January 1905) Winton J

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

1-1-1905 Volume 23, Number 01 (January 1905) Winton J. Baltzell

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Recommended Citation Baltzell, Winton J.. "Volume 23, Number 01 (January 1905)." , (1905). https://digitalcommons.gardner-webb.edu/etude/499

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]. •a2 W- CHOPIN NUMBER JANUARY, 1905 SINGLE COPY, 15 CTS. $1.50Cl SA ncnPER vPTrnYEAR v " I ETUDE

WITH SUPPLEMENT PRIMER. OF MUSIC BY THE etude 1 William Mason, Mus. Doc., and W. S. B mat

Price. Boards. 75 c«S.; Cloth. $14 ^ IF YOU ARE LOOKING FOR This little work covers entirely new Erour., CONTENTS alone a primer of the pianoforte, with information u is ** keyboard notation and peculiarities of the instrum °Ut ^ NEW SONGS “THE ETUDE,” - January, 1905 NOVELTIES THIS LIST WILL INTEREST YOU Published in October and November, 1904 foundations of harmony, musical form the I'"®!“ * 4t Frdderic Francois Chopin (Biographical Sketch) phrasing, the correct way of playing all’the em®'5 of N*EW SONGS FOR SOPRANO A. L. Manchester . .. 7 and ornaments, the principles of pianoforte tM, ■ ls By CLAYTON F. SUMMY CO. Jules Jordan An Appreciation of Chopin . . . Id lor Philipp 8 much other interesting and mind-awakening instruct)’ *** .THE COQUETTE.50 Chopin the Bevolutionaire. . . . O. von Sternberg 9 220 Wabash Avenue, Chicago, III. Range d to a or c. Chopin the Teacher.Mary Venable 10 IN MAY-TIME. 50 PRONOUNCING AND DEFINE Range E to a. Sung by Anita Rio. Chopin the Man.W, J. Henderson 12 B. M. Davison Chopin the Poet of the Pianoforte , E. B. Perry 13 by ROSSETTER G. COLE, DICTIONARY OF MUSIC TWO COMPLIMENTS.50 The True Genius of Pianoforte Music . E. D. Hale 14 entitled UNNUMBERED, THE VIOLET, and LULLABY BY Range G to F or g. (each 50c.); GOOD NIGHT, by ADOLPH WEIDIG (50c.), and Thoughts for the New Year.14 W. S. B. Mathews and Emil Liebung Arthur Bruhns with violin obligato (75c.); UNLESS, NIGHT, and SLUMBER. LADY MOON.75 Making up a Chopin Program. . . . Emil Litbling 15 SONG, by JULIA WILKINS (each 50c.). Price, Cloth. $1.00 High Voice, Range E to g. The Quality of Chopin’s Genius. . . H. A. Clarke 15 Medium Voice, Range d to F. This is beyond question the most perfect and , Isidore! Martinez Musical Rhythm and Rhythmic Playing, W. S. B. book of the kind published. It contains over 10 000?" WHO IS SYI VIA f eo Mathews. 16 (40c.); a volume of SIX CHILDREN’S PIECES, by PERLEY I tions of words and terms used in music. ’ ae“01' High Voice, Range E to b. Old Fogy’s Comments.17 DUNN ALDRICH (50c.); THE WATERMILL, IN THE I A Summary of Musical Notation. Medium Voice, Range c to F. Snow Bound in a Studio, Musical Story .... 18 BLACKSMITH SHOP, FAIRIES’ MUSIC BOX, by EDYTHE Musical Forms and Their Classification PRUYN HALL (30c. each). The above are all in the first and 1 Rules of Pronunciation. Giving directions for NEW SONGS FOR MEZZO SOPRANO A True Interpreter of Chopin.E.B. Hill 19 second grades of difficulty. AT SUNDOWN (40c.), BY THE nouncing Italian, German, and French words used j/JJ' E. H. Bailey Prize Essay Contest. 19 LAKE (50c.), THE CLOVER FIELD (50c.), THE RIVER THE WEED AND THE ROSE..50 Children’s Page. 20 (50c.), styled Nature Pictures, by G. A. QRANT-SCHAEFER, Medium Voice, Range d to E. Editorial Notes. 22 are excellent numbers in the third and fourth grades. Low Voice, Range c to D. RULES AND REASONS FOR. H. N, Redman Voeal Department.II. W. Greene 23 ALE, by A HUR IF LOVE WERE WHAT THE ROSE IS.50 Organ and Choir.E. E. Truette 26 DUNHAM (75c.), and new editio. CORRECT SCALE-FINGERING VESPER BELLS (60c.), and SONGS IN THE NIGHT (4 Range d to g. Violin Department...... George Lihmann 28 By Ernst Held Carl Mittell by WALTER SPINNEY. THE SANDMAN.50 ; Etude Music Study Club. Articles by Herve D. j A manual for teachers and students. Range d to E. Wilkins and A. L. Manchester . .. 30 Publishers’ Notes ..: 32 Price, 25 cent9 NEW SONGS FOR ALTO rial, by CALVIN B. CADY, viz.: Sec. Ill, CHILDREN’S MnsinfU Tf.pmp. ... 34 SONG STUDIES, and Sec. VII, MELO-RHYTHMIC TECH¬ Kate Vannah Questions and Answers.35 NICAL STUDIES (each, net, 50c.). TIDBITS OF MUSICAL HISTORY BID HER DREAM OF ME...5° Range a to C. Home Notes..36 IT CAME. UPON THE MIDNIGHT CLEAR, a fine, new ' THREE RED ROSES.50 Christmas Song, by JOHN A. WEST (50c.), ready December Low Voice, Range a to D. 1st. In two keys. Medium Voice, Range c to F. Recital Programs. 37 Price, 25 cents J. C. Macy Teachers’ Round Table.S. J. Corey 38 Send for our Catalogue and Novelty Lists, and for our plan for CUDDLE DOON.50 keeping ^teaehers^posted on ^ the desirable things that ar* ’ Range g to C. r class of publishing hou: THE LITTLE GRENADIER.50 MUSIC waits you in Jamaica. With its^ tempting accessibility and the THE ART OF HYMN-TUNE Range a to D. PLAYING Louis F. GottschalK At Daybreak.E. Schneider 1 Sdays on vessel?whicli afford the traveler every convenience and THE KING CAN DO NO WRONG.50 Triumphal March from “Aida” (four hands) Clayton F. Summy Co. By Anna M. Hamilton G. Verdi. 4 Range b to D. 220 WABASH AVENUE, CHICAGO, ILL _*• Mail Steamships Anton StrelezKi Grande Valse Brillante, Opus 18 . . . F. Chopin 8 ADMIRAL DEWEY ADMIRAL SCHLEY A ROSE GARDEN .50 Three Favorite Preludes.F. Chopin 12 ADMIRAL SAMPSON ADMIRAL FARRAGUT Low Voice, Range b to D. Love’s Dream.A. L. Broom 13 Medium Voice, Range d to F. sail weekly from Boston and Philadelphia. New American-built Steamships Buckman and Price, 25 cents Spanish Dance.F. 0. Rathbun 16 Slumber Song.C. W. Kern 18 Watson weekly from Baltimore. NEW SONGS FOR TENOR ROUND TRIP, $75—Including Meals and Stateroom—ONE WAY, $40 Forever and a Day.C. Sobeski 20 Weekly sailings from New Orleans to Colon Republic Panama, Linton Costa Rica, and PIPE AND STRINGS Jules Jordan Crossing the Bar.Wm H. Pontius 22 Every VOCAL ports in Central and South America. A PERSIAN SERENADE.50 d book, “A Happy Month By W. F. Gates High Voice, Range d to g. istea, by.t Low Voice, Range b to F. Three historic and descriptive sketches. The origin ml Sung by Ellison Fan Hoots. Teacher and Singer tiNITFn FPIIIT rnMPANV development of the organ. The evolution of the pUnofone. MY LADY.50 Special for January The violin and its ancestry. High Voice, Range E to g. Low Voice, Range c to E. Six new pieces for Piano, especially adapted Mum for [.teaching ln the Intermediate grades. Price, Cloth, $1.00 Adam Geibel in the United States SWEET ALPINE ROSE (Swiss Serenade).50 Nymphs at Play .... Bebr Range d to g. Christmas Bells .... Ganschals Isidora Martinez MANUAL OF MODULATION The May Bells .... Lange should examine the THE CONTRABANDIST A...50 Gavotte, Village Fete ... Lange By T. L. Krebs High Voice, Range d to F. following Songs before Low Voice, Range a to D. Fairy Queen Polka .... Lichner A most valuable little work, containing concise and s®?'8 P. A. SchnecKer Greeting to Spring ... Wenzel making up their lists instructions in the art of constructing correct and phasing WAITING FOR YOU.50 INTRODUCTORY OFFER: Upon receipt of twenty-five cents, A FOUR-HAND COLLECTION modulations from one key to any other. The number ol High Voice, Range E to g. will send all the above named compositions. Singly, five cents for the coming season Modem Dance those who have the time and opportunity to stu<*y'j’.'r®1? Low Voice, Range c to E. each. Limited to one copy each. FOR ORGAN OR PIANO of music is few, yet many are anxious to have a good toa- * * & edge of modulation. The object of this manual is to ®PP1 NEW SONGS FOR BARITONE WALTER S. SPRANKLE, Publisher that knowledge, and only such instruction is gi«“ 85 e Jules Jordan 809 E. Eleventh Street, - - Indianapolis, Ind. Mammy’s Lullaby (Alto) Jamison $0.50 author-deemed necessary for that purpose. THE NATION'S SONG OF PEACE. 50 Album The Juvenile Duet Players Range d to E. Only (Mezzo) - Wrightson Price, 25 cents George B. Nevin TWO NEW BOOKS .50 PRICE, 50 CENTS THE BRAVE OLD OAK. 50 OF INTEREST TO EARNEST PIANO TEACHERS Price, 50 Cents Range b to E. In God’s Own Light (2 keys) * $ * RUDIMENTS OF MUSIC MY IRISH SWEETHEART.50 MODERN METHOD OF Range b to D. Eversole .60 7Tp^HISHIS bookb°°k has been made tot0 fillfil1 a demand IB aMn^Sgan or iC™ sui,able for the Prepared by J. R. MURRAY TECHNICAL EXERCISES NEW SONGS FOR BASS FOR THE EQUALIZATION OF THE FINGERS for a collection of good dances more Teachers, classes, and individuals who do not care'“'“l Including the Study of Transposition, Phrasing, Rhythm, and Heart of the Rose (2 keys) difficult than those contained in “ The a large and expensive book just for the sake of th Geo. Lowell Tracy Artistic Expression for daily practice for pupils of all grades. A SON OF MARS. w , By CAR.L W. GRIMM Eversole .60 First Dance Album.” ment devoted to the “elements,” will fin<1 m,* otI. Range e to E. (Author of "Grimm’s Practical Method for Piano “ Grimm’s inexpensive work everything necessary for a contple> THE LAUGH OF A JOLLY GOOD FELLOW... .40 Simple Method of Modern Harmony.”) Four Songs from Glen Arden Every piece is a gem—the choice of our whole standing of the art of 'reading and singing by note. Range e to E. PRICE, $1.00 catalogue between the grades of 2 and 4. ”“"d“ P*» wiltb. found u Geo. L. Spaulding Gilmore 1.00 Price. 10 cents THE JOLLY OLD FERRYMAN.. 50 SONG STORIES FOR the PIANO The hook has been expressly designed to meet Range g to C. By CAR.R.IE A. ALCHIN «- The Most Unique and Attractive Work the demands of the modern ball-room, being rich Jisstgb* "ih”- Adam Geibel THE VOICE OF THE SWORD. ever Written for Beginners Music Sent on Examination to in captivating waltzes and dashing two-steps Range a to D. cisesVpesentedebiea°mo^™itS tot-read’and the technical exer- piano, ' gan> are Just as well suited for the Parties Furnishing References well as a number of various other dances Louis F. GottschalK various other dances. The value of duet playine even in ... TH E OLD BELL RINGER. 5Q THEODORE <» PRESSFR I *71 -»Ca^0t be overestimated! g’ ln the earher grades, John Church Compaq Range g to D. Chestnut Str^f Dun, pa. THEMATIC SONG CATALOG SENT FREE SIRS'?11’0 his interest. There are thousands of teachers Cincinnati Chicaoo New York London L# that êr^teacheîrf thftandshal^hay11 S work’ and .we ProPose THE PRICE OFTHE* BOOKM CENTS W. H. WILLIS & CO. White-Smith Music Publishing Co. Usual discount to Teachers and Dealers. Boston: 62 and 64 Stanhope St. New York: 6 East 1 ?th St CHICAGO, ILL., 248 Wabash Avenue Chicago: 259 Wabash Ave. The Geo. B. Jennings Co.,Cincinnati, o. STRICH £ ZEIDLEl ~IANOS ^ p~ ^ CINCINNATI, 0., S. E. Cor. 4th and Elm Sts ând Excellence; and New Artistic Designs of Cases. ** AriU,i‘ C'and and Vlrijht Tian 134th Street and Brook Avenue, NEW YORK 3 THE ETUDE THE ETUDE

