’s Op. 46 and 45, for the de¬ South Africa a great interest is taken In music and many and the most easily by such a one who seems to what indisposed, but was supposed to be better, and less fervent approbation, goes to indicate that ap¬ the clapping of her hands—unless, indeed, modest velopment of a sense of artistic interpretation. have been very successful in tours In that country. have nature alone to thank for his endowments, one so the mother left him with a feeling of security The Etude L_ loyal readers in the various African plause is really less of an expression of critical pride forbids her applauding her own child at all. Many of them are superfluous, and you will, there¬ colonies. The followining article is from one of them.] who does not shrink from the toil which the per¬ that all would be well. In the very midst of the opinion than the music-student who has been called Indeed, Mamie Smith, if you only knew the proud fore, need to study carefully to determine which are fections of art demand.—Lessing. performance she was handed a telegram announcing So much attention is directed nowadays to the back three times at the closing musicale would like delight that holds her hands tight-clasped, as her the most useful. Then after having taught the pre¬ We must be on our guard not to allow the spirit his death, and though her heart was broken and she part that the muscles play in the attempt to acquire to think it is. paratory octave work from Mason’s “Touch and ecstatic senses drink in-the applause that rolls r.bout of a genius whom we love to become the flame which sang with tears streaming down her cheeks, she Technic” you can use “School of Octave Playing,” an extensive technique, and to the various “actions” her baby—if you only knew how your mother feels consumes us poor butterflies as we hover around it. yet finished the performance to the last song, simply and muscular activities that are called into play, All Applause Not Insincere. at this moment as you stand in the wings wondering by Doring. Czerny’s Op. 74° is too advanced to The shell murmurs of the waves even when far because she was so accustomed to the routine of a that many young students, particularly those who This is a matter requiring some delicacy of treat¬ if you will be wanted to come back and bow—you from the sea; so the soul of the true musician vi¬ follow the Op. 299. public singer, and so grounded in the determina¬ After the first book of Loeschhorn’s Op. 66, use are not blessed with an alert and highly capable ment, some clearness of definition, because to imply would practice a great deal better than you do, to brates with music even when far from the waves tion to do her whole duty by the public, that she teacher, are liable to disappointment and loss of that a young musician should distrust all applause ensure her more such foretastes of Heaven. of tone. the second and third books of the same. If you do was able to control herself enough to sing even not wish this pupil to take the Heller studies with courage if they have trusted to such practice alone, as being possibly insincere would be not only to Mamie Smith, let us say, is a justly popular girl, Everything changes, nothing dies. Loss becomes under such distressing circumstances. These ex¬ the other pupil, you can substitute “Miniatures,” and unsupported by the acu’e and active supervision undermine the generous enthusiasm of the budding and her friends are. right in attending her teacher’s gain through transformation to greater beauty.— treme cases are cited merely to show the young by James II. Rogers, or “Studies and Study Pieces,” of their own intelligence. Nothing is easier than to artist, but .to set between audience and performer concert and showing her by their conduct that they Herder. musician that the art life is no joke, and that he who by Anton Schmoll, in three books. fall into a dull groove of daily practice, playing such the barrier of mistrust, at the outset of a career wish her well—but Mamie will not do herself justice Many live near the earth, some far from the earth, would follow it to success must learn to control I would not advise that you carry your idea of and such scales and arpeggios so many times in a whose success will depend largely upon the per¬ if for this reason she believes herself more of a rpusi- all his moods and emotions as well as to use all a few near the sun.—Jean Paul. separate studies for neighbor pupils too far. In a perfunctory manner. Many an excellent teacher in former’s power of getting her audience in touch cian than the girl next on the program—a newcomer, his talents and opportunities. Intellect is a diamond that indisputably shines college, or even high school education, the standard the goodness of his heart maps out his pupils' prac¬ with her, with no barriers at all. The comfort let us say, with a piece unfamiliar, but played a There is a widespread thought among pupils that brighter when polished by wit, yet even unpolished works of the great writers are considered an es¬ tice-time, and frequently by so doing innocently con¬ that one has is that the artistic nature takes so great deal better than her predecessor's, as Mamie they are perfectly excusable for doing badly at les¬ it still remains a diamond.—Young. sential element in every student’s education. A tributes towards a result that dissatisfies him, as be¬ kindly to the clapping of hands that it needs more herself believed at the rehearsal, until this friendly son or in a concert if they don’t happen to “feel Clear understanding mated with glowing fancy is knowledge of Shakespeare, Milton, etc,, etc., is im¬ ing incommensurate with the amount of work done; than a few paragraphs to make it distasteful, and double encore set her up on an unsafe eminence. like” playing at the time. This is a poor excuse, the true, life-giving food of the soul.—Novalis. portant for every well-educated person. It is the and contributes also, and equally innocently, towards and anyone making it habitually will never reach that no matter how some middle-aged person may Friends are the most beautiful adjuncts of civiliza¬ Tone seems nothing more than reflected motion, same in music. Along with the ability to play there inducing in his pupil a lethargic monotony that dis¬ success. Some years ago the writer knew a young prove to them how easily they may be misled by tion, but they are not a good preparation for un¬ in the same sense that color is refracted light.— should be knowledge of the standard classics. When turbs and distresses him, while at the same time he student who had a talent of extraordinary propor¬ applause, one good double encore will drive all his friendly audiences, and whereas almost all audiences Novalis. it comes to Cramer, dementi, Moscheles, Chopin, is at his wits’ end to know how to rouse them. tions, and who at his best was little short of re¬ croaking out of their heads. at pupils’ concerts are essentially friendly, the Let the artist meet both criticism and the public Henselt and others, your pupils will need to have The reason for this state of affairs is often to be markable, for he had received that rarest of good So, let us not complain, only examine in a spirit greater part of a regular concert-audience„is at least with modesty, but let criticism be bold in meeting a familiarity with them, whether they are neighbors found (granted that the pupil is amenable and de¬ fortunes, a thoroughly adequate foundation while of investigation just how far a young lady is justified critical, which means unfriendly, until by sheer force the artist if he is not one who enlarges its artistic or not. Intercourse with educated musicians will sirous of improving) in the belief, which lies at the still very young. His physique was splendid and his in thinking she has a career before her because of power and personality you have won it and made code.—Schiller (from his “Defense of the Critics”). be much facilitated by a familiarity with the works back of many pupils’ minds, that the only thing mental powers very good. Yet he was a veritable every time she has been on the program they have One thing only on earth is better than a wife— that all musicians discuss. Therefore I would let necessary is to practice the scale, or whatever type creature of moods, and would never bestir himself brought her back at least once, and twice the night If you ask almost anyone you know just why a mother.—Schefer (from his “Slave Trader”). the divergence end with the Etudes you first men¬ ot difficulty it may be, the prescribed number of musically except just when he “felt like it.” Capable she had the flowers. they applaud at a concert, as I have been doing Opinions are like clocks: no two agree, yet every tioned. tlnles:.®ntl ,thus tbe muscles will learn their business for the past few weeks, and if they can be induced of intense application, he would at times prepare and difficulties vanish. one thinks his own is correct.—Pope. great quantities of work in incredibly short time, People Applaud the Composition. to tell the exact truth, you will find that the average He who reckons his life as more than his art will and would surprise his teachers and dazzle his , ™ls ls11tI?en that most dangerous form of lie or auditor applauds mainly as an evidence of goodwill, never be an artist.—Neukomm (from Schumann’s IMPORTANT CRAMER ETUDES. truth, call it what you will, a half-truth. This is I believe most people in the average audience at schoolmates. At these times he would be in a state an amateur concert applaud the composition rather and hence as much for encouragement as for appro¬ Album). “In the August number of The Round Table you the rock that is just hidden from the eyes of in¬ of exaltation which bordered closely on that of the than the performer; sometimes because they knew bation. He is as apt to help along a timid girl as to A true genius does sometimes rise by depending spoke of the necessity of the ‘more Important of different and inexperienced teachers and upon which the Cramer Etudes having been studied for a cer¬ artist, and gave the impression that he was certainly it before, sometimes because it appeals to the mood approve a proficient one. Indeed, I never heard on the judgment of others, but as the consciousness tain grading. Will you kindly state which these destined for a high place in the music world. Again, lr‘yr S°Tuten Strike and bri"S their frail craft to of the moment, often because it stirs and moves such heartfelt, unanimous applause as that which of his native strength develops he soon learns to may be?” of safe musical navigation lies in he would go for a month at a time without a par¬ .Thet.secrf them, as I heard a girl say, “To think of all the comes when that rare but poignant tragedy of the dispense with this crutch —Schiller. eahzation that the muscles are but the servants You will find your question admirably answered ticle of animation in his work, and accomplish noble things you want to do, and how mighty easy program occurs—when someone forgets her piece. To satisfy the public exhilarates mediocrity; it in a volume of “21 Selected Cramer Studies.” Such absolutely nothing, which being perfectly aware of, rich*! n° P0,wers of their own to pick out the they seem at just that minute.” When you are Into that awed and heartsick i'.ence rushes the disgraces and dishonors genius.—Goethe. a selection is invaluable. Side by side you may he would excuse himself on the ground that his mood t na\h'°te.s’ r,ght hind of touch and get- given applause for Traiimerei, for example, you sound of sympathy, perhaps filling the gap until she God creates from nothing, we create from ruins! mg the right kind,the of tone, and that it is the brain, have two pupils, one intending to become a musician was not right—that something had occurred to give will have little change left after paying Schumann can go on, perhaps covering the dreadful retreat to We must first be dashed’ to pieces before we know and with from four to six hours a day to practice; him the “blues,” or that he “felt badly,” when truth „ *'r m suPreme command, which alone directs what you owe him. But you will probably not have the wings—instant, honest, sincere. From a purely what we are and what we can do.—Crabbe. the other with only two hours a day, but desiring to tell he looked and seemed the epitome of good tr ™?ment ~f every musc,e and every finger so very much applause for Traiimerei, or for com¬ aesthetic standpoint it is quite undiscriminating, but To be free from censure is the lowest and the to accomplish what she can in that time, simply as health. This youth, like many other music students, telligence aad upon the quickness, in- positions of a dreamy, pensive, meditative or sooth¬ it comes straight from the heart, and shows how highest stage, for only utter helplessness and con¬ an accomplishment. The first could easily finish simply did not have a compelling enough idea of denendc d J.a?ldlty °f conception of that officer tender the hearts of most of us are, if you get us depends the satisfactoriness of the result. ing character. The better you play them the less summate greatness can bring this to pass .