SCRIBNERS’ LATEST BOOKS I PIANISTS IN PREPARATION Our SPECIAL OFFER A Whole Library The Music Story Series Send us 35c. In stamps and we will mall you One Copy each, or either one for 18c Of Technical Exercises NEW VOLUME I Send 87 cents for the PIANISTS’ The Story of the Violin, by Paul Stueving', Professor of the Violin at the Guild¬ ■ PARLOR ALBUM, 0 thoroughly Condensed Into Less Than One Hundred Pages hall School of Music in London, with many illustrations and examples. Square ismo. $1.25 net. 1 high-grade Album, printed from en- 1 graved plates upon the finest finished A Silent Prayer ■ paper, and undoubtedly the finest (REVERIE) AND ■ Album of its kind ever published. SCALES ■ Bound in a flexible cover.-neat, sub- 1 stantial, and attractive. No music COMPLETE, CONCISE Dance of the any book seller or music dealer 1 NEW TECHNIC’ AND COMPREHENSIVE Snow-Flakes Charles Scribner s Sons, 153-57 Fifth Av«., New Yori A System of the Most Necessary For years there has been an unfilled demand Daily Exercises to Produce a among teachers for a book on Scales in the Both by MARIE LOVKA. Composer of the various forms, that, while not voluminous, “Rajah” March and Two-Step, which is enough Q »ARLORl to assure— that-*■ ---they \ good. 3 ? 5 * should contain all needed information for teach¬ PERFECT DEVELOPMENT ing purposes. So many requests for such a work have been received from teachers in all Important Publications parts of the country who find the works already WEYMANN ® SON, Publishers published so large and invariably including other FINGERS, WRISTS, ARMS, FOR PIANO SOLO technical material for which they have no special 923 Market Street. Philadelphia, Pa. use, that the publishers determined to issue a AND BODY work that would, if possible, fully meet the need, keeping in view always the two important In the Shortest Possible Time SCHARWENKA, XAVER. Op. 77. Contributions to Finger Cultivation features —Conciseness and Practicability. Book I. Hand and Fingers in the ordinary position. CARL FISCHER co’Jl. 3, NEW YORK Experienced teachers all agree that in the Engelmann’s Latest Successes Exercises with a supporting Finger (for ele¬ proper presentation of the Scales much more mentary and middle classes). Breitkopf may be gained by the student than mere digital LOVE’S JOY AND SORROW—Reverie Edition 1958, -.5 dexterity. Among the many interesting points Melodious in character and easy to play By HUGO MANSFELDT of value presented in Book II. Exercises on Finger Stretches (for advanced Discount OVR. MASCOT pupils). Breitkopf Edition 1959, lALBUMl 50 per cent. A characteristic patrol that sets the feet in motion Book III. Exercises in simple and combined sideward stroke. Breitkopf Edition i960, .... SCALES Op. 78. Studie New Sorvgs will be found the following: ALL (15) the major scales are given, men¬ The exercises require the closest application, tioning the signature of each, and the sharps or BLASIUS & SONS, Philadelphia, Pa. but when once mastered will enable the pupil to flats composing the same; pointing out those which are inharmonic, and calling attention to accomplish greater results in far less time than the variation of fingering where necessary. by any other system now in use. BOTH forms of the minor scales are given, The greatest results are achieved from the explaining the difference in formation. EACH cents I SHEET MUSIC i.’S&ffh. J 0t tm/ Wholesale Prices on all Popular Sheet f knowledge imparted through the illustrations and SCALE contains a reminder at the point of © / PCI* Music. Instruction Books and Musical 0 notations employed by the author in this volume. change, thus impressing the student with the 0 M Instruments. Catalogue free. 0 All technical problems are given a ready solu- construction of either the harmonic or melodic \ M COPv THE QEO. JABERG MUSIC CO.,. \ ‘ ’ on in this the greatest system of technic. BREITKOPF & HARTEL - form. Again, each scale shows its relation to 0 ■ 121 W.Seventh St. Cincinnati Ohio. P the major. THE major and minor scales in Franz Liszt, to whom the author submitted 11 E. Sixteenth Street NEW YORK sixths and tenths are given ; also those in con¬ his work while in Weimar, complimented him trary motion, with various fingerings. THE The Best March Hit this Year is highly upon the many original conceptions con¬ '“sis?™- chromatic scale is presented in varied form. tained therein, and eulogized the book in most Scales in connected thirds and sixths, with the “THE JAP BEHIND THE GUN” emphatic terms, expressing a surprise that such a best method of using the hand in accomplishing practical work had not previously been thought of. the connection. OCTAVE scales in detached MARCH AND TWO-STEP BY A. E. WADE A text-book in piano playing and legato style, with instructions as to proper A brilliant piano piece; splendid bass solo in trio; lays well Teachers simply glorify it, because of its intel¬ A HAND-BOOK for teachers touch, are fully set forth. THE necessary re¬ nnder the fingers and is comparatively easy to play. If your local ligent and valuable conciseness. No other book STEP BY STEP marks are placed with each scale, and can be dealer cannot supply you send twenty-five cents to the address has met with such a sincere welcome from the below and you will receive it by return mail. readily ascertained without referring back to the guild. THE A. E. WADE MUSIC CO., Hoqulam, Washington beginning or end of the book. UNDUE elabora¬ Mansfeidt’s “ New Technic ” has created more M. WITMARK 6, SONS tion has been avoided; examples only of certain WATCH THIS SPACE accomplished and masterful pianists since its pub¬ scale forms being given. The work has been lication than all the old-time so-called “ methods prepared as much from the pupil’s standpoint as BREHM’S MONTHLY BARGAIN and studies ” combined. And it has accomplished from the view of the teacher: a matter frequently Vol. I out Nov. i, 1904; Vol. II will be out April 15, 1905. Youthful Fancies, by Pauline B. Story this in such a brief space of time that even c overlooked in works of this character. noisseurs of the art are marveling. NOW READY I The largest size music plate made will be Six instructive and pleasing pieces in second grade. A. K. VIRGIL, 11 West used, thus insuring a large clear note, and Price, 25c each. To introduce among teachers will se One noted tutor of music has admirably printed on the best qualityquality of music book paper, dorsed the great merit of this work in the trite THE DINGLEY-MATHEWS bound in neat artisticitic cover.1 We are confident CLASS WORK it will meet with thee grateful approval of every wo‘uid if-srti teacher. The Orga.n Player SPECIAL INTI Compiled by PRESTON WARE OREM Notwithstanding t) PRICE. $1.50 tion, we realize the ; price for a work of placed it at 50 cents. , 1. Bo, 402Y' TONE FANCIES to February 15th, 1905, will be cents per copy, postpaid. If ti Pi-' postage will be added. EVERY TEACHl1ER should avail themselves y B^C^.\DIbNGmLaEtY^TsHEWS of this special introdu for EACH ONE of pEODdroral^îrCût Street. Phil„ t>. Hatch Music Company Pride of the Nation Two - Step ROSEB,u,D„?S.'?Il PUBLISHERS AND Send 10 cents in stamps for one of the best two-steps - THE MAIDEN AND THE MOUSE Every TEACHER and PUPi^L'u.d hav. a copy of ever composed, entitled “Pride of the Nation.” One of the Best Marches in Years 8th and Stamps returned if composition fails to plea.se. Splendid Piano Solos and Teaching Pieces in Beautiful Editions SWALLOWS’ RETURN By LEANDER FISHER " Phil Address CHARLES MITCHELL, Composer . 15c. EACH, OR BOTH FOR 25c. wm man a receipt of We make a Specialty 147 77th Street. Windsor Park. Chicago, Illinois desk eÂRTHUR BELLINGER, Publisher Leo. Feist E55SU New York BATTLE CREEK. MICH. M M , r-mr or coin) postpai^ P ...»1J’.i?ECHTEL’ "“ttSS-e*. P„ ~ 'Buffalo,N.Y. 5 4 THE e t u d E THE etude fvf.ry organist Palmer’s Piano Primer __ a m »* Publishedhed. every should have “THE ORGAN.” Publisl PROMINENT Piano Players Prefer Palmer’s Pi,n„ Meckels Specials vo months’^ntaÎp^gaâ^gsi1™îsj Primer. It is Progressively Plan’d, PneSH BRAIN ARD’S tSditionWood SOMETHING DIFFERENT. Late si Volumes for “The Pianist’s Mental Velocity” -so “Molineux* Organ Folio” PIAJVO SOLO By SILAS GAMALIEL PRATT 32 Marches, Voluntaries, etc. . • So-5° DANCE OF THE DAISIES Introductory Price until March 1st, . 0 PA AtusâP^nnsâmlÂ^brevlaUMa.ô *hich*Uâow'added*(2