—Goethe. your audience will really want to applaud. After off guard. (Translated for The faraDE by F. S. Law.) THE E TIDE 125 124 THE ETUDE of pure tone. Late one night, or, of modern times Mario was a tailor, THE WILL AND EXPRESSION. Campanini a blacksmith, Tamagno a SOME SUGGESTIONS FOR YOUNG utes is given to memorizing, which leaves twenty- rather early one morning, I was re¬ five minutes for sight practicing of advanced lesson turning from.a professional call when car driver, Caruso a common soldier. TEACHERS. by W. FRANCIS GATES. And all who have had an opportunity in etudes and pieces. I was startled by hearing a succession of studying great singers at close range of deep, rhythmical basso tones— BY MRS. HERMANN KOTZSCHMAR. Psychologists lay great stress on the necessity for Vocal Department have noted their easy, graceful, erect Learn the Minor Scales. tones which suggested the times when action following an exercise of the will. To will carriage, their splendid health and their The one thing needful for pupils, and alas, for A certain amount of technical ability is an absolute means to make great or small resolves; to go no bassos used to sing—tones recalling remarkable lack of restraint, physical some teachers, to learn is to leave the easy, tried farther means these resolves amount to nothing. necessity to a piano student, and one of the greatest Galassi, Reichman and de Anna before and moral. exercise, and put effort and time in what at first Worse than that, a continuation of this process re¬ drawbacks in gaining a facile technic is the un- his fall. This is not a coincidence; it is simply familiarity of the average player with the piano key¬ seems more difficult, for it will be found that the sults in a weakened mental fiber, in non-productive Editor for February, Dr. W. R. C. Latson I followed the sound for two blocks a natural, an inevitable condition of board. By this I mean that the majority of pupils advance work involves the old. As an illustration, sentiment. One may will to practice three hours a and then found the singer. And the their vocal prowess. Among the “po¬ are unable to play as readily on the black keys as there are twelve major scales. Pupils are often day but unless that practice follows, what does the singer was a short, stocky ruffian, lite” classes there is restraint: restraint on the white. Many teachers unwittingly foster this kept on these for years, often to the exclusion of the willing amount to? It is better to resolve to prac¬ grossly inebriated, who had fallen upon stiffens the muscles, exhausts the mind unfainiliarity by keeping pupils at work technically minor scales. Why not reverse this, after the majors tice an hour and DO it than to promise three and the back of his head on the sidewalk. and dwarfs the sympathies. These too long in the key of C only. This is wrong, and have been played for months? Give the melodic do one. One has then kept faith with himself and [The Voice Department for this month Is VOCAL TONE IS A MATTER OF And the exquisite,, rhythmical tones things are unnatural, and so preclude for these reasons: The black keys are more difficult minor scales, and by so doing the majors are in¬ can respect himself. under the direction of Dr. W. It. C. Latson, PHYSIOLOGY. Hditor of Health Culture. Next month we were his deep-bodied drunken groans. I true tone, which is a natural aet. for the fingers to master on account of being so cluded. Drill in recognizing the minor key is most Hall says: “Action is imperatively necessary to • will present a symposeum by the leading much narrower than the white keys, and also on essential. One of my favorite exercises is to have adolescence.” The physical takes the lead at that voice teachers of our country upon the sub¬ For the reason that I look upon the was interested and informed myself Among the peasant class the life is ject • “The Value of the Sound Reproducing subject from an unbiased standpoint more natural, and so permits the at¬ account of the greater stretch required of the fingers the pupil name all the keys and signatures of major period in life and modern educational thinkers are Machine in Voice Study.” There will also be concerning him. When his, “ten days” owing to the space between the groups of two and and minor key circle. Very early the child should taking heed of this demand of nature. Musical selected articles of especial Interest to all will my discoveries have a value of were up I investigated, and found that tainment of tone. three black keys. These seeming obstacles can be most closely and intimately associate the one sig¬ pedagogy recognizes it in requiring more practical voice students Including an article by Mine. their own? If I can shed a light on the man knew nothing of music, and Alboni on “The Study of the Oratorios.” THE SECRET OF THE OLD ITALIAN overcome if practice is judiciously begun. Therefore, nature with the major and minor keys. As soon as performance than of theoretical work. Youth re¬ The editor of the department for April will this much befogged subject; if I can had never attempted to sing in his life. as soon as the hands take good playing position and possible the two should be connected in the pupil’s be Mr. J. Harry Wheeler whose previous de¬ MASTERS. quires an immediate goal; it must have something to partment aroused much Interest. Editor of help the ambitious student to find the But he could lie down on the floor the fingers have acquired some facility in up and thought as being intimately related as father and work up to, something in sight. The whys and The Etcdb.] true path; if I can assist the practical or loll in an easy chair and produce And this principle accounts for the down action, with ability to realize and play four mother. wherefores must be given in small doses, gradually singer to gain some needed and desired sounds—tones, if you please—that were success of the old Italian masters. “The normal touches, my experience has proved that The study of intervals should be begun in class enlarged with the pupil's age. The adult may have requirements of vocal tone—if I can do secret of the old Italian school,” about quicker results in reading, more freedom of move¬ work and clearly grasped before the different triads of most singular purity, power and theory first. any of these things, the object of this sympathetic searching quality. which we hear so much prattle, was not ment and greater velocity can be gained by begin¬ in each key can be understood. Expression of a thought or precept is the price any particular ability possessed by the ning, within a few months after private lessons have From the commencement of piano lessons the Some Fundamental Factors in the Pro¬ bit of scribble will have been accom¬ The man was simply a splendid nat¬ paid for retaining it. It is by the numerous ex¬ plished. master, for he had none. He knew commenced, to transpose all technical exercises into youngest pupil should realize that tone is the secret amples in addition which we worked in our youth duction of the Artistic Singing Voice ural animal—too animalized to meet Tone production is a natural act— nothing whatever regarding the physi¬ the various major keys. This presupposes that the of beautiful playing, and that tone is produced by that we add with facility all the rest of our life. In with Physical Culture and Vocal Ex¬ the requirements of decent life. For a ology of phonation. The average the most natural of all acts. This I beginning pupil has had the great advantage of a touch, and mastery must be gained over fingers, other words, action impresses theory. To apply ercises for Practical Use. time I had dreams of developing him. physician of to-day knows a thousand winter's class work. have proven to my own satisfaction by wrists and arms, so that they will be obedient to this principle, to thoroughly appreciate the rules of But his general lack of intelligence and times more concerning the process of every demand, until, finally, at will, the young many tests. I may mention two as Another argument in favor of change of keys is musical theory, one must put them into operation in by w. r. c. latson, m.d. stability made this impossible, and his tone making. Nor was the “old Italian sthdent can play wholly from the fingers, or with that variety stimulates the child’s interest in composition; his pieces may not be worth hearing, typical. end was—Ewigheit. master” as good a musician as any one technical work, and is also a factor iti training the an elastic wrist movement, or a singing quality of but he will have a lively sense of the rules by which Vocal tone is a resultant. It is the of thousands of present-day singers and ear. The key of C remains the standard. Velocity is tone produced by a combined arm, wrist and finger UNCONSCIOUS TONE PRODUCTION. ABANDON TO DEEP FEELING MAKES the great composers have worked. No one can last term of an equation. We say singing masters. worked up in that key; but, at the same time, by touch. When the pupil has absolute freedom in TONE. thoroughly understand even simple music without three plus two plus four equals nine; There came under my observation The secret of the old Italian masters doing slow practice in the keys of G, D, A, etc., the doing the above in the five points of technic in all following a course in composition. Goethe and some years ago a seventeen-year-old I could enumerate a score of other was not in what they did, but in what child works into the inner consciousness an intimacy the major and minor keys, surely the mastery of nine is the resultant. Three and two Carlyle speak of “the religion of the deed,” the es¬ and four are the factors. And so it is girl of peculiarly spiritual and emo¬ instances. I have heard a woman on they had—in the material that they had. with the scales, chords, arpeggios and octaves, which the keyboard is a possible attainment. sential necessity of putting into action what we later, when “pieces” are studied, will make the task There is such a vast, fixed difference between with the voice. Voice is the resultant tional temperament. She had sung the street pleading with her drunken Imagine the young Italian man or girl, know; here is its application in music. of reading and memorizing much clearer and easier. playing and practicing, the meaning of which children of a number of factors. The man or only with others at school and church; husband in a tone so thrillingly pure, healthy, erect, deep-breasted, care-free, A teacher must be able to answer questions and even older students do not begin to grasp, that but finally, after much persuasion, she pathetic and penetrating that it would undebauched by restraints of conven¬ promptly, concisely and clearly. If he can not, he is woman who possesses these factors more and more I realize the importance of em¬ gained sufficient confidence to sing have made a world-wide reputation for tional life—withal sympathetic and Lesson Cards. a failure. A child’s first question is, “What is it for?" will possess the resultant voice—just phasizing most emphatically the difference to the some simple songs in a sweet, weak any actress possessing it. I have emotional. Such a young man or The lesson card or book, upon which everything or simply, “Why?” Above all things, a child is prac- ■ as surely as he who has three dollars pupil. The one hour’s daily practice should be sacred heard patients coming out of chloro¬ woman will be likely to develop a great to be studied should be definitely written, with tical. It does not care for rules or theories. “What and two dollars and four dollars will little voice when alone with me. On to practice. In that time old compositions, previously voice—if they be let alone and allowed metronome time affixed for technical exercises and is this for?” “Why am I to do that?” And it be¬ one of these occasions she was in the form . narcosis produce tones which, mastered, should not be played. Someone may ex¬ possess nine dollars. to sing as they want to. Such a boy etudes, should be used by every teacher. My prefer¬ hooves the teacher to have a clear and sensible midst of a song when there was sud¬ save for lack of sustained pitch, had claim: “What! give up old pieces that have been so Now, in the present writing it is my may become a Campanini or a Caruso. ence is for the former, particularly with young denly ushered into the room two most exquisite quality. long studied?” By no means. Keeping up a reper¬ answer for the youngster's innate sense of action. purpose to discuss, as briefly and as Such a girl will perhaps be a Tetrazzini children, as the hope of a “new card” stimulates to Matthew Arnold said that conduct is three-fourths callers—one a young man, whom she I mention these instances as a few of toire, thoroughly and instantly available, is my clearly as I can, what I have found to —if she be not “trained” too much. more earnest endeavor. of life. With the child it is all of life. Theories expected to marry and who had never the many which have convinced me special hobby—but I do not believe it should be kept be the fundamental factors in the pro- And when confronted by such a pupil The “C card” naturally is used for several w-eeks; up in the practice hour. Here is where the mother’s and speculations come later. heard her voice; the other his mother, that the production cf the perfect ar¬ what did the old master do? He stood but the transition to the "G card” is not difficult , duction of the artistic singing voice— cooperation must be gained, and the mother who is Self-control, recognized by all, learned or other¬ an autocratic old person, who was tistic tone is a natural process, an in¬ the pupil up, and the mere pose of the when attention is called to the fact that there is only the voice of such power, compass, zealous for her child’s musical advancement will, at wise, as essential to happiness and success, is based strongly opposed to the match. stinctive act—not an artificial achieve¬ body, the carriage of the healthy, strong the difference of 'a single key between the keys of C quality, flexibility and control as to the very beginning of lessons, form the habit of on the proper direction of the will. Lecky, a prom¬ My little singer looked up, her face ment. It will be borne in mind that I and care-free young man or woman and G; namely, F sharp. If the.pupil had been care¬ asking the child to contribute to the evening’s pleas¬ inent psychologist, affirms: “Nothing which is make possible the highest achievements crimsoned, her eyes widened. I said: am speaking of tone production—not. was of itself enough to ensure power, fully trained from the start to “keep the fingers ure by playing a simple exercise well, possibly a few learned in youth is so really valuable as the power of vocal art. “Go on, don’t stop, go on,” and con¬ of artistic singing. resonance and compass of tone. closely and lovingly near the black keys—to show no triads, later the “first piece,” making the custom an and habit of self-restraint, of self-sacrifice, of ener¬ tinued playing. She swayed slightly, Well, the old master said to the pupil: partiality—to regard the black .keys as dear friends established one until the young student looks for¬ getic, continuous and concentrated effort.” Apply TONE THE FOUNDATION OF SINGING. CIVILIZED LIFE DESTP.OYS EXPRES¬ “Chest up; smile—smile with the eyes as the white,” F sharp will present no terror to the but kept on until just at the last note ward to the evening hour when the family delight to this to the work of the music student if you will and SIVENESS. child’s mind, and, when one black key is mastered,' It seems superfluous to remark that she fainted. as well as with the lips; gently, gently, listen and praise what she has assiduously practiced see what it means. It simply includes all that counts breath out your tone.” how beautifully and naturally follow a second, a the foundation, the sine qua non, of artis¬ But the voice! The child’s usual The habits of the so-called “civilized” to play. In this way a repertoire is gained and kept for his success, save those faculties which must be third, till the whole five lie under the fingers as tic singing is the possession of tone. tone was pure, sweet and natural, but life are almost, without exception, de¬ And that was all he did. The student without encroaching on the hour’s valuable practice. God-given and inherited. It covers what he may easily as five white keys! Tone is the singer’s instrument. With¬ during that song—it was another voice. structive of artistic expressiveness— did the rest. And that is the great As in everything, so in teaching or studying make of himself. It means the proper use of the secret of “the old Italian school.” On the “G card” (which is so designated at the Power, depth, dramatic intensity, feel¬ particularly of vocal tone and dra¬ music, system is of paramount importance. What is tools with which one is endowed. Beyond the mat¬ out it he can do nothing. The singer top of the card), the C-scale record in quarters and ing of heart-gripping quality—all were matic power. Tight clothing, indoor done in a hap-hazard fashion rarely accom¬ ters of character and health, it brings the immediate lacking tone is like Sarasate without THE MECHANICAL FOUNDATIONS OF eighths (later in sixteenths) is faithfully kept—first, there. At the end of the song was an living, errors of feeding, “correct” plishes anything worth while. There must be a successes m one’s professional work. his violin, Paderewski without his key¬ TONE. hands separately (H. S.), then hands together (H. methods of speaking, standing, walk¬ definite aim, a goal, before teacher and pupil. Not board. And yet, how many singers optional high b which the child had T.)—and beneath is written the G-scale (H. S.) ing, or sitting, the little niceties of life, And now after these general remarks that the goal is by any means fixed, immovable—far, never dreamed of taking. On this oc¬ HELPFUL PARAGRAPHS FOR PIANO possess tone? How many have full, more than all else, behind all else, the I may proceed to discuss what I be¬ One of the greatest problems confronting teacher far from it. The goal in teaching and studying ever casion she sang it in a tone that was STUDENTS. equable quality on all the vowels and mental and moral strain of conven¬ lieve to be the foundational factors, and pupil .alike in technical training is lack of time— rises higher and higher, but the wise teacher only simply thrilling—and then fainted. at any point within their compass? tional living—all these things combine mechanical and mental, of artistic tone. one hour daily being the limit the child devotes to opens up to the pupil at the moment that which is by s. ried spencer. How many are there who look forward to stiffen the muscles, to deflect the practicing, and one hour weekly the average lesson within the present grasp. Mastering one difficulty THE SECRET OF TONE. First of all what is the process by taken. With an intelligent, painstaking pupil during to their top notes with dread, instead mentality and to render impossible that which tone is produced? To go into clears the way for overcoming others, and the as¬ What was the secret of this remark¬ the first three months this amount of time may not whe-rpTf^rnh tr /lervous playing is more hazardous of with joy as they should? How perfect, effortless coordination of the this question in extenso would be quite cending path ever grows more beautiful and more able performance? Never before had seem inadequate, but working material increases so luminous. Plav the mentS OCCUr than anywhere else, many are always sure of their voices? muscles with each other and with the impossible within the limits of this she; and, sad to say, never since that rapidly that the time allotted soon seems to be woe¬ it t nerf I 8,' ™,thout the embellishment until How many are there to whom the mind, which is essential to the produc¬ article, in which my endeavor is to be fully insufficient, and it is only by judicious division it is perfect, and afterwards with it These orna- day has this woman produced the true tion of the perfect vocal tone. mere act of singing produces joy and practically helpful, rather than pedan¬ of the time and concentrating wholly upon the more HOW SIR ARTHUR SULLIVAN WON A tone. Why on this occasion? Only Among the so-called “common peo¬ tically technical. beautv \rnYT£ed f°r the sakc of enhancing the exultation instead of a suggestion of difficult exercises that results can be gained. Once SCHOLARSHIP. the eff^t wonlH Ky b° free and spontaneous because for the moment the intensity ple,” the conditions of living are en¬ It has been clearly shown by Muckey, it seemed to me an impossibility to accomplish the effect would be much better if they were omitted. effort and anxiety? When Sir Arthur Sullivan was fourteen years old, of her emotions, love, fear, anxiety, tirely different. They pay' little, or no Hallock and other investigators, both anything with only sixty minutes a day devoted to After a good many years of careful attention to dress; they eat simple food, he competed for the scholarship founded in memory rubbed off the veneer of social restraint here and abroad, that the human vocal piano practice; but long since the decision came observation and examination covering and they work, in fact almost live, out of Mendelssohn. The competition lay between the and made her temporarily natural. apparatus is, in a general way, anal¬ that with one hour of intelligent, faithful work much all classes of singers, from stars of the This woman is not a singer; she pre¬ of doors. They do not feel the re¬ ogous to a stringed instrument—a violin could be done. The conscientious teacher strives to late Sir Joseph Barnby, the eldest of the candidates, a pupil at a 11 1S tlme wasted to keep first magnitude down to children who, fers to be a good domestic wife and straints imposed by etiquette. There or a violoncello. cover all the ground with the advancing pupil— and Sullivan, who was the youngest. “During all quite unsuspected by themselves, pos¬ is little or no mental or moral strain. These investigators claim that tone technic, etudes, sight reading, duet practice, memo¬ that June day,” relates Sullivan, “the judges ex¬ mother. But we have often spoken of sessed voices of phenominal peculiari¬ that song, the song that was sung, as Consequently we find among the peas¬ is the result of an initial vibration of rizing, repertoire gained and maintained, not to amined us, but, unable to decide, reserved their judg¬ FS&trSSlft* T? EM 2U5 ant class just the conditions which ties, I have formed a deliberate concep¬ she says, not by her, but by that other the vocal cords such vibration being re¬ mention musical history. It is under these strenuous ment until the morrow, when it was to be conveyed render possible the existence of peo¬ demands that the systematic teacher alone is able to us in writing. I spent the next day m a fever of tion of the fundamental factors of true woman, “way down deep inside—•” the inforced and amplified by the vibration ple who shall possess the true tone. of the air contained in certain hollow to obtain satisfactory results. expectation. No letter. At last, about four o’clock, vocal tone. I may remark that I have woman now dead, and never to be res¬ And as a datum of observation we spaces situated in the throat and head. At the top of each lesson card should be written, rat-tat-tat, the postman’s knock. ‘A letter for Master di' made these investigations in the spirit urrected. find that the greatest singers have most The pitch of the tone depends, they in characters that carry weight, “DEVOTE 20 Sullivan,’ said the maid. I tore it open—I had ' f a scientific observer, not as a musi¬ One more instance tending to show more sympathy"and* T‘,S place and -will hav, frequently been people of this class. I claim, upon the length, the tightness MINUTES DAILY TO TECHNIC.” Fifteen min¬ won.” cian. how utterly natural is the production may note that among the great tenors and the thickness of the vocal cords. THE ETUDE 127 126 THE ETUDE do so well as I do other things; but I EXERCISE No. 4. done properly this exercise will cause HINTS FOR YOUNG SINGERS. shall take them to broaden my sphere. size and shape of the resonance cavi¬ logical, which are entirely different. Stand easily, feet slightly apart. Now all the resonance cavities tc open, as Now this is quite true, but—it is only “Among the modern French com¬ a part of the truth. We all know that ties and the force of the air blast. The weight of the body is thrown begin to turn the body as on a pivot, shown in Fig. 1. BY POL PLANCON. backward, the chest is lowered and col¬ allowing the arms to swing as they will, posers’ work you will find many beauti¬ there are three ways in which the pitch Where' the voice is hard, thin and ful songs. Saint-Saens, Massenet, Ben¬ lapsed, and this collapse, added to the and the weight of the body to sway of a vibrating string can be raised. BASIC CONDITIONS OF CORRECT TONE. hollow the best exercise is often that “In my opinion, it is impossible to jamin Godard, Augusta, Holmes, Deli¬ down-bearing of the weight of the head, First, by tightening it, as the violinist As I have tried to show, tone pro¬ of merely humming as gently as pos- learn diction in any language, Ftench. bes, Gabriel Faure, Paul Vidal, Bem- neck and shoulders, which are directly does in tuning up; second, by shortening duction is a natural act; and if natural sigle, first on a monotone, then grad¬ German or English, unless you come berg, Gastin Paulin, all have written above the chest, instead of being car¬ it, as the violinist does when he slides conditions be obtained the tone will be ually in little figures, and finally on the by it naturally. If one has good dic¬ beautiful melodies. his finger along the string; third, by ried behind it, as shown in the diagram melodies of simple tunes. In a soft, tion one may improve it, but one cannot “The music of the younger French making the string thinner. This prin¬ What are those conditions? First of of the correct body (see Fig. 5), gentle hum the position of the organs develop that which is not there. For composers is less simple. It is very ciple is utilized in all string instruments; all, there must be no interference with renders free uplifting and expansion is necessarily the correct one for tone. myself, I have never made any studies difficult indeed; and the trouble is that for the base strings are the thicker the action of the tiny pair of muscles impossible without great muscular In this exercise there is but one point in French diction, which, I know, is the it is often so complex that it produces strings. which control the cords; that is to effort. Again I would call attention to to be worked for—ease. Don’t listen to rare exception, for most singers have. no effect upon the public. But, as I In the matter of space the human say, there must be absolute passivity the position of the diaphragm. In the the hum. If you do you will begin to But I have always kept in mind that said, I am an older singer, and, there¬ of all the so-called throat muscles. This correct figure the trunk is expanded, advice which Gounod gave me, advice body is a marvel of economy. And “make tones.” Just try to see how fore, I like the older songs. In the is the “relaxed throat” upon which the and the diaphragm has a firm support that may well be repeated:—‘Forget this economy is nowhere, perhaps, softly and gently, with how little ef¬ very old French songs. you will find majority of teachers now insist. * for its activities. In the ordinary pose, that you have a voice, speak your more strikingly shown than in the vocal fort, you can hum. lovely examples admirably fitted for mechanism. The vocal cords are at Second, we must have wide-open however (see Fig. 6), the diaphragm is words and think of what you are sing¬ use in recital programs in the works of cavities. (See Figs. 1, 2, 3 and 4.) If After some practice on the hum try ing, and the voice will come with the the utmost only about four-fifths of an entirely unable to do its work. A stu¬ Gretry and Rameau.”