~ Cher* anJ »th«r» -'SKi— „fw THE CAVALIER. | Prom 80 to^96^pages

The onSReceipt 'of $3.oo GEO. MOLINEUX 148-150 Fifth Ave. New York . PALMER. Lock Box I84U NEW YORK CITY BRAIN ARD’S Merry Melodies in Music-Land How to Know the

72 Pages, 20 ctst Holy Bible

1 (& LENNOX. No- 10 S. Hicks St., Philadelphia, P«. The Modern Graded Piano Course EDITED BY G. V. MECKEL THOMAS TAPPERj> THIS COURSE

SEVEN BOOKS OF GRADED STUDIES. TWO HANDS SEVEN BOOKS OF GRADED PIECES. TWO HANDS Ben Hur Chariot Race THREE TEACHERS’ MANUALS FOUR BOOKS OF GRADED PIANO PIECES. FOUR HANDS BRAIN ARD’S A Few Leading Characteristics: Note the Unusual Array of Composers Piano Teacher’s Guide 1. It permits and assists the application of any “Method.” represented in the An up-to-date, carefully graded Thematic List of 2. It is the only course which recognizes the necessity for First Grade p“”’ ANDRE, LUDWIG 3- “ibgSd’cSrrif1 1 to ™ “•* ARMAND, J. C. BIEDERMANN, A. JUL. 4. All music forms are outlined and described. CLOY, C. V. CRAMER, HENRI 5. Memory aids are given on the basis of Form construction. DIABELLI, ANTONIO DUPONT, PIERRE BRAIN ARD’S 6. Especial care is taken in the training of the Left hand. Little Steps in Music-Land 7‘ AX)fMZ/oeGraVZ0i mUSiG comP°-tion are developed HOPF, Vv. HORNEMANN, H. 8‘ A evUe^ volum”^ °f authorship is found in HUMMEL, J. N. KRAUSE, ANTON KRENTZLIN, RICHARD LECOUPPEY, FELIX 9‘ A titeyâctâllôccîn8^^:8mus^CU‘ra*’e^ ^plained where LOESCHHORN, ALBERT LOOMIS, HARVEY W. MARTYN, PIERRE essentialsRofTmusfcêdicatioiT?rse which presents all the MOZART, W. A. REINECKE, CARL SCHWALM, RICHARD SOMKRVKl L. ALBERT STRELEZKI. ANTON COMPLETE M L:Sk/i a NSH C

Correspondence regarding this Course, ib Introduction, ttnd Use |.

_ On reque^&^mVsenffW1U De sent forUdCmS examination • . PRICE PER GRADE ONE DOLLAR ir!?SISyj Boston: OLIVER DITSON COMPANY E. T. PAULL MUSIC CO. i: C. H. DITSON ®, CO. . i St., New T THE S. BRAINARD’S SONS CO. CHICAGO, ILL. 6 THE E TU D E

Kinderlarte Method JUST ISSUED ; DEPENDABLE' FIRST STEPS PIANO Over half a century of experience, combined with 1 IN PIANOFORTE STVDY ital, has enabled us to succeed in an honorable ambl- • Schmidt’s J tton to make a thoroughly good piano, to be sold at a ' Compiled by Theo. Presser * reasonable price. f Back of its high position m the piano industry are Standard Organ Collection PRICE. $1.00 ■ more than 80,000 satisfied purchasers. It is only fair t0 f believe that no piano could gam such wonderful ponu- * larity as these figures prove unless it possessedthe 33 COMPOSITIONS A concise, practical, and melodious intro- J highest merit. Examine either the interior or the duction to the study of PIANO PLAYING Specially adapted for the Church Service Registration carefully indicated SOME POINTS OF INTEREST : EMERSON New material. Popular and yet of high grade. By EVERETT E. TRUETTE Not less than six specialists have given their < NO. 1 this work during three years. PIANO PHILADELPHIA, PA., JANUARY, 1905. so simply as to be almost a . .jd you will find work that has conscience in it—made 2 VOL. XXIII Price $1.50 Graded so carefully and begini [ on honor, as the saying is. Whenever or wherever it is J kindergarten method. of instruction < spoken of, words of praise are always used. J It will take a child through the first ti t Our illustrated catalogue and plan of easy payment I in a most pleasing and profitable manner. I system for the asking. Best possible prices allowrJ ' 1 rZhtam one book is monotonous: it tins become the [ old pianos in exchange. The Faelten System drudgery. So give this new book a trial. ! EMERSON PIANO CO. I Let us send it to you "ON SALE." Subject to Return OF > CHICAGO BOSTON «l , 192 Michigan Ave. 120 Boylston Sf. j Fundamental Pianoforte Instruction THEO. PRESSER, Publisher In writing, please mention The Etude 1712 Chestnut Street Philadelphia. PtK. BY CARL and REINHOLD FAELTEN