—Music. the cavities be disturbed in any way, if combining it with the closed vowels, inch, 20-24 mm., in length. And in what dent who stands incorrectly cannot pos¬ expression of the words.’ one of them be too large and another “00” and “ee” (“m-00” and “m-ee”), way is the pitch raised? Do the vocal sibly attain true tone no matter how “In singing think as much of the It does not follow from this that sing¬ too small (see Figs. 3 and 4), then we being careful not to change the quality cords become shorter or thinner or much or how good “vocal teaching” words as of the music. But the great ers make the best speakers. George Sand shall have defective tone. The ideal of the tone in passing from the hum majority are more occupied with the has remarked that the singer can speak tighter? position for tone is that in which all he may get. to the vowel. Next, when you feel that music than with the words. Their de¬ properly only in song, which is his true the cavities are open. Fig. 7. you can pass from the “m’f to the closed sire is to emit the note instead of the medium of expression.—Sir M or ell Ma- A WORD ABOUT MECHANICAL DETAILS. Now, it is a pertinent fact that the PRACTICAL METHODS FOR DEVELOP¬ ING TONE. EXERCISE No. 1. vowel without disturbing the position of word. kenzie. Just here it would be interesting resonance cavities are wide open only the vocal organs back of the lips, sing “In studying a song I always begin when the muscles are in a state of ab¬ and profitable to describe the exquisite Now, what shall we do to develop the Standing easily, right foot slightly in a little figure on the vowel, keeping with the words, getting the sense of solute rest. The entrance to the" larg¬ All the applause of the world cannot arrangement of ligament, cartilage and true tone? To answer this question is advance, inhale slow, full, gentle breath, it faint as possible. them thoroughly fixed in my mind. repay me for the sacrifice I made for art, muscle by means of which the vocal est and most important cavity, the naso¬ not difficult; but to convince people at the same time throwing the head up¬ Finally, try to combine the open The picture must be painted in the and no applause in the world is able to be¬ cords, passing from their anterior in¬ pharynx (see Figs. 1, 2, 3 and 4), is without a trial that the simple methods ward and backward, lifting the hands, vowels, “ah”' and “aw” with the soft imagination before you- can paint it in guile me for the dissatisfaction I feel over sertion in the thyroid cartilage to their controlled by means of the soft palate. I shall describe will do what I claim— palms upward, until the arms are ex¬ hum (“m-ah” and “ma-aw”). As stated tone. Then I sing the music over, and the failure of a single tone or attempted posterior attachment at the vocal The soft palate is like a tiny trap¬ that is difficult, If the foregoing frag- door opening downward—falling by its tended at the sides. (See Fig. 7.) Now, from one leg to the other. (See Fig. above, the vocal position during the later both music and words, thought¬ expression.—Lilli Lehman. processes of the arytenoid cartilages, 10.) fully working at each separate phrase own weight when let alone, but in¬ still holding the breath, stretch the hum is the correct one for tone, and by are so manipulated by the rotation of body in every direction, but especially The object of this exercise is mainly until it is finished ip a way that I feel Singing is an expression of the emo¬ the arytenoid cartilages, acted upon by stantly pulled up and shut tightly by combining the vowel sounds with this upward; lifting chest, shoulders and head to develop ease and muscular relax¬ I cannot improve upon it. tions and not of the intellect; or of the the thyro-arytenoid muscles, that they the slightest tension. the throat will gradually learn to re¬ ation. Exactly how you do it matters “In French there are so many nasal soul and not of the mind.—Clara Kath¬ become at once shorter, thinner and The third great factor in tone pro¬ as high as possible. After a few mo¬ main passive during tone production. little, so long as you do it with the sounds, on, an, en, and the like, that if leen Rogers. tighter. duction is the breath. Now, there are ments of. firm stretching, relax the mus¬ least possible outlay of effort. To do The difficult point in these exercises the emission and enunciation are faulty, But all this is rather too technical innumerable theories about breathing. cles, exhale the breath and return to is the passage from the hum to the But theories on this question have done it most easily is to do it best. readily become exaggerations. ! And for an article which aims to be practi¬ position. Same with left foot in ad- vowel sound. As the mouth opens to INVALUABLE TO SINGERS little good—much harm. how prone young singers of every na¬ cally helpful. Enough to say that the EXERCISE No. 5. form the vowel sound “ee,” “00,” “aw” tionality are to this nasal exaggeration BROWN’S pitch of the vocal cords is raised by This exercise develops every muscle Walk up and down the room with ex¬ or “ah” the whole vocal position is in singing the French language! It is all three methods, the cords becom¬ CORRECT BREATHING IS SIMPLE. in the body, increases the chest capac¬ BRONCHIAL apt to be deranged. This can be pre¬ something that needs preeminently to ing shorter, tighter and thinner as the ity and forces the student to assume the aggerated limpness, imitating the gait What we want are the facts. And of one greatly relaxed from weakness vented only by extreme care and gentle- be guarded against, not only for the TROCHES rotating cartilages, the arytenoids, are the fact about breathing is very simple. position shown in Fig. 3. recognized throughout the or fatigue. Here, again, the one object sake of the tone, but of the language. pulled on their pivot by the thyro¬ It is just this: If the singer stand cor¬ is to go through the exercise with the Another valuable exercise is the fol¬ Exaggeration in any direction is one Unexcelled ...- diaying ^Hoarselies arytenoid muscles. rectly with the weight forward, the EXERCISE No. 2. Throat; of gi least possible effort. lowing: Walk easily up and down the of the gravest offenses against art. One Bronchitis and Asthma. It is only to this wonderfully eco¬ chest uplifted and expanded (not Standing in same position, take The first point is to get the resonance room, as directed in Exercise No. 5. of the things a singer should do is to nomical arrangement that the tiny vocal strained); if he have a body so trained ee from anything harmful breath as before, throw back the head Use only enough muscular force to soften the nasal sounds and not to apparatus of the human being can and built up that he can hold this posi¬ cavities open. For this purpose the fol¬ of price—25c, SOo, and $L00 per*Pol and raise the arms straight upward, to¬ preserve the equilibrium. Now, relax¬ make them more pronounced than produce a scale which man can approxi¬ tion habitually without strain; if he be lowing simple exercises are invaluable: ward the ceiling. After a few moments ing also the muscles of the face and 7 JOHN I. BROWN 6 SON mate only with a clumsy and cumber¬ free from tight clothing—then the necessary. There are singers who, in of firm stretching, relax the muscles EXERCISE No. 6. throat, hum very gently a scale or Boston Mass. some machine four or five feet long and breathing will inevitably be correct. A order not to be too nasal, omit these exhale the breath and return to posi- arpeggio in the middle of the voice. Be a couple of feet wide—the ’cello. moment’s observation of great vocal Stand easily, all muscles relaxed. Let sounds altogether. As the nasal sounds artists will prove that they are remark¬ the jaw fall, opening the mouth widely, careful not to listen to the voice. Don’t are part of the French language, I think try to “make tones.” That is just what OTHER FACTORS IN RAISING THE able for erect carriage and expanded EXERCISE No. 3. and assuming a vacant, relaxed expres¬ it wrong to omit them, and, as I said, A New Idea in Male Voice Music chests; to this rule there are, and can sion of face. Now inhale small, gentle you must not do. Try, rather, to see I pronounce them softened. PITCH. Still with feet in same position, in¬ be, no exceptions. breath, and exhale same, allowing it to how gently, how easily you can hum. “The selection of songs by the singer But there are other investigators who hale breath freely and rapidly, at the How many vocal students stand cor¬ pass out through both nose and mouth. The difficulty, and the only difficulty, in depends upon the matter of education same time throwing the head back and find that pitch depends upon .the shape rectly—stand as shown in Fig. 3? this exercise is the tendency to throat and the development of the mind. A and size of the cavities in the head and swinging the arms easily up toward the J. S. FEARIS, 720 Berwyn Ave., Chicago, III. Very few. As a matter of strict in¬ action, especially on the higher, notes. singer without true refinement and dis¬ throat. Miller, Wangemann and many ceiling. (See Fig. 8.) Then, without vestigation I can state that not one in Guard against this by humming the up¬ tinction can never properly interpret a others demonstrate this with the utmost holding, exhale the breath; while you twenty-five vocal students stands or per notes very gently, remembering song demanding both. And, believe me, finality. And they are also right. Still drop the head, bend the body and swing moves correctly. Standing in the pose that the one object of these exercises is the character of every singer is shown others have held that the force of the the arms downward. (See Fig. 9.) Essentials of Scientific Voice Training shown in Fig. 5 the trunk is free to to eliminate effort. distinctly in his song. The most beauti¬ Singers, Teachers and Students desiring reprints air blast thrown upon the vocal cords expand as it should in every direction, This exercise should be done with an Finally, moving about in the same ful songs will become common in in¬ of Dr. Walters’ Voice Department in The Etode has an influence upon the tone. And gen(jjng two-cent stamp to and the diaphragm is so placed as to be easy, rhythmical swing, using the least manner of exaggerated relaxation, sing terpretation if that be the level of the they, too, are right. able to perform its indispensable part in * Fig. 5) the head is up and back, the body possible amount of force. softly the words of some simple song, singer. A beautiful voice and beautiful All three explanations are true, but and chest fully expanded. Compare this breath expulsion and control. The move¬ thinking only of ease and flexibility. enunciation is not all that is necessary. no one of the three is the whole truth. with the photographs of famous singers you ment is one To conclude these fragmentary re¬ Many there are who may possess these A few minutes’ experiment with a bit have seen. Figure 6 shows the incorrect INCORRECT POSITION AND position frequently seen. Here the chest of the most marks let me reiterate that in the pro¬ qualities in eminent degree, but who are of elastic, a few bottles of varying size BREATHING. is collapsed, rendering proper breathing im¬ valuable and duction of the normal tone no muscu¬ surpassed by others having these same and shape, and a penny whistle will possible and a correct use of the diaphragm ARTHUR de GUICHARD far-reaching I lar effort is necessary. Faults of'voice qualities less fully developed, and who ^ TEACHER left foot. By placing the left toe over Gustav Merkel, 1 j r t. 1. School,” and after that Friedrich he is at once accused of playing Schneider’s “School,” without becom¬ on F sharp and the right toe on G, we J. Rheinberger. J ' ' | | l_I “Bach.” It reminds me of a conversa¬ "Matchless, Unrivalled/'—Franz Liszt ing a fit candidate for the asylum for shall now have formed the G scale. This has the objection that another tion which is said to have taken place "No other instrument so enraptures Church Organs sign must be added ( 0=heel) to show decayed musicians, is greatly to be between two colored men who were It seems impossible to think of any the player,"—X. Scharwenka ORGANDEPARJMENT ether sensible mode of pedaling this whether toe or heel is meant. admired. discussing the present high price of Numbers are a universal language living. Said one: “My wife’s the tv 7E aim to build the highest grade scale. In the same manner let us ex¬ W instruments, embodying sim¬ amine the related scale of F, the left in civilized, or, what is the same thing, beatinest woman I ever saw fo’ wantin’ J. Andre. R. L. “organized,” nations, and it would be of plicity, durability and artistic foot takes the notes F, G, A. Next we money. One day it’s a quarter; next t — toe. h == heel. universal benefit to have this one simple tonal qualities. Edited by Dr. Gerritt Smith must have the right toe on B flat, then day it’s fifty cents; ’nother time it’s a Our Universal Air Chest System also system, just as we now have one system the left toe on C, then the last three dollah. She’s everlastingly pesterin' me affords easy access to the interior and of fingering by numbers (to which this LISZT ORGANS The Organ Department for March will be composed noes, D, E, F, with the right foot. Heinrich Riemann. ’bout money.” “What in the name o’ exterior of the organ, even while the Toe. Heel. is closely allied). Furnish the most perfect substitute for of articles of particular interest This gives us a definite form of goodness does she do with so much wind is on. A U n = ball of foot. money?” “Shucks, I can’t tell you; I a pipe organ of any instruments ob¬ During the past month we have com¬ “naturalness,” so to speak, upon which tainable, and are superior to small pleted a large four manual organ in the to proceed. We might lay down this Marked 1 or r as required. A WORD OF EXCUSE FOR THE ain't never give ’er none yet." ORGANIST. pipe organs in many respects. They Brooklyn Academy of Music, and a still commonsense rule: Go only so far The organist is only human, and often differ materially from all other reed THE ART OF PEDALING. to their studies. I may remark, in pass¬ attends to his church duties simply be¬ larger one in the Auditorium, Saginaw, with one foot as you reasonably may. Dr. Hugo Riemann. v U = R foot. organs, having a richer quality and ing, that the importance of the pedagogic BY E. L. ASHFORD. Mich. In rapid playing, three notes should M) = L foot. cause he feels that he must be at his greater body of tone. Write for descriptive book “A,” giv¬ German school in pedaling with alterna¬ be a limit, except in some chromatic post, no matter what aches or pains he No other organ approaches the ing a complete list of organs built by us. tive feet is, as a matter of foundation This is the opposite of S. P., Warren’s is contending with. Again, he may Mason & Hamlin in the reputation it passages. It is not worth while to deny the fact technic, of the utmost value, and serves method. that there are many indifferent organists have the misfortune to be associated enjoys among the world's most famous Such an insertion or attack of the First and foremost in importance is about the same intention in regard to the plying their calling, and that some are with singers who are a weariness to AUSTIN ORGAN CO. heel as given below is, both from prin¬ the player’s position on the bench, “How .pedal as Mason’s two-finger exercises do Dr. Riemann, in his “Technical even worse than indifferent. But is the flesh, and who irritate him in a Send for illuetrated catalogue A HARTFORD, CONN. ciples of logic and facility, entirely to Sit.” The principles hereafter laid with the piano, viz., independence and Studies,” uses twenty different pedal this not the case in other professions thousand and one little ways that are reprehensible and unjustifiable—and down refer to the parallel pedal board control of individual members. He who signs to explain different combinations. as well as that of music? When it likely to prove a detriment to his play¬ yet it is used by some excellent play¬ as being the one most commonly in can play the C major scale with alternate This is absurd. comes to that, many of us have been ing. I grant you he often doe’s things ers, being adopted by them, I suppose, toes, and can also divide the same into obliged to listen, Sunday after Sunday, to try one’s nerves, but let us not be from traditional methods. I can as- BOSTON When the middle C of the pedals lies several notes for each foot, is well on to an indifferent minister brimming too hard on him, for undoubtedly he Church Organs • sume no other reason for its contin¬ Friedrich Schneider. Lfoot — I. directly below the middle C of the man¬ the right road. It is something like over with dry theology, and yet utter¬ “has troubles of his own.” To be a LATEST IMPROVEMENTS uance. R foot = 2. uals, as is generally the case, the proper homoeopathy and allopathy—do not use ly incapable of holding the attention of successful organist and choir leader re¬ BOSTON NEW YORK PHILADELPHIA In some future article I may enlarge A. Monthly An¬ position on the bench is about in a line too much of either! Heel = O his weary congregation. In this con¬ quires that one should not only be a CHICAGO LOUISVILLE DALLAS with, or a trifle above, the next note D. upon a definite and practical form of them Journal The pedals are played in two ways, by This is an approach to the proper nection, I am reminded of a good story good musician, but also a wise general The Choir for Voluntary The reason for this is obvious. The the toe (i. e., ball of foot) or by the scale pedaling. told me by a Presbyterian minister. and clever diplomat. These rare ac¬ Main Office & Works ”«ST— exact middle of a pedal board which has method, but it is deceptive because not Choirs .’. .'. heel. The heel should never be used for telling which heel is meant. He admitted that he was the victim of complishments are not very often com¬ the average and ordinary C, C, C, to F A PROPER SYSTEM OF MARKING bined in the same personality, conse¬ Sample copy free. Fillmore Music House, 528 Elm the joke, but said it was too good to S t., Cincinnati,O. or 41-48 Bible House,New York is midway between middle D and E. This The French school, however, starting PEDALING. quently we must make the best of the FRENCH PEDAL MARKING. keep. His congregation had purchased position, moreover, naturally brings the with Lemmens and including the illus¬ a pipe organ, and the music committee material at hand, and try to improve it The systems of pedal marking have right toe to the open space between E flat trious Guilmant, use this pernicious decided that the sexton must under¬ by discreet encouragement and kindly for years been so varied, and^are now J. Lemmens. T. H. = Right foot. and F sharp, and the left toe between method, which is as much a relic of bar¬ take the blowing of the bellows. When suggestion.—The Choir Leader. reaching such a multiplicity of forms, 3. To transpose a Hynyi Tune into that of B flat and C sharp. These breaks, barism as would be the striking of organ the subject was broached to him, he that they threaten before long to be¬ T. H. = Left foot. a key specified by the Examiners. wherever they occur in the scale, are keys with the fist or playing without using demurred, saying he ought to have geographical landmarks or oases for the come a very Babel of signs. To illus¬ 4. To accompany voices singing a the thumbs. his wages increased if he pumped the A TEST FOR ORGANISTS. benefit of all pedestrians over the long trate this point, let us examine some DUTCH PEDAL MARKINGS. given Canticle or Psalm (the candidate In every custom there is an underlying organ. “But,” said the chairman, “it and level waste of pedals. sixteen different methods of signs In order that American organists may choose between a given Anglican reason, which, while it may not serve as Simply 1. r., same as the ordinary won’t take up any extra time; you see The middle octave of pedals, i. e., white which may be found employed by may know what the examination_re- chant or Gregorian tone). an excuse, is yet worthy of notice. German method. you have to be here to open and close notes G to G, will then be naturally and prominent writers. quirements leading to the diploma of In this case I believe we must assume the church, anyway.” “Yes, sir, hi equally divided between the two feet, say Suppose we had one-quarter as many associate of the Royal College of Or¬ it to be the inherent stiffness of the organ SUGGESTED METHOD. know that; but if hi pump the organ Literary Test: EMMONS HOWARD four notes to each foot. This, as we different fingerings for the hands! To ganists of England are, we present the pedals of past generations (I am not re¬ hi shall ’ave to stay in for the sermon, To write a short essay of about 200 Westfield, Mass. shall see later, is a basis for the con¬ my knowledge, we have but two, and following list of questions which are ferring to the players’ legs), which has 1 = LToe j and that’s worth something.” I am words, as a test not only of knowl¬ struction of the scales. even those antagonize each other. those given at the January examination Pipe Organs of Highest Grade suggested the necessity of such a fierce 2 = R Toe [• Gerrit Smith, happy to state that the minister’s sense edge of the subject, but also of the pos¬ The next step is to attain a position of this year. mode of attack. o = Either Heel J of justice was so keen (not to mention ELECTRIC TUBULAR PNEUMATIC where the body may be in readiness for session of ordinary literary ability. The AMERICAN PEDAL MARKINGS. REGULATIONS FOR THE EXAMINATION All the latest facilities for Easy Control. everything required of it. One or two important rules may be his sense of humor) that he recom¬ subject of the essay will be taken from Place the bench so that the soles of the safely followed: Two consecutive notes Note.—These signs when written I am not about to suggest a new mended a raise in the sexton’s wages. FOR THE DIPLOMA OF ASSOCIATE. “Studies in Modern Music,” 1st series, Why is it that the critics are always feet may conle naturally on the white should not be played by the toe of one above the line refer to the right foot, method, but I propose to advocate this Organ Tests: W. H. Hadow, M.A. pedals about one inch to one and one- foot, except in cases of necessity, and when written below to left foot. as best, being the simple and reason¬ giving the organists such frightful whacks? In the first place, the average i. To play any portion or all (as the half inch back from the raised notes, the never in scale playing. For, as will be Eugene Thayer, \ A 0 / written above= able use of numerals. Theoretical Tests : The American Organ shown later on, the pedal scales admit of organist is so poorly paid for his serv¬ Examiners may desire) of one of the legs being perpendicular from the knees f_ R foot. There are several reasons why this following compositions, the selection of 1. Ear Test. To write down an Ear A Magazine of Pipe down. If the heels do not touch easily, a simple and reasonable pedaling with¬ is the best existing method. ices that he can afford neither lessons Dudley Buck. (v O) written below= the piece to be made by the candidate:—• Test (of which the key will be an¬ Organ Voluntaries the bench is too high. out the use of the slide, which later can nor time for sufficient practice to make ) \ L foot. 1. It is clear, concise, easy to be read 1. Fugue in G minor, J. 5. Bach nounced, and the Tonic chord struck). The proper average height of the bench be successfully accomplished, only on a S. P. Warren. or learned. his work up to the mark. Under these Separate Staff for Pedal Part perfectly-constructed, smooth pedaled conditions, we must not expect too (Peters, vol. 4, No. 7) (Novello & Co., This test may consist of either (a) the from the white pedals should- be about A n= R foot. VU = L foot, 2. It has the distinct advantage over Book 3, p. 84) (Augener & Co., vol. 6, Six numbers a year at $1.50—32pages of organ organ, or on one with which the player much. In this “vale of tears” we do melody of a single chant, ,or (b) a voluntaries in each number. February num¬ 21J4 inches. In this connection I would may be written above or below. other signs of permitting the numbers No. 26, p. 406) (Breitkopf & Hartel, strenuously urge the propriety of having is perfectly familiar’. It is a trick to be not always get what we pay for; but we simple diatonic melody of about eight ber sent on five days’ approval if The Etude is to be written anywhere, above, below, vol. 4, P- 72). mentioned. No f 1 ee samples. benches made of movable height, like the sparingly used like the glissando on the never get anything worth while that notes, and will be played over three Clarence Eddy. vo~R foot. or at the side, without obliging one we do not pay for. 2. Fugue in D minor, J. S. Bach bars in a gymnasium. Many is the time to squeeze them in where there is often (Peters, vol. 3, p. 43) (Novello & Co., I have sat on the bench of some long- This is, I am sorry to say, the French In many choirs some favorite solo¬ 2. Harmony Tests, (a) To harmonize A O = L foot. no space. Book 9, p. 151) (Augener & Co., vol. 2, EASTER CHOIR CANTATAS legged organist and have been unable to method, and to a great extent the English ist is paid as much again as the hard¬ a given Melody. (6) To harmonize a 3- Ordinary marks are confusing as p. 103) (Breitkopf & Hartel, vol. 2, p. touch bottom with my heels. Under such method, but it is nevertheless almost as working organist. This is surely a Figured Bass, (c) To analyze Har- conditions, octave playing is quite out of bad and unnecessary as the fault last men¬ A. G. Emerick. a U = R foot, being of so many varieties and so poor way to encourage musicianly at¬ 32). similar. 3. Sonata No. 1 (first movement), monical Progressions, id) To write the question. tioned (the attack by heel), which latter tainment, and in the majority of cases J. S. Bach (Peters, vol. 1, p. 2) (Novello passages of Harmony containing speci¬ Next, swing the legs in each direction Sir John Stainer strenuously forbids. John Zundel. 4- There are but three signs to be is positively unjust. And that reminds & Co., Book 4, p. 88) (Augener & Co., fied Chords or Modulations. as if the body were on a pivot, and sit L = L toe. memorized or observed. me that there is a lot of “Jewing down” vol. 8, p. 506) (Breitkopf & Hartel, vol. 3. Counterpoint Tests. To write far enough forward to allow free play, THE PEDAL SCALES. R - R toe. 5. There is but one sign for the heel. done in the way of engaging choir Simple Counterpoint in not more than THE LORENZ PUBLISHING CO. thus preventing the side of the leg from Lh = L heel. Two are unnecessary and superfluous. talent. It seems a pity that “the trail, 6, p. IS). ISO Fifth Ave., 4. Sonata in D minor (Introduction four parts, and Combined in not more Dayton, striking against the bench when playing If the ankle has been rendered flexible Rh = R heel. For further simplification of clearness of the serpent ($) should be over it New York Ohio and Fugue), J. F. Bridge (Novello & than three parts. high or low notes. by proper exercises, it will be the easiest in marking, I advocate the use of the all.” But, having secured your organist and most grateful thing imaginable to Co.). 4. Fugue Answers. To give the cor¬ ENGLISH PEDAL MARKING. for the least possible salary, why ex¬ play the series of three white notes, which r- f- 1. f. 5. Concerto in F, No. 4 (last move¬ rect answer to a given Fugue subject, ACTION OF THE FEET. brackets |-1 | | pect the greatest amount of good work naturally lie in proper range, with one ment) Handel, W. T. Best’s Edition and add to the answer a counter-sub¬ Sir John Stainer. Aq R toe Rheel. These are employed as belo^ from him, and why subject him to a The action of the foot in .playing is like foot, always beginning with the toe. running fire of adverse criticism? If only (Novello & Co., p. 73). ject, which need not be in double ESTEY CHURCH ORGANS that of the hand from the joint. This article is supposed to deal merely A® L toe L heel. he plays bright, cheerful postludes that 6. Sonata in C minor, Op. 41 (first counterpoint. The weight of the leg should never be with some preliminary suggestions of are simple in form and easily under¬ movement), J. Lyon (Breitkopf & .5- (general Knowledge. The candidate ESTEY STANDARD MAINTAINED used in pressing down the pedal keys; procedure and does not intend to cover W. T. Best. R L I_I i stood, some one will accuse him of Hartel). will be tested by questions on the gen¬ MAXIMUM FACILITIES only such force should be used as can the ground of more advanced work, Or, better still, the numbers, in sucl playing “rag-time.” If, on the other 7. Prelude and Fugue in C minor. eral structure of the Organ; on the HIGHEST GRADE OF PRODUCT be obtained from the free action of the such as scale playing. If, however, the h h apparent instances as this, may b hand, he selects music written in true No. 1, Mendelssohn. combination and contrasting of the PIONEERS AND LEADERS ALWAYS entirely omitted. ankle joint. ankle has been rendered flexible by R = Right toe except when h is organ style, there is some one ready 8. Sonata in A minor, Op. 98 (first various registers; on the chief causes Examine Key Stop Action and wonder¬ There can be no rapid pedaling until the proper exercises, it will be the easiest placed underneath. This necessitates With proper attention to the practi to suggest that “it's a pity he couldn’t movement), Rheinberger. of Casual Derangements of Organ ful Reedless Oboe and Saxaphone joint is perfectly free, both in perpen¬ and most grateful thing imaginable to two signs for each heel. cal foundation of scale playing, on th play something that has a tune to it!” 9. Con moto moderato (en forme Mechanism; on Form (or plan) in Mu¬ dicular and lateral movement. To se¬ play the series of three white notes, lines above mentioned, the student will When there is nothing else to be said, d’Ouverture), Smart (E. Ashdown, sical Composition; on the Orchestra; Estey Organ Co., Brattleboro, Vf. cure this, flexibility should as far as pos¬ which lie naturally in proper range, G. E.Lake. v o with slight exceptions, be able to thinl some wiseacre declares he is playing Ltd., No. S)- on Musical History; on Harmony, sible be the aim of all preliminary studies. with one foot, usually beginning with for ^mself the natural pedaling Bach Fugues.” 10. Finale alia Marcia, J. Stainer. Acoustics, Analysis, Choir Training. Established 1846 I have found dancing to be a most ex¬ the toe. A and marking will become, as it should Do the people who talk in this strain Twelve pieces for the Organ, Book 2, General Musical Knowledge, and also The first three notes which seem to almost superfluous, No. 12, p. 87 (Novello & Co.). cellent training for the development of GERMAN PEDAL MARKING know how difficult it is to play these on the Art of Teaching in its applica¬ facility and intelligence in the' feet, and suggest themselves would be middle p^f Play.er can take up “Buck’ much-abused musical numbers? The 2. To play from a Vocal Score in tion to those subjects which belong to PROFESSIONAL DIRECTORY on page 139 I should always suggest it to young peo¬ C, D, E, played with the right foot. trouble is, that if an organist ventures four parts, written in three G clefs, and Julius Schneider. A u_ Fedal Studies, followed by S P War the province of the Organist and Choir¬ Inserted 12 Times, Before Half Million Musical ple as being a pleasant and instructive hV • Next comes the group G, A, B, with the to play a fugal number of any sort, an F clef. master. People for $12.00 A U Stn® e,fition, of “Julius Schneider’ studies, and then Lemmen’s “Peda Please mention THE ETUDE when addressing our advertisers. 131 THE ETUDE THE E TIDE sponsibility which the position of leader and hearing the candidates who have A season of more than one week, entails, he must buy all the music it is often suggested. Of course GOOD HABITS AND VIOLIN BAUER’S NEW been preparing themselves. It is said not more than six evening perform¬ played between acts at his own ex¬ opinions will differ as to the advantage PLAYING. UNIVERSAL SHOULDER REST that the formation of this institution ances and one matinee (extra matinees pense, look after all business details or otherwise of Schumann’s piano In a long musical experience in both has been responsible for a greatly in¬ pro rata), per man, per week, $21.00. connected with his position, notify the part to the “six,” though there will not this country and Europe I have met creased interest in violin playing Single performances, including re men of rehearsals, collect the salaries, probably be two opinions as to his ac¬ but one concert violinist who did not throughout Great Britain. The num¬ hearsal, $6.00. pay the men, etc. companiment being the best possible either smoke or drink. This was the ber of pupils studying the violin has Violin Department Each additional rehearsal, per man, A talented violinist who has a posi¬ if one is to be played at all.—The Strad. young American violinist, Francis Mac- increased at a marvelous rate, and large tion as leader of orchestra in a leading millen, who after having completed ^ Promenade concerts after the even¬ classes of violin students and enthusi¬ theatre in one of the larger cities usu¬ two American tours during the past ing performances, to terminate not astic teachers are to be found in the SARASATE’S VIEWS. ally receives from $35-°° to $40.00 per two seasons has returned to Europe, ROBERT BRAINE, - Editor later than 12 midnight, to be paid extra, most unlooked-for places. There is lit¬ week. He aften has opportunities of In course of an interview some years where an extensive tour in Continental tle doubt that such an institution would per week, $5.00. * making extra amounts by playing solos, since, Sarasate, the great violinist, Europe awaits him the present season. All Sunday performances, extra, *5.00. greatly increase the interest in violin playing in symphony concerts, directing There may be others to whom nerve Single performances with dances playing if it could be established in this amateur performances, etc., on which “I drink beer like a German, smoke stimulants are unknown, but I have after the performance, not terminating country. _ occasions he sends a substitute to the cigarettes like a Spaniard, and find my¬ never met them. When Macmillen was BAUER MUSIC CO., THE INCOME OF ORCHESTRA scattered all over the United States later than 3 a. m., $8.00. theatre. If he has a good teaching self none the worse. I am nearly fifty completing his studies in Europe his Each additional hour extra, per man, BACH’S VIOLIN WORKS. PERFORMERS. and Canada. Each of these locals business he is often able to earn from years of age, yet never felt my hand associates and even his teachers ad¬ is free to make its own prices, $1.00. Bach, in his violin works as else¬ steadier on the finger board than now. Of the large number of violinists $75.00 to $100 from all sources, or even vised him, and even urged him to and they vary greatly in different parts The Cincinnati price list differs so™£- where, is to many people an “acquired Of course I get very tired sometimes. studying for the profession, and the more per week. The rank and file of smoke, and drink light wines at least, of the country. The prices quoted are what from that of New York city. The taste.” It is fashionable now to admire I am tired now for instance, having still larger number of violin amateurs, the men do not do so well. Even in for the sake of sociability when asso¬ Theodore Spiering strictly adhered to and any violation following extracts from its price list him, or to seem to admire him: it is played at five concerts this week, but a who study without the intention of de¬ the larger cities they are only able to ciating with artists. of the price list is followed by a heavy will give an idea of prevailing prices: not quite so fashionable to understand little rest soon puts me right again. pending on the violin for a livelihood, average from $18.00 to $30.00 per week Mr. Macmillen steadfastly refused, Fortunately, I can sleep when travel¬ but who, in many instances, finally fine. from their musical duties alone, and him. Some vote him “dry,” and saying that he believed it took all the Six Artist Studies The following prices are taken from Grand Opera. ling at night, and it is sleep which drift into professional work, only a if they do not teach, or engage in antiquated. Yes, he is antiquated, be¬ nervous energy of a violinist to play for violin alone. Op. 4, the theatriGal section of the price list Six performances and one matinee, very few can hope to depend on solo other business, their income averages cause his thoughts are cast in the minimizes the fatigue more than any¬ the violin, let alone squandering it in of the New York City local, American per week, $35.00; each additional per¬ thing. I practice very little, except Published by work exclusively. only about the same as carpenters, mould of a bygone time; but he is smoking and drinking. This view of Federation of Musicians: formance, $5.00; single performance when studying new pieces. It is cur¬ So great are the demands of the plumbers, machinists or similar arti¬ antiquated in somewhat the same sense the case has certainly been borne out by with one daytime rehearsal, $7.00; night ious how in that respect artists differ. LAUTERBACH & KUHN present day concert stage on the vior sans. Those who have a business out¬ as the Psalms or the Alexandrine the success Mr. Macmillen achieved in rehearsal, $3.00; extra day rehearsal, linist in the way of great technic and side of music, however, are often able version