Books 1, 2, 3, 4. Each, $1.25 We It will be of interest to all progressive music teachers to learn that Carl and Reinhold Faelten have prepared a new version of their rubbing elbows with greatest luxury, and with the traditions of a proud past constantly recounted in “ Fundamental Training Course,” the sterling In summing lip the lifework Of any man not only o7Wusician must his personality be considered, but the influence his presence, there is no surprise at the savage fer¬ merits of which have already been abundantly of heredity and environment upon that personality vor of his patriotism. This is the environment which discussed, acknowledged and practically dem must be taken into account. The relative impor¬ BY ARTHUR L. MANCHESTER. could make the pale, delicate, vacillating, shrinking A Hlmttlilg .IJmtrnal Dnuitrb In tljf Chopin write polonaises in which the clash of war onstrated during the last decade. tance of heredity and environment is a subject which Educational ilntcrcatfi of IHuhic has given rise to much discussion. With the merits delicate hands and slight limbs, such is the outward sounds with tremendous fury. The complete Course is given with full ex¬ of this discussion this paper has nothing to do. It aspect of the man whose music tells a story of planations of all details and in progressive is certain that both are dominating factors in a.l melancholy in keeping with his physical appearance, When the young Frenchman, Nicholas Chopin, order, making it possible for every intelligent Edited by THOMAS TAPPER^ life, and—struggle as we may—we cannot avoid of a patriotism so fervid that its savagery is all out them. Genius, no matter how great; determination, of touch with his delicacy and avoidance of deep, stir¬ reached Warsaw, he could not but be impressed with teacher to study and apply the Course in¬ be it ever so strong, cannot utterly overcome their ring topics of conversation. the conditions which met him, The capital of the dependently. A number of new, valuable THE MUSICIAN embodies the best ideas gained by experience of the leaders in the musi- effects. Down through the generations, sometimes The study of such a life cannot but be absorbingly country which had once had a powerful voice in features have been added which greatly in¬ j0?', ' j teacher can afford to be without it because it contains information suited to with a certainty that smacks of fate, sometimes over¬ interesting, and we do not wonder at the attention the politics of Europe, but which now had fallen the daily needs of all. Thb Following List op Departments Illustrates its Scope: leaping one or more generations, are bequeathed which has been given to it. Knowing nothing of his from its lofty estate, reflected the conditions of the crease the effectiveness of the Course. traits of body, mind, and character which establish ancestry, we cannot tell how great is the influence whole country. The strongest contrasts of poverty and wealth prevailed, the streets of the city were “ This is by far the most ingenious attempt that Teachers’ Forum The Orân predispositions like bands of steel, from which es¬ of heredity in the composition of the man. His bi¬ Conducted by HAMILTON C. McDOUGALL ographers make practically no mention of his fore¬ spacious, but ill paved; the churches and public build¬ has been made for many years to set before the little Conducted by WILLIAM HORATIO CLARKE cape appears impossible. From so long a succession of musical ancestry we expect a John Sebastian Bach bears. His father was not a musician, and was ings were large and magnificent, the palaces of the musical learner (or the old one, for that matter) the In this department the pertinent and vital Gives particular attention to the music of the questions of teachers’ work are discussed. church, its needs and demands, and the dis¬ to result, and we would be surprised and disap¬ not, so far as we know, of the physical and mental nobility were numerous and splendid; but the great¬ difficult lessons that he must learn before he can be cussion of all live questions of importance. pointed at his failure to give a proper account of type of his son. The mother was a Polish woman est part of the houses, especially the suburbs, were said to have started properly on his quest after mu¬ The Music Student himself. So, also, environment siezes us at birth, of good family, presumably possessing the character¬ mean and ill constructed wooden hovels. This is the sical knowledge. By means of examples, tables and Conducted by EDWARD BURLINGAME HILL Music in the Home molding, fashioning,- setting its stamp upon us, work¬ istics of her race, but a healthy homekeeper who description of a visitor who came to Warsaw about systems of notation not to be misunderstood, the Hints and helps for study are here thoroughly Conducted by Mrs. FRANCIS C. ROBINSON ing out in us its will, at times almoat to the oblitera¬ held the fervid love of her son until her death. For the time of Chopin’s arrival. whole fundamental principles of piano playing are ex¬ developed in a manner interesting and stim- This department appeals to every home where tion of the attributes with which heredity has en¬ the derivation of his physical and mental attri¬ From the domination which had long been the pride plained in the most thorough manner, and the pupil music is studied or where a piano or any dowed us. While we seekers after knowledge view butes we have no apparent source. His musical of haughty Poland, she had fallen until, with terri¬ musical instrument is owned. is at once put to the practical test of proving what The Voice this battle between heredity and environment, striv¬ genius seems to have been his own birthright, and tory diminished, her independence was gone and her he has learned after each separate chapter in four Conducted by ARTHUR L. MANCHESTER ing to draw from it lessons to serve our own good, his boyhood did not particularly foreshadow the very existence depended on the caprice of her power¬ The Lesson Club it goes on before us, and will continue so long as ful neighbors. The map of Europe was not yet set¬ volumes. Many pages are provided with the five Contains practical instruction in singine peculiarities of his manhood. But, however derived, Conducted by Dr. PERCY GOETSCHIUS tled; Prussia, under the rule of Frederic the Great; blank lines of the musical staff, where the pupil is Treats on breath control, voice production! men are born into the world. And now and again his supersensitive, highly strung temperament was A series of practical instructions in music above the turmoil of medioerity will he thrust an peculiarly susceptible to the influences of environ-, Russia, under the unscrupulous Catherine II; and expected to write his exercises and copy the examples vocaHsts^d otller subjects of interest to theory and all subjects touching directly or extraordinary example of the results when these ment, and to the accident—shall we say?—of his Austria, under the reign of Maria Theresa, were given. Thus his work is preserved for reference, and indirectly on music subject life. factors unite in the production of a genius. birth in Poland and at the precise time when that ready to dismember her when provocation should later he is enabled to benefit even by his own mistakes. The Violin and Orchestra Such an example is Frederic Chopin. Unique not once dominant people were sunk in deepest dis¬ arise. Carlyle aptly represents Poland as the “peace¬ The technic of the instrument is not neglected in the Conducted by Miss EDITH LYNWOOD WINN For the Youni People only among contemporaries, which included such tress, their very existence wavering in the balance, able stepping-stone of Russia into Europe and out of Faelten system, and there are interesting and in¬ Conducted by THOMAS TAPPERj names as Schumann, Mendelssohn, Berlioz, Thalberg, it;—what may be called the door-mat of Russia, use¬ a f^ irC °f new literature, new meth¬ do we owe the nature of his achievement. structive sections devoted to special exercises and ods and teaching pieces, and notes of This is full of interest and brightness and is and Liszt, but also among the masters of all times, The migration of Nicholas Chopin, the young ful to her feet, when she is about paying visits or studies for muscle and sinew development. Much interest to players of stringed and other under the direct charge of the editor, whose revealed to us as a strange combination of weakness Frenchman, to Warsaw about 1787, at the suggestion receiving them.” Her king, Stanislaus Augustus, had instruments of the orchestra educational works for youth have attained and strength, of vacillation and fervor, of gaiety and been placed on the throne by Russia with force, and time and patience have evidently been spent on the phenomenal success. of a fellow-countryman, his participation in the work, and for pedagogical purposes it could not well melancholy, of sympathy and shrinking reserve, the struggles of Poland to rehabilitate herself as a na¬ it only needed a spark to set the tinder afire. And pageSh|fgnet,wrmusi?p1rimrf ftSif ?