of the New Testament are Take pianists, for instance. Saint- his American tours. Commencing LEIPZIG Italian, German, English and French $2.00; substitute or extra musician with¬ musical genius that a violin soloist to swell their income to $50.00 per antiquated; they will afford solid com¬ Saens, who played his own concerto at early in last October (1907) and con¬ One of the most important contributions opera; a season to consist of one or out rehearsal, $5.00; substitute or extra must be one picked out of ten thousand fort, and he will furnish solid enjoy¬ the Philharmonic on the occasion of his more weeks of not more than five per¬ musician with one daytime rehearsal, week or more. tinuing until late in the present spring to hope to earn his bread with solo ment, to scores of generations yet last visit here, had not practiced for (1908), he played an average of five formances per week, the salary shall $7.00. work alone. For the rest, teaching and unborn. The constellations are anti¬ twelve months, having been too much concerts a week, sometimes giving two be, per week, $35.00. Rehearsals not to exceed three hours; orchestral playing, with an occasional THE LONDON COLLEGE OF quated; but just as untold millions absorbed in composition; yet how mag¬ concerts in one day. His programs Where the price of the choicest seat each additional hour, $1.00. .solo engagement, are all that is left. VIOLINISTS. have gazed on them with wonder in nificently he played, with what dignity, were of the heaviest possible character, does not exceed $2, for not more than Musician on stage by the week, per the centuries gone by, so will millions ease and unerring technique. The theatre and opera orchestra give seven performances, per week, $28.00. One of the interesting features of including such works as the Paganini performance, $4.00. more in the centuries to come. “Mr. Paderewski studies for seven or employment to thousands of violinists Each additional performance, pro musical life in England is the “College Concerto in D, Ernst’s F Sharp Minor Grand opera at summer resorts, not In regard to the violin, he knew its eight hours daily, so as to keep his in the United States, and although the of Violinists,” an institution which was Concerto, and so on through a long less than five performances, per week, possibilities, and though he never leads fingers lissome. There lies the secret. salaries paid are not high in themselves, If less than one week, for every per¬ founded for the advancement of the repertoire of the most difficult and tax¬ $20.00; leader, per week, $40.00. the player “off the fingerboard,” so to I believe my hand is lissome because except in the case of grand opera en¬ formance, including one rehearsal for art of violin playing and increasing the ing compositions for the violin. He Operettas, opera bouffe, etc., six per¬ say, his compositions for the violin will the bones are small, and rehearsals and gagements, yet the player, unless the interest in it. It was founded in 1890 gave the entire program himself, ac¬ each opera, per man, $8.00. formances with one matinee, per man concerts are almost enough practice for rehearsals are very frequent and Every additional rehearsal, per man, forever remain a sealed book to the companied by the piano, with the ex¬ per week, $21.00; single and extra per¬ and incorporated in 1891. It is not, as me. Now, large finger joints must re¬ onerous, which only happens in the $2.00. would be supposed by the name, a violinist whose technical equipment is ception of two songs by the vocalist of formances, $3.00. quire more movement to keep them case of grand opera, is left with much All evening rehearsals the same; price school of music, as a violin student can not of the first order. To any other, his company. In all his tour he was Opera or operetta given by opera playing Bach will be only “playing flexible. As I said before, I never felt time on his hands which he can devote as performances. prepare for its examinations anywhere not obliged to disappoint a single to teaching, writing and arranging school, $5.00; day rehearsal, $2.00; my hand more certain than now. For¬ Every extra musician engaged in the or under any teacher. Examinations with” him; and he is not to be played audience. music, and to a great variety of other night rehearsal, $3.00. Operetta (ama¬ with. Study, long, deep, earnest, and merly I had always an hour’s practice orchestra shall receive for each per- for obtaining the following degrees: Every violinist knows the terrific pursuits, and in this way doubling his teur) with one night rehearsal and before playing in public, but now. I do fbrmance, including one rehearsal for Fellow, Licentiate, Associate, Gradu¬ discriminating, is necessary even to bodily and mental strain of constant income. dance not later than 3 A. M., per man, not even need that.” Answering the each opera, $7.00. ate, and three junior grades, are held comprehend him, still more to play traveling and playing an average of Many of the theatrical musicians in $10.00. question as to his ideal violinist, For extra musicians required on the twice annually in June and July, and him. His violin music is not of the five such concerts a week. His success the larger cities keep small stores and The theatres in Cincinnati are divided Sarasate said: “Without hesit'atipn, stage, including one rehearsal, per man, December and January, and any one class which “leaps to the eyes,” as the in keeping up to his highest form dur¬ fill a great variety of positions apart into different classes, each class hav¬ Henri Wieniawski. He was equally $4.00. can take the examination and receive French say; nor is it of the kind easily ing the entire tour certainly speaks from their musical duties. The aver¬ ing a different price. In one class played at sight. A great player and perfect in all the styles, in classical, Each additional rehearsal, per man, $18.00 per week per man is paid for a degree if found qualified and upon volumes for his theory that the violinist of Smooth, age theatrical musician must be on $2.00. musician, now dead, once said to me, romantic, or virtuoso music. I am I eight performances, with a weekly paying the necessary fee. should not impair his nervous powers duty at the theatre from 8 P. M. to Theatres. “All good players can play at sight, proud to belong to this school of play¬ VIOLIN!Fine Tone salary for the leader of $35.00; in The examinations are held all over by nerve stimulants, and intoxicating The purchase of a violin is an important thine. 16.45 P. M. with a rehearsal on Monday but they never do—in public.” It is im¬ ing, the Latin school, the school which Dramatic or variety performances, for another, $2.00 per man is paid each the British Isles, even the smaller liquors. Why not get the best musical value to be had? morning and a matinee on Saturday, possible for even the most facile insists above all on the violin being famous3!” i&fHealy Cremo"at°»e Violin is tvorld- one week’s engagement or longer, per performance up to any number, with towns being visited, where there are A long list could be given of concert and sometimes on Wednesday. In violinist to do justice to Bach’s violin made to sing. We play without undue man, each performance, whether day or $35.00 per week for the leader. In the applicants. During the past summer artists and musical geniuses of the some cities there are Sunday perform¬ works “at sight.” They must be looked pressure of the bow on the string, with evening, $2.50. third class, $22.00 per week is paid for examinations were held in such out-of- highest order who have fallen by the ances also. It will be seen that the at, looked into, and looked through and the violin held in front, not hugged by For nine performances, weekly, twelve performances, with $35.00 to the-way places as Llanelly and Merthyr wayside owing to dissipation, and over- musician has, if he wishes, the greater through, before even the right idea how the left cheek, nor scraped by the beard, Tl?e Student'Violin is also the lea part of the day to devote to other pur¬ $21.00; ten performances, weekly, $22.00; $40.00 for the leader. in South Wales, Bolsover in the Mid¬ indulgence. It is doubtful if there is to play them can be grasped. This of with the head up and the wrist free, rPokCwl'5i'uS >'ou.°“r Musjcal^ Hand- suits. In theatres where daily matinees eleven performances, weekly, $23.00; Where music is furnished for ama¬ land counties, Blairgowrie in Scotland, any occupation which puts such a course is true of all great music, but and so the tone comes freely, naturally, musical instruments. 312 pages, 1100 illustrations. are given he is not able to do' much twelve performances, weekly, $24.00; teur operatic and dramatic perform¬ etc., etc. terrific strain on the nervous system as thirteen performances, weekly, $26.00; it is preeminently true of Bach’s violin easily.”—The Dominant. outside work, but the pay is, of course, ances the price is much higher. The patrons are Senor Pablo Sara- that of solo violin playing. It stands fourteen performances, weekly, $28.00. compositions. LYON & HEALY higher. The grand opera musician is In the case of the smaller cities sate. Signor Guido Papini, Hans Sitt, to reason, therefore, that the nervous Sunday evening concerts, $5.00. Schumann wrote a pianoforte ac¬ 87 Adams Street, CHICAGO obliged to attend so many rehearsals somewhat lower prices rule, although Emile Sauret and Chev. Ernest de “Both Romances by Beethoven for system should be kept up to a state of Leader to receive at least double. companiment to Bach’s “Six Sonatas and the double work of rehearsal and the work done is the same. In one- Munck, all eminent violinists. The the violin, the one in F and the one in the highest efficiency at all times. A 'Evening rehearsals to be the same price for violin alone.” This work is done performance is so onerous and taxing night stand towns BURPEE’S 1 glgSgg Blank Program Forms iilllsssiEs CONCERT H£^OE?ik!& UCITAL *»W- gg^g s^« h;sy gfSSSSi fjTOWnCSffiB JffSI rnmmrnz "S"srir,u: gMK'ig.a ,v,rv ,we *re Pleased to maiUt FREE 'I sei-iiS“« is used If you have never tried Grape-Nuts a piec‘d ,wh»e to give it a fair im- ARE YOU BUSY ALL DAY? LET US EM •v:|g«-srr.:r:: r; IF S&sasss in?moIS™1>;omnoS«°rt biograPhles of lead- y°« can k.eep well> and with the bra'5 KfetaSHSS,“« ''wellvllle”' Jri «« 138 THE ETU DE SHEPARD PIANO SYSTEM HOW TO MAKE TECHNICAL EXERCISES FASCINATING SSusiatst*—'■» aSS*®5*^—a Sec. at Orange, N. J., £ 'SSSSSZ the RUSSELL SYSTEMS “TUDY TAPPER’S GRADED COURSE Practical Correspondence Lessons For Tei t practical in plan and purpose nd Outlines for Home Study. H Written work to * in Harmony, Music Theory, Music History, el THE AMERICAN INSTITUTE OF APPLIED MUSIC Sri c,“’e7br'he "habitulfuL to build a new home It is said that in Arabia where coffee SCHOOL OF MUSIC EDUCATION CALVIN BRAINERD CADY, Principal sSwassBaa** TrKi-arr...... School of Music Education :: :: 225 Newbury St., Boston, Mass. |?Sai£ |„ed V?vlSpn°ofel |^there\vas Tdefect^ hTeTes S year did, and finally quit it and began to too Cr*eek, Mich. Read. "The Road to ouse Wellville,” in pkgs. “There’s a Rea- F=.“rSAi THE ETUDE 141 140 THE ETUDE MUSICIANS IN BUSINESS. PUCCINI’S EARLY PRIVATIONS. quite a number of musicians have WE TEACH TEACHERS Few living composers receive a , tie into business after having estab- SUMMER SCHOOL greater income than Giacomo Puccini, STACCATO AND LEGATO. Nied a reputation as artists. The the famous Italian master of to-day, ADVERTISING IN tumber of firms that have been founded Humor, Wit and Anecdote. who is best known by his operas 2 Wesl 121st Slreef, New York . musicians who have died rich would Madame Butterfly” and “La Boheme.” Four Months’ Piano Course, Jem to give the lie to the assertion Including board, - - - THE ETUDE “Willie, if you’ll stop blowing that in¬ Long—Tha,t violinist’s execution was I here are many stories told of his early that musicians are not good business Private Lessons and Ensemble Playing- fernal horn I’ll get you any other toy simply marvelous. ays, which, after all, only represent is Indispensable to neD) though examination will show Classes in Piano Technic, Interpretation, you want.”' Strong—Wasn’t it, though! You the common lot of many a struggling Analysis, Harmony and other Theoretical Sub¬ a Successful Season jects, etc. “All right, dad, I wants a bass drum!” could see the audience hanging on 'that'many of these artists had shrewd oinmercial men at the back of them. ®t!iUUS tke wide world over, but prob¬ This course thoroughly informs the teacher BEGIN WITH MARCH ISSUE every note.—Boston Transcript. ably the best is that told by Wakeling how to proceed with the pupil from the first 0ne of the most distinguished was rudiments to the highest artistic perfection. Forms Close February 10th “I suppose, Bridget,” said Miss Wood- Dry in his biography of Puccini. He Oh, the Male Quartet is a lovely sight Voice Culture, Violin and other Instru¬ by to the new maid, “you think it strange jluzio Clementi, the father of piano¬ and his companions, at the time Edgar ments, Elocution, Languages. Specially Low Rates To glad your soul on a summer night that one who plays the piano as perfectly forte playing, who went into the busi¬ was in the process of making, rented TEACHERS EDUCATED IN EUROPE The squeaky tenor who sings in A ness of pianoforte making with F. W. THE ETUDE 1 lMdladelph la, Paf®* C. W. Wilcox, New York. “ Great as I do should practice so much.” one little top room in the Via Solferino, CATALOGUE Oaks from little acorns grow.” Beginning In a most delicious and tender way. Collard, and died a rich man in 1832, “Yis, mum,” replied Bridget; “shure, Milan, for which, according to Puccini’s only a few short years ago to teach com¬ The thunderous bass with the double despite many misfortunes. The firm if ’twas me I’d give up in disgust.” friend, Eugenio Checchi, who has re¬ position and arranging of music by chin, -till exists as Collard & Collard, a mail; to-day he has erected a college for The second tenor who flats like sin. corded the history of these early days, JOHN DENNIS A timber merchant was sitting in his uell-known London piano firm. The MEHAN the same, and has his offices in one of the The eloquent and perfervid tone they paid $6.00 a month. Puccini kept Mr. and Mrs. Crosby Adams handsomest buildings on Fifth avenue, in office one day, musing sadly over the equally well-known publishing firms, a diary, which he called “Bohemian Of the handsome, six-foot baritone. Chappells and Cramers, have always this city. Surely no greater proof of the general depression in the wood trade, THE WORLD RENOWNED Life,” in 1881. It was little more than Will conduct Two Sessions of success and efficacy of his method could “O, come, my love,” says the tenor high, Special Summer Classes when a quiet-looking young man en- been more or less closely connected. a register of expenses. Coffee, bread, Carnegie Hall, New York be desired.— The Dominant, Sept., 1907. “O, come,” t!-e baritone makes reply. j0hn Baptist Cramer, numbered among in July and August And the :econd tenor can only blink, tobacco and milk appear to be the chief “Do you sell beechwood?” asked the the greatest pianists of the first half entries, and there is an entire absence ■e vitally “0, come,” says the bass, “to the roller SOHMER THE MARY WOOD CHASE the problem ofA whatv stranger. 0f the nineteenth century, was one of anything more substantial in the way “Yes, sir,” replied the merchant, rising of the founders of Chappell & Co., in 5 by whi, h to broaden tl Then the four of them open their of food. In one place there was a School of Arfistic Piano Playing with alacrity and hoping devoutly to 1812, and later went into business in mouths so wide herring put down, and on this being more clearly the important relation of suitable book a large order; “we can supply any conjunction with Addison, who subse¬ teaching material, lor each grade; who are And dare the lady to come inside. brought to Puccini’s recollection he quantity on the shortest notice, either eager, in^a word, to^gain a wider view of Hie SURPASSES ALL OTHERS quently retired, Mr. W. Chappell tak¬ laughingly said: “Oh, yes, I remember. in the log or in the plank.” “What sweet sounds come from the ing his place; the firm of Cramer & selection, presentation and interpretation of SOHMER &. COMPANY That was a supper for four people.” that which is memorable and beautiful in “Oh, I don’t want so much as that,” water to-night!” Co. still exists in Regent Street, Lon¬ said the youth, shifting his feet un¬ This incident was made use of later by “Y.es; the fish are probably running don. the librettists of La Boheme in the third No work need be ptepared by the teachers; easily. over their scales.”—Nashville American. Pleyel, the composer, and friend of “I just want a bit for a fiddle bridge.” act of that opera. Haydn, opened an establishment in From the Congregation of Charity at Special —From Stray Stories. Miss Marie Tempest relates that YOUR MUSIC IS TORN!!! Paris for the sale of his compositions, Rome Puccini was in receipt at this when she went to the late Signor Gar¬ music for the piano, arranged in sequence,/of but his business subsequently de¬ all the grades. Mr. Singerly—“Do you know that cia for singing lessons, the maestro It will take one minute to repair it by using time of $20.00 a month. The sum used Midwinter Course veloped into a piano manufactory of to come in a registered letter on a cer¬ Teachers return to their classes, from these new tune just haunts me.” raised his eyebrows when he saw her great repute. He died wealthy, and his .eocirmB with new confidence in themselves Mrs. Singerly—“No wonder—after the MILTUM-IN-PARVO BINDING TAPE tain day, and he and his companions avitig lists of proven n step forward from the group of girls business was carried on for some time -’-> —!de sources, 1 way you’ve murdered it.”—Smart Set. 5-yard roll of white linen or lO-.vard usually had to, suffer the landlord to who were waiting their turn to be by his son, and is now known under Voice Culture •st work.at th heard, but he said nothing until her open it and to deduct, first, his share eding grades. the name of Pleyel, Wolff & Co. under the direction of song came to an end. for the rent. Many were the scenes “The paper states that a girl’s pres¬ If your music dealer does not carry it, send to Musicians, however, have not always First Session, July 19th to the 31st Then Garcia spoke. ' “Thank you,” he they had with this worthy possessor ROBERT G. WEIGESTER Second Session, August 4th to the 17th ence of mind averted a panic.” been successful in commerce, and “How?” said slowly; “will you please go home Theo. Presser, Philadelphia, Pa., of real estate. He had forbidden them Jan. 18th to March 1st (6 weeks) at (The work is the same at botli sessions.) among the failures must be recorded at once, take off that dress, rip off or Multum-i n-Parvo Binder Co., to cook in the room, and even the 862-863 Carnegie Hall “She sang, and the audience quietly that of Dussek, one of the leading Write for further particulars to sneaked out.”—Louisville Courier-Jour- those stays, and let out your waist to 624 Arch St., - Phila., Pa. marvelously cheap restaurants, where NEW YORK at least 22 inches? pianists and composers of his time, at least the one national dish of spa¬ CROSBY ADAMS, Oak Park,life “When you have done so you may who opened a music warehouse in Lon¬ ghetti could be indulged in for the Write for circular don in 1796,- but was a failure. Viotti, 1 Mis.sus—My dear, Mr. Grumpy, next come back and sing to me, and I will * merest trifle, our group of young smug¬ tell you whether you have any voice.” the violinist, went into business as a glers found it even cheaper to do door, offered to tune Lizzie’s piano to¬ CLASS PINS wine merchant, but lost his entire day for nothing. Everyone tittered, and Miss Tempest their own cooking at home. As the fortune. Mister—Great! We’ll save money! hurriedly departed. “He was quite --muoutuiuiia me manufacturers hour of a meal drew near, the landlord “Used by all Up=to=Date Teachers” Vincent Novello was more fortunate, Let him do it and thank him kindly. quite right,” she admitted afterwards; used to go into the next room, or prowl BENT & BUSH CO., and founded a business in which he THE KINDER Missus—But, my dear, he wants to “no one' can sing when laced in as 15 School St.. - Boston, Mass. about the landing to listen and to smell. tune it with an axe!—Exchange. tightly as that. I went'home and— commenced publishing organ music The usual stratagem was to place the Adjustable Foot Rest well, I’ve never had a 10-inch waist with a written accompaniment, instead spirit lamp on the table, and over it 0! in figured bass, as was then the “I see,” said the artistic person, “that a dish in which to cook eggs. When Pedal Extenders for the Piano fashion. In 1829 his son, a bass singer the frizzling began, the others would Saint-Saens has decided to give up the SEE “THE ETUDE" much with half the exertion. P At a recent entertainment in a col¬ of some repute, started a similar busi¬ call out Puccini to play “like the very ored church at Washington the master PREMIUM LIST ON ness, which has since developed into Foot Rest $3.00. Pedal Extenders $2.00 per set of two “What’s the matter?” asked the man devil,” and going over to the piano he of ceremonies made this unusual an¬ perhaps the largest publishing house in Special discount to teachers and trade. Sold by all first class music who knows nothing of music. “Was he nouncement: THIRD COVER PAGE would start on some wild strains which houses. Agents wanted. Illustrated catalog for the asking. England, and one of the largest in the stopped when the modest omelette— buying it on the installment plan?”— “Miss Bolter will sirtg, ‘Oh, That I world. two eggs between three—was ready to W. MARKS, Port Washington, NEW YORK Washington Evening Star. Had Wings Like a Dove, for Then I Playford, the earliest music publisher Would Fly and Be at Rest,’ accom¬ turn out. oi whom we have any detailed knowl- CORRECTION OF MUSICAL M.S.S. The London Musical Times has been panied by the Rev. E. F. Botts.”_ FREDERICK MAXSON One Piano, Eight Hands This collection of si or the Art of Developing the Musical Side of Child Natun pudge. For was not tl _, which was not easily satisfied with any- mt-*ts> he ■ thing, the feverish vehemence with hi™elf on all that he is which the master wished to raise his WIth- disciples to his own standpoint, the „ “4 yearly salary of four hundred ceaseless repetition of a passage until flonns (about $8o.oo) to be received it was understood, a guarantee that he quarterly is hereby bestowed upon the had at heart the progress of the pupil? said Vice-Capellmeister by his Serene A holy artistic zeal burnt in him then, H>ghness. every word that fell from his lips was . addition, the said Joseph Haydn incentive and inspiring. Single les- sha,n ^ave board at the officer's table sons often lasted literally for hours rt or half a gulden a day in lieu thereof." MME. CHAMINADE ON MUSIC A recent Sunday issue of The New and convulsive cramped moveir York Herald published an interesting the hand, and to give him thus the interview secured by Mr. Rupert FLETCHER MUSIC METHOD first condition of a beautiful style of Hughes with Mme. Chaminade. Speak¬ ing of music study, Mme. Chaminade Three Facts Well Known to the Mnsical Public of America Are— “I have seen, oh, so many Ameri¬ can women come to Paris, stay a few years, and go back broken-hearted, as will of the pupil, on which ; twenty and even forty thor repetitions (up to this time the a tmpieS s?a the piano, song and harmony'in ^our country. But the tragedies are inevit¬ 1712 CHESTNUT STREET, able even if they work at home. For there is too much art made. In every unlimheddemFo? /he“Td'o thethSUPP-y little chance.” ' * ^ * “How is one to know that she is EASTER MUSIC m “Tha/ of /ourse/fs hard to tell in tract of Joseph Haydn, advance, but the gift is partly seen in Dunning System of Improved rule. The child for whom one may en^-V ditions imposed upon artists one hun¬ hope usually begins very young, gen- Ee^eeT. &3S dred and fifty years ago. It shows that erally by scribbling music everywhere, Music Study for Beginners anywhere, even on the walls. - GIIb^e„^ythe..Lord..!8 .» "/he waXnome! “The first thing is the^gift. The 50 iMg - SSrS’ArHS h°“A bad teacher cannot ruin a great IMPROVED, ^SYSTEMATIZED PLAN OF MUSIC STUDY talent. I have seen geniuses of the rrvs,;” “S ™ Europe, with hundreds of Sisters of the following Orders, be helped or hindered by his teacher, “There is no such thing as hereditary ians in this country. They hear too home there is probably less music than cians usually come from families that know nothing about music, or at least Normal training class in New York in January. All teachers must don’t keep it always going in the house. realize the advantage of a course of study in New York during This is especially true in America, where children rarely follow in their the season when the best of the musical privileges may be enjoyed father’s footsteps.” Every day that we spend without MRS. CARRIE LOUISE DUNNING 225 Highland Avenue - BUFFALO, NEW YORK more care to induct hi i“'. farnjliarity an/from"” BURROWES COURSE OF MUSlClm THEODORE PRESSER X\r^;PDrle? :t?~ anv-r-eas,„g the consequences or „u,uv.s---, -1 for Teachers by Home Study, hS.™’""' wo”ld be *° h" “AaSrcfc KATHARINE SatS- SteS-wy THE ETUDE THE MAGAZINE BARGAINS MAGAZINE BARGAINS every ETUDE subscrip¬ ted below. Quotations j&saeg-asgss etvde sssss?™ ETUDE not mentioned THE ETUDE and AMERICAN, or COSMOPOLITAN, or SUCCESS—Value $2.50 for $1.85 THE ETUDE and WOMAN’S HOME COMPANION—Until February 15th—Value $2.50 for $1.85 American Magazine The Cosmopolitan Good Housekeeping Success Magazine THE ETUDE and McCLURE’S— Value $3.00 for $2.10. Add Any “Class A” Magazine—Value $4.00 for $2.75 The World’s Work Other Clubs of Value Current Literature The Etude The Etude,ortoVeerrya”ds,c World’s Work S:S8 « ill :pEis «- - ci... ■■vC.'.V.,:. a •: ill Review of Reviews The Etude-Uvnd-- -value cost Review of Reviews $4.50 to, $3.00 —- 1:18 :: 1:18 'class''“'a**:.:::::. 8:88 2 1:18 THE ETUDE St.00 for $2.65 THE ETUDE, EVERYBODY’S and DELINEATOR-$4 for$2.85 THE- ETUDE 1712 Chestnut Street, PHILADELPHIA PA "" ' 1 ’ '