£insr and feat in current topics. Each number contains twenty-four originator of a style of composition which, despite tion, and his ultimate adoption of Poland as his the time was approaching when the spark and the be surpassed. ’ ’—Musical Courier. araUiy, music editions. This, jf purchased sep- anicles, and new publicStious are reviewed r magazine, its narrow limits, has exerted a greater influence home were decisions fraught with pregnant pos¬ powder were to meet. When Nicholas reached War¬ than almost any other, his short forty years of life sibilities, and from them came the career we are saw, Poland was looking for a return of her former MAIL ORDERS SOLICITED AND FILLED PROMPTLY TO ry number, and if satisfactory we will send the other J^SKCIAN. Send fifteen cents for the Jan are a fascinating study of the effect of environment studying. The enthusiastic participation of the greatness, and the uprising headed by Kosciusko took ALL PARTS OP THE COUNTRY upon a sensitive nature. His personal appearance father in the struggles of his adopted country pre¬ place not long after. Nicholas took part in it, nar¬ NOVELTY LIST sent free upon application price iS cents per copy. is contradictory, giving at once a clue and a com¬ saged the burning patriotism of the son. His earnest rowly escaping death in the massacre on the taking PER YEAR plication to the understanding of his activity. Of study of her history doubtless placed within the of Praga by the Russians in 1794. The final parti¬ his personal appearance we can have some notion reach of the hoy the traditions of which Poland was tion of Poland by the three countries already named C. H. DITSON-i IcYSYo?ITSON COMpANY, BOSTON from the pen portrait by Liszt. Of rather low so proud, awakening him, child and man, to a keen brought to an end the existence of Poland as a king¬ ARTHUR P. SCHMIDT stature, but of distinguished bearing, and with an sensibility of Poland’s wrongs. Spending his child¬ dom. Her glory was of the past; the children of the Order of Your Horn & CO., Philadelphia BOSTON NEW YORK. air of high breeding, with an oval face from out of hood and youth amidst the turmoils of a lost nation¬ future would be told tales of her chivalry, of brav¬ LEIPSIC 120 Boylston St. 136 Fifth Ave. which looked spiritual, blue eyes, a pale, transparent ality, with the rumblings of revolution ever sound¬ ery, of self-sacrifice, and, it is a pity but it must be complexion, a rather aquiline nose, fair, silky hair. ing in his ears, with the misery of direst poverty said, of the cruelty of her nobles of former days. 9 8 THE ETUDE the outlet of action in battle for his country, Was t THE ETUDE in their treatment of their children, and^ the reign he rebelled against things that were believed m, as After the collapse of the effort of Kosciusko, Nicho¬ find expression in his music. The C minor etui]0 of culture and domestic happiness m ‘he h““e’ called the “Revolutionary,” is said to have had it’ we believe in the law of gravitation! He rebelled, las Chopin determined to return to Lorraine, but was to be expected that a child so gifted as Fiedei c inspiration in the fall of Warsaw on September 8 against playing in time! Think of it! He was the sickness prevented, and obtaining a position as tutor would give early evidence of proper training. His in the family of Countess Skarbecic, he eventually 1831. first who became conscious that strictly measured married and adopted Poland as his home. His affairs The limits of this study do not permit a detailed time-beats are an artistic impossibility. He modestly Etude the present writer discussed his student iife. applied his discovery only to his own works, but he prospered, and the advent of Frederic, in 1809, His musical bent was recognized and appreciated by account of his last eighteen years. They were spent in Paris, which was the scene of triumplis and suf nevertheless opened our eyes (or ears) to the fact shortly after the establishment of the Grand Duchy teachers who seemed to possess the rather■ ra of Warsaw, by Napoleon, found him occupying a po¬ fering. There his greatest works were written, there that a certain freedom in time-heats must have pi e- faculty of knowing how to direct it alona p P sition of comfort and honor as professor of the existed, for he did not invent that freedom which he paths without restricting it unduly. At W, the his genius matured and gave permanence to eoncep. French language in the newly founded Lyceum in so inaptly named tempo rubato, he discovered it! we youth was a piano virtuoso ranking with the mo. tions which were to infuse a new meaning int0 Warsaw. A little later he was appointed to a simi¬ understand to-day that neither Bach nor Beethoven exalted. He was composing and already giving evi¬ the few srnaU forms in which it expressed itself lar position in the School of Artillery and Engineer¬ could have so violated their musical nature as to al¬ dence of the originality which was to make hi There he met his evil genius, George Sand, who ing. When the peace of 1815 brought a period of ways play in strict time; but we also understand that unique among composers. He had learned marred the life of more than one man. There his tranquillity, the circumstances of the family were still they used tlieir freedom unconsciously. Of course, cult art of being exacting with himself, even whil days were uneventful, the battles within giving n0 further improved. Thus the infancy and boyhood sign except through liis music. The little journeys Schumann says: Play, in time! But he meant the of the future composer were healthful and happy. treading unexplored paths. , . ., , , obedience to a much higher law; he meant it esthet- His childhood and youth were spent in these stud¬ he took were but episodes; he made friends anil But the environment into which he grew was not ically, while, alas, he is mostly taken literally. That, ies and in the enjoyment of the jollities of a vigorous admirers, gathered about him a few pupils, grew one to leave on so susceptible a nature a pleasant capricious, was loved much, loving little in return however, is our mistake, not his. Yes, Chopin openly school life. His later melancholy was in strong con¬ ancholy undertone which reveals the anguish of the impress. Poland in 1812 is described as follows: and fought against the encroachments of disease’ rebelled against strict time! Honor to his memory “Nothing could exceed the misery of all classes. The trast to the sprightliness of his youthful disposi¬ heart as to the doubtfulness of success. And tnis tion. A favorite among his school fellows, lie was all the time giving birth to beautiful, significant for it! army was not paid, the officers were in rags, the note of anguish rises at times to a cry of despair, He also objected to the use of the pedal as a mere leader in their fun, albeit his pranks were never of tonal expressions of his personality, his individuality best houses in ruins, the greatest lords were com¬ almost of horror over the utter uselessness of the prolonger of tones. He saw its possibilities as a the rougher sort. In after-years his facility in Two visits to England were not especially productive When we contemplate a portrait of Chopin, when pelled to leave Warsaw from want of money to great sacrifice of blood and life. means of coloring and he did not care if two harmon¬ mimicry amused his friends and caused them to say of signal artistic triumphs. His father had died in the remembrance of his fascinating melodies renews provide for their tables. No pleasures, no society, And the one in C minor! How heroic m its sad¬ ies did get mixed so long as they were relatives as he would have made a great actor. A comedy, writ 1844 of chest and heart troubles, his sister Emelia to us the life of these delicate, finely cut features of no invitations as in Paris and in London. I even ness! And what is it that bursts forth from the near as Tonic and Dominant. Was he a rebel? j.__i- tv,* ip; itv nnilcihnrflt.ion with his youngf- had also died early of consumption, and at length his face, from which it is so easy to guess an saw princesses quit Warsaw from the most extreme C minor Etude? It is the wail of Polish mothers What was the piano before his time? A substitute the disease fastened upon him, and he ended his ac¬ equally delicate Blender body—the very idea of con¬ distress. The Princess Radziwill had brought two after the battle of Warsaw (1831): Oh! that the for the orchestra. Among sovereign instruments it tivities between 3 and 4 o’clock on the morninv necting him with anything so savagely heroic as a women from England and France, she wished to send Czar may drown in our tears!” And the grand Po - was a vassal. And now? Now it is a sovereign like of October 17, 1849. He was buried in Pdre la Chaise revolution seems absurd. This hypersensitive little them back, but had to keep them because she was onaise in A-flat-is it not the dream vision of a dis¬ violin, voice, or. organ, only a trifle more so. Where unable to pay their salaries and traveling expenses. It was a life of only forty years; it was lived by man who, upon receiving back a book from a friend tant future when Poland shall he victorious, free, in¬ these are dukes, it is a king who bows to none but I saw in Warsaw two French physicians who in¬ one whose temperament was not indicative of hastily opened it and said: “You have smoked while dependent again? the imperial majesty of the orchestra. formed me that they could not procure their fees strength; it was marked by more or less capricious- reading it—I smeU it—you may keep it”! this diffi¬ But, you might ask, what about Beethoven’s so¬ even from the greatest lords.” ness; it was a strange compound of effeminacy and dent, retiring creature who was so afraid to let a Chopin the Pole. masculinity; it was shallow, yet deep. It was de¬ natas? Are they not for the piano? Surely! Still, These were conditions which could not be eliminated written word go out of liis hand that he would walk Has ever bard sung the woes and yearnings of voted to a narrow, a very narrow, activity; but it they are too absolutely musical to be pianistlc. They hurriedly, and coming as the result of the oppression from o-ne end of Paris to the other merely to avoid his people more clearly, more forcibly, more nobly? marked an epoch in music, and uplifted a standard do require a good piano technic, but it is rather that of surrounding nations, they could not fail to embit¬ the writing of a letter; this, nevertheless, inwardly Surely Frederic Chopin was a revolutionist, for the which has not yet, in its own field, been reached by of the expert interpreter of orchestra scores than ter the Poles. Although sheltered from the suffer¬ haughty little person to whom the very touch with warriors of his tone-poems are not brutal aggres¬ ing, Frederic grew up amidst the people whose hfs followers. the common riff-raff was so odious that he shunned that of the solo pianist. They call principally for sors not savage invaders, but noble champions of a musicianship. Moreover, if piety and reverence did wrongs were still all too fresh in mind. National any place where they could possibly be, and,who se¬ perfectly legitimate and worthy—though extremely characteristics still held sway, and what could not be AN APPRECIATION OF CHOPIN. lected all his associates—when not artists—from not forbid their being orchestrated, there would be experienced in reality would have the stronger ex¬ unfortunate—cause. no preventive reason in the sonatas themselves, for among the nobUity; he—a revolutionist? Preposter¬ The revolutionary trait, however, is gregarious. pression in the tales of those who kept the deeds of His Works Embody All Technical Forms. surely there is enough orchestral suggestion in every ous, you will say. And yet such he was! It is a trait of masses rather than of individuals, in former years living in the hearts of the youth. one of them to well nigh preclude any error in the the sense that in the uprising of a people the in¬ But Frederic’s knowledge of Poland’s struggle for BY 1ST DOB PHILIPP. The Polish Temperament. orchestration. independence was not to rest only on the tales of dividual merges his identity in the great body of Now try to orchestrate one of Chopin’s sonatas! He was a Pole; an educated Pole. He had the tem¬ the rebelling party. Hence we recognize in the works the past. He was to come into a personal experience No one but Chopin (unless we except Liszt) has You will be puzzled! You first, and the poor mem¬ peramental traits of his nation, those traits which of revolutionary mood rather Chopin the Pole than which would still more strongly touch him. Despite so enriched piano music with new combinations. In bers of your orchestra afterward. It won’t sound were the cause of its downfall. Impulsive, sensitive, Chopin the man, the Chopin we love, the dreamer their pitiful condition, there still remained a flicker original figures^ in treatment of scales and arpeggios, romantically chivalrous, pugnaciously uncompromis¬ of hope in the breasts of the people; theirs was an the poet. The essential Chopin, despite Poland and *True, the “Funeral March” has experienced several in the construction of his accompaniments, and the ing, aroused to furious anger by the slightest cause its misfortunes, is the solitary seer of wondrous vis¬ obstinate nature, and the exactions of the real ruler important r6le given to the left hand he is unique, for disagreement, the Poles carried on internal strife successful orchestrations, but this piece is—and must ions, the idealist. of the country, Grand Duke Constantine, brother of and his works as a whole may justly be considered so long that it weakened them and made them an be by its very nature—orchestrally thought and con¬ the Emperor, and a man of brutal severity, increased Man is never quite so much himself as when by ceived by the author. As to any other work of the model of modern technic. easy prey for the surrounding powers, who divided himself; alone with his dreams, longings, aspirations; their insubordination, finally fanning it into flame. His influence lias been extraordinary; even to-day the kingdom among themselves under the plea that Chopin, it wffl bear neither orchestration nor even In 1830, when Frederic was 21 years old, some young alone with his heart, with his God. The deepest re¬ the whole of the Russian pianoforte school fromRim- thus only could order he restored and internal peace transcription. What a pitiable thing that E-flat Noc¬ patriots took possession of Warsaw and aroused the cesses of the heart do not disclose themselves m the sky-Korsakow to Scriabine, including Antipow, Blu- secured. ‘ However much the Poles may thus have had turne is when the melody is taken away from its en¬ entire country in revolt. A brave, but fruitless, turmoil of popular uprisings. For these emanate from menfeld, Withol, etc., are writing under his influence. to blame themselves, they felt the hands of their veloping accompaniment and transferred to the vi¬ struggle was waged to relieve Poland from the hatred (though love-begotten hatred) ; they call upon The classical players of his day, Kalkbrenner and olin! All its charm is gone. It reminds one of the tyranny of Russia. Frederic, unlike his father in pitiless conquerors lying heavily upon them. As time the coarser virtues, upon valor, strength, disdain of his followers, were shocked at Chopin’s innovation went on the cause of the partition of their nation things one 3ees in an anatomical museum—a human the previous outbreak, did not join his fortunes physical suffering, of death, and the call comes from in fingering. The object of them was to keep the faded from their memory, but the sad fact, the par¬ form with the skin off and all the muscles, etc., laid with his young compatriots; his irresolute nature temporal causes. But when night has calmed the bare. It makes one shudder, no matter how weU it triumphed, and added to the burden of suffering hand in normal position as much as possible; for in¬ tition, remained and kept rankling in their mmd- tempestuous heart; when quiet reigns, and man, trom may be played. caused by the wrongs of his country those of a sense stance, when passing the third or fourth finger over as it does to this day. a solitary vantage ground, contemplates the noctur¬ No, Chopin bears no transcription. His works are of failure. His sensitive nature vibrated to the tor¬ the fifth. But this reform of fingering, and especially Now if the Poles were fiery in their resentment, nal sky; when the myriads of kindly lights shed the piano works. The piano par excellence! ture he thus imposed upon himself. An ardent lover the improvement in hand-position, is among the most their women were-and still are—perfect fanatics balm of consolation into his heart or storm driven ~~~ —o. tcicuiiue ms iamer's name-day, thougl valuable devices of Chopin the pianist. on this premise. When the men felt that further Fortunately the piano composer was influenced by of home and country, liis life was mainly spent far not remarkable, showed him to be a clever lad. clouds respond sympathetically to his mood, then— Liszt, Thalberg, Dohler, Drevschock, WiUmers, Al- tugging at their chains was useless for the time be¬ the colors of the orchestra, while after Chopin the away from both. At 19 Chopin may be said to have entered unoi ah, then—the mind will turn to things eternal, uni¬ kan, all profited by Chopin’s genius. ing the women would prod them up into renewed up¬ orchestral writer tried to vie with the piano. Like his career. His genius had fully shown itself am versal, to God, to Love! in. My teachers, Heller and George Mathias, have rising; they used every means at their command; most new departures, the imitation of piano effects only awaited the touch of time and experience t< Frederic Chopin was born on March 1, 1809, in often told me how Chopin made his pupils work. He mothers would threaten their sons with their ma¬ Chopin the Poet. was so much overdone that serious musicians had to mature it. Fourteen days in Berlin, in 1828, gav. rather mean habitation on the estate of Countess would take an etude of Clementi or Moscbeles and ternal curse- wives would threaten then- husbands; raise their warning voices against “the thraldom of him his first glimpse of the outside world: From this Yes, the Chopin of the Nocturnes, U the slower loving maidens would resort to promises of blissful the piano.” And quite rightly. But this stage of Skarbeck at Zelazowa Wola, a village about twenty- make them play it slowly and fast, forte and piano, moving Preludes, of the C-sharp minor or A-flat time on he was to spend his days largely away fron exuberance did its work, nevertheless, to place the eight miles from Warsaw. His father was tutor to legato and staccato, till the touch became even, fine, rewards. They were Megaera, Euminides, and Eryms major Etudes, of the Berceuse, is, after all, the real, Warsaw. July, 1829, saw him start with friends fo" piano legitimately among the recognized instruments the children of the Countess, one of his pupils stand¬ and elastic, without a break or a weak spot. He rolled into one, and Chopin’s mother was of pure the essential Chopin! And when his name is men¬ ing as godfather to the future composer. It was liflTnLlT 'n t0 the enjoyment of the artisti, Polish blood, belonging to hoot, to a family of no¬ of musical poetry, and for this achievement none can life of that city. Overcoming a timidity, which latei sought absolute independence and absolute freedom tioned in our hearing, it is those works we remember shortly after the birth of the only boy in the family claim the credit as justly as Frederic Chopin. of the fingers,—and he insisted, above all, on beauty bility, impoverished by the rebeUion of 1708. first. The tramp of horsehoof and the clatter of of Nicholas that the establishment of the Grand kept him from frequent public appearance, he gav. of tone, which he obtained by slightly extending the arms, though frequent enough in his works, somehow Duchy of Warsaw, by Napoleon, brought opportuni¬ some concerts, playing his own compositions and I, The Polish Temperament in Chopin’s Music. fingers, so that the fleshy cushion of the tip rested on recede from our memory to give precedence to his Thomas Attwood was organist of St. Paul’s Ca¬ ties to the cultured Frenchman, and while the first tio°n washer Ff was recognized, his recep Frederic Chopin did not need to see the humiliation on was gratifying. Visits to Prague, Teplitz Dres the keys. Besides this, he understood the secrets of calmer, more resigned, more reconciled moods. And thedral, London, for forty-four years,—from 1796 to years of the boy’s life were spent in a home where of even the noblest families to become a revolution- the two pedals. when our thoughts turn to his Vaises and simpler 1838. He was a pupil of Mozart and was one of the rigid economy ruled, a change for the better came ist • he was one by inheritance. With his frail phy- What I have just said about the modern Russians Mazurkas, it seems as if a faint smile were stealing first among English musicians to recognize the genius soon enough to spare him the pains of poverty. sique he could not take arms against the oppressor might be repeated, to a less degree, perhaps, of all through his tears, a smile half bitter and half hope¬ of Mendelssohn, who dedicated his “Three Preludes Although the environment of Chopin’s early child¬ piano-music that has seen the light since Chopin’s but he kept the fire of patriotism burning m the ful, like the smile of Heine. and Fugues for the Organ” to Attwood. By his ex¬ hood and young manhood was so tragic, exerting a day. On the one hand, Chopin; on the other Liszt: hearts of his compatriots by using that agency which pressed desire his remains were laid to rest in the determinative effect upon his music, his homelife was the whole art of modern piano-playing rests on these Nature gave into his hands and which is said to he A Revolutionist in Music Also. crypt of St. Paul’s, in a grave beneath the spot of the most cheerful and happy sort. Indeed, from even mightier than the sword. He took his place by issr- *~ two; they created it. But their art created also new But now, that we have the Chopin intime the real where Father Smith’s organ stood for one hundred what we can learn of it, it was as nearly ideal the side of Miekiewiez and other great Polish poets exigencies. To interpret it the entire arsenal of Chopin,—is the revolutionary trait totally absent in and sixty years. The inscription on the tombstone as it could be. The father, a man of standing an:l yhich utterly destroyed rev°'«tion of 1830 and writers who sang and preached Poland and revo¬ modern technic is required, and the most absolute his works of quieter character? By no means! If reads thus:— culture, respected and loved by his neighbors and lution; hut, where their words spoke only to their family, the mother, “the best of mothers,” to use freedom of expression. If I am asked what are the I were asked: where is it? I should say in reply: “Under this stone lie the mortal remains of Thomas countrymen, his word reached all over the civilized Frederic’s words, and the three sisters whose culti¬ elements of teelinic necessary for interpreting Cho¬ Compare any work, no matter which, written for the Attwood, who was appointed organist of this Cathe¬ vated tastes asserted themselves at an early age, pin’s works I reply: In Chopin himself you will find piano before his time with any one of equal merit dral, 1796. He departed this life the 24th March, WThink of the Polonaise in E-flat minor! What a constituted a family -group into which the boy fitted them, for, I repeat, no one else has so widened the written afterward and see if the treatment of the 1838, In the 73d year of his age. Turn thee, again, go to Paris, and at the ao-e of 22 v,I he decided tc world of determined resentment it expresses! One happily. With the parents showing common sense field of the pianoforte, and in no other works can piano is the same. Take Chopin out of the history O Lord, and be gracious unto thy servant.” the last period of his lifT Sfpa can almost see the rebels assemble, secretly, stealth- be found so rich a collection of material for building of music and you create an ugly gap; but take him Henry PurceU, organist of Westminster Abbey, Dp technic. ilv but with the grim determination not to outlive out of the history of the piano and you destroy it. died in 1695 at the age of 37. His body was also their national shame; to die, if needs be but to It simply falls to the ground. Was he a rebel? Why, interred in a grave beneath the organ. die fighting. There is also ever present that mel¬ 11 10 THE ETUDE THE ETUDE over the keyboard. Of studies he gave after this a selection of Cramer’s ‘Etudes,’ dementi's '(Jradw ad compositions were used as teaching material, and •The correct employment of it remains a study of tions were mostly verbal. But as every teacher will Parnassum’ Moscheles’ style-studies for the higher a few of Weber’s; of Beethoven’s music, only the life.’” This from Madame Streicher; Marmontel, in appreciate, whether or no he played much to the development (which were very sympathetic to Wm) pupil would depend largely upon the pupil himself, three sonatas, Op. 27, No. 2, Op. 57, and Op. 26 were his “Les Pianistes Oeldbres,” corroborates this in say¬ used; Mendelssohn’s “Songs Without Words” and and J. S. Bach’s ‘Suites’ and some fugues from ‘Dm ing: “No pianist before him employed the pedals the stage of his advancement, his temperament, and Wohltemperirte Clavier.' In a certain way the “G minor Concerto” and some of Liszt’s composi¬ ChopitfWrcaclier alternately or simultaneously with so much tact and the likelihood of his profiting from such a form of tions were also studied: and of Schumann, nothing and his own nocturnes numbered likewise with the ability,—and in making constant use of the pedal instruction, as well as upon the state of health and studies, for in them the pupil was—partly by fche strength and upon the mood of the master; for at all, despite the fact that it is largely owed to he obtained ravishing harmonies and melodic rust¬ Schumann’s journalistic generosity that Chopin so apprehension of his explanations, partly by observa lings which astonished and charmed. ‘Play as you no good teacher trains all his pupils upon the same tion and imitation (he played them to the pupil un' plan. That Chopin never resorted to the Procrus¬ early won recognition from Ms contemporaries.. For feel and you will always play well’ was a maxim of it was Schumann’s “Hats off, gentlemen,—a genius!” weariedly)—to learn to know, love, and execute the tean bed, but, employing all his skill, adapted, his his; and ‘do put your whole soul into that’ he would and the rest of that enthusiastic criticism of Chopin’s beautiful smooth vocal tone and the legato" teachings to the need of the individual pupil, is a cry excitedly to a pupil who was missing the spirit Op. 2 that caused Ms name to leap into sudden prom¬ Smoothness of passage work and a cantabile style foregone conclusion, even were the testimony not so of the passage he was playing.” It is of interest to inence among musicians. of playing he continually insisted upon. He con¬ learn that, like Beethoven, Chopin intended to write varied and positive as it is. BY MARY VENABLE. sidered that legato depends, primarily, upon abso¬ Sarcasm—a powerful pedagogic lever when ad- a book upon piano-playing; like him, also, he always Bach the Master. lute suppleness and independence of the fingers, and visedly applied—he employed with telling effect. That his teaching might be of the very highest or¬ found poetic creation more important and interest¬ Many of the world’s greatest men have given their often cautioned the pupil—“easily, easily!” He in¬ ing, and this proposed theoretic work was never com¬ “What is that?” he once exclaimed to a pupil who As is evident to any student who feels the Chopin der, and no lesson be given when he was wearied, time, wholly or in part, to the cause of education. sisted upon scale practice with all gradations and pleted. He wrote but a few pages, and these he de¬ had played an arpeggio in a slovenly and harsh man¬ spirit and who studies Ms compositions with appre¬ Chopin gave usually but four lessons a day, never The names of those who made it their lifework are changes of dynamics, with both staccato and legato stroyed, dissatisfied; for it is little, indeed, that one ner: “Has a dog been barking?” and when hard- ciation of their depth, Chopin was a devotee of Bach. more than five. These he gave punctually at the well known; but less thought is given to the fact touches, as well as rhythmic playing in groups of can learn of an art by reading about it. Living it pressed as to the progress of a pupil of whose abil¬ “One morning he played from memory fourteen pre¬ hour appointed, although a single lesson often lasted that poets, painters, sculptors, historians, philoso¬ four, three, or two notes. Mikuli says “Chopin is the only way of acquiring it in even a small de¬ ities he was unwilling to speak, he replied: “Oh, he ludes and fugues of Bach’s,” writes Madame Streicher, phers, scientists, and mathematicians of highest fame for several hours, during which “a holy and artistic- taught indefatigably that the exercises in question gree. makes very good chocolate!” a repressive evasion “and when I expressed my joyful admiration at this have divided their time between creative work and zeal burned in Chopin; every word from his lips was were no mere mechanical ones, but called for the in¬ which served its purpose of stopping the conversa¬ unparalleled performance he replied: They can never the imparting to others of their knowledge and skill: incentive and inspiring.” Chopin’s usual charge for His Kindliness. telligence and the whole will of the pupil, on which tion in the unwelcome direction. This style of re¬ be forgotten.’” Questioned as to how he prepared Milton, Miehaelangelo, Raphael, Socrates, Plato, a lesson was twenty francs—about four dollars, and A few anecdotes as to his reception of pupils and sponse has since often been imitated by exasperated himself before giving a concert, he replied: “For two Spencer, Huxley, these are the names of a few of the this, after the unpleasant European fashion, was account twenty, and even forty, thoughtless repeti¬ tions (up to this time the arcanum of so many his personal attitude toward them will give an idea teachers. To a pupil misusing and exaggerating the weeks I shut myself up and play Bach. That is my exalted geniuses who have honored the teaching pro¬ placed upon the mantel shelf by the pupil, after re¬ of his manner in teaching. Niecks, to whose “Life much-abused tempo rubato he would mockingly ex¬ preparation. I do not practice my own composi¬ fession. schools) do no good at all, still less the practicing ceiving the lesson. “Yet even the highest fees could of Chopin” we owe more information than to any claim : “Je vous prie de vous asseoir!”—a satiric or¬ tions.” With such a reverence for this greatest of Most of the masters in music have been teachers not induce him to give lessons to anyone without during which, according to Kalkbrenner’s advice, one may occupy one’s self simultaneously with some kind other one authority, quotes the following from Ma¬ der which soon produced a more balanced and rhyth¬ masters, and with such complete realization that also: Palestrina, Bach, Haydn, Mozart, Beethoven, talent. Courteously—for with Chopin it could not dame Streicher’s diary: “Anxiously I handed him my mic playing in the unfortunate pupil to whom it his works form the firmest of all foundations for the Schubert, Schumann, Chopin, Mendelssohn, Weber, of reading.” be otherwise—he expressed his view in such a case, letters of introduction from Vienna, and begged was given. musician, and for the pianist (even from a mere tech¬ and Liszt were sought after as teachers of eminence, and declined to increase the number of his pupils. Originality of Fingering. him to take me as a pupil. He said very politely, Tempo Rubato. nical standpoint) Chopin (to paraphrase Schumann) the quality of instruction varying according to the On the contrary, he encouraged young talent with but very formally: You have played with applause “made the ‘Well-tempered Clavichord’ the daily temperament of the man, from good to indifferent; While it is to Bach that we owe the establishment genuine kindness. To such he lent with pleasure at a matinee at the house of Countess Appony, Reams have been written about the Chopin rubato. bread” of his students. “Always practice Bach,” ad¬ actually bad it could never have been, for association of the most common formula of scale fingering, and books, music, and sometimes even money, if he dis¬ the wife of the Austrian ambassador, and will hardly Concerning it Chopin himself said: “The left hand with a great man is always uplifting and fruitful. a methodic and intelligent use of the thumb in vised he; “this will be your best means to make covered that their means were limited, and also gave require my instruction.’ I became afraid, for I was should be like a Capellmeister, it dare not for a turning it under the fingers,—for he was the first progress.” instruction to many without accepting compensa¬ wise enough to understand that he had not the least moment become uncertain and wavering.” Again: Chopin’s Pupils. musician of high standing who gave encouragement tion.” To the lessons he brought a concentrated in¬ inclination to accept me as a pupil. I quickly pro¬ “Let your left hand be your conductor and always to the «tliumb to perform its natural function in The story of Chopin as a teacher is an interesting tensity, an insistent force, which inspired his pupils tested that I knew very well that I had still very, keep time.” Mikuli explains the term in this way: CLASSIC AND MODERN. scale playing, instead of hanging down, off the keys, one. Unlike Bach, Liszt, and Mozart, he founded with enthusiasm for work and a devotion to their very much to learn. And, I added timidly, I should “While the singing hand, either irresolutely lin¬ cumbrously and uselessly,—it is to Chopin that we no school of playing in his own day, and none of his master which never wavered, even when the lesson like to be able to play his wondrously beautiful gering or as in passionate speech eagerly anticipating Owe a scientific elaboration of this branch of technic. pupils became great composers or very distinguished had been a stormy one. Through it all they recog¬ compositions well. ‘Oh!’ he exclaimed, ‘it would be with a certain impatient vehemence, freed the truth A thoughtful article by Felix Mottl, touching pianists. This may have been because several of his Chopin often advocated the turning of the thumb nized that he had their musical progress at heart. sad if people were not in a position to play them of the musical expression from all rythmic fetters; upon a point interesting to reflective musicians, has most talented pupils died at an early age, or be¬ under the little finger when cantabile playing or well without my instruction.1 ‘I certainly am not the other, the accompanying hand, continued to play recently appeared in a Viennese journal. Speaking cause, being mainly of the nobility, they had not the Musician-making. speed were to be gained by this means. Such a man¬ able to do so,’ I replied Anxiously. ‘Well, play me strictly in time.” Madame Streicher writes: “His of the confusion occasioned by the misconception of •spur of necessity to prod them; or there may have All Chopin’s teaching tended to make, not merely ner of playing, of course, implied an inclination of something,’ he said. And in a moment his reserve playing was always noble and beautiful, his tones the two terms “classic” and “modern,” he says that been some quality necessary to vital teaching lack¬ pianists, but musicians of his pupils, and to this end the hand even greater than with the usual finger¬ had vanished. Kindly and indulgently he helped me always sang, whether in full forte or in the softest the popular impression that “modern” implies pro¬ ing in Chopin’s work—although this last surmise he insisted upon much ensemble practice. He strongly ing, so that the thumb could be prepared thoroughly to overcome my timidity, moved the piano, inquired piano. He took infinite pains to teach the pupil this gression and that “classic” is its logical antithesis would seem,from the proof obtainable,to lack founda¬ advised the study of theory of music; and to such ex¬ and easily over the key next to be struck by it. This whether I were comfortably seated, let me play till cantabile way of playing. ... He also required is radically false. To it he attributes many of the tion, for both pupils and friends of Chopin considered tent was this practiced by the more talented of his was not his only innovation; he frequently used 1 had become calm, then gently found fault with my the strictest adherence to the strictest rhythm, hated misunderstandings that arise in musical questions. him a most excellent teacher, and the records of his pupils, that “little Filtsch,” a wonderchild of 13, his thumb on the black keys. With what horror did stiff wrist, praised my correct comprehension, and all lingering and dragging, misplaced rubatos, as He considers that the word “modern” contains some¬ teaching bear them out in this. But while none of upon occasion when he was to play with orchestra those of the old school look upon this innovation! accepted me a9 a pupil. He arranged for two les¬ well as exaggerated ritardandos. . . . And it is thing entirely outside the domain of art; that it his pupils became great composers, a number of them the F minor Concerto, supplied from memory all What must Czerny have thought of this new style sons a week, then turned in the most amiable way just in this respect that people make such terrible may he used to express styles in dress, manner, cus¬ became celebrated teachers. George Mathias, who the orchestral parts, which had become mislaid: it of fingering—Czerny, who in his rules for fingering mistakes in the execution of his works.” Next in studied with Chopin for five years, was until very to my aunt, excusing himself beforehand if he should tom, etc., in vogue a week, a year, or even longer, is not strange that Chopin greatly mourned the loss says: “As to what must be observed or avoided in importance to Chopin’s own words are perhaps those recent years, when he was afflicted with blindness, often be obliged to change the day and hour of the but which finally pass away to be succeeded by of this favorite pupil, who died when he was 15 any regular system of fingering: First, men sev- of Liszt, whose interpretations of Chopin’s works one of the best known of the Parisian teachers of years of age. lesson on account of his delicate health. His serv¬ others, no more enduring in the end. A woman’s eral keys are to be played, one after another, either were sometimes more satisfactory to the composer piano playing, as was also Marmontel. Carl Mikuli ant would always inform us of this. ... He hat, her gown, picture postal cards, for instance, Chopin urged his students to frequent hearing of in ascending or descending, and five fingers are not than his own. Liszt gave this explanation to a is best known through his edition of Chopin’s compo¬ taught with a patience, perseverance, and zeal which may be modern, hut not music in its highest mani¬ good singing, especially of the Italian school, in or¬ sufficient for the purpose, the four longer fingers pupil: “Do you see those trees? The wind plays sitions. Others less prominent are Gustav Schumann, were admirable. His lessons always lasted a full festation. Regarded from the most elevated stand¬ der to gain a good conception of legato, of phrasing must never be turned over one another; but we must in the leaves, stirs up life among them, but the Brinley Richards, Lysberg, Wernik, Tellefsen, Gunts- hour, generally he was so kind as to make them point, music, he finely says, has no past and even and especially of the vocal portamento an effect tree remains the same. That is the Chopin rubato.” berg, and numerous Polish and French princesses and either pass the thumb under, or pass the three mid¬ longer. Many a Sunday I began at one o’clock to no future—only a glorious present “in which every¬ which he imitated when playing the embellishing dle fingers over the thumb. Secondly. The thumb play at Chopin’s, and only at four or five o’clock in “Through his peculiar style of performance,” Liszt countesses. Those who have left written accounts of runs and passages of his own compositions. “You thing that is great, true, eternally vital, unite as must never be placed on the black keys. Thirdly. We the afternoon did he dismiss me. Then he also writes, “Chopin imparted the constant rocking with their pupilage are Madame Dubois, Adolph Gutmann, must sing if you wish to play” he would say- and in one peaceful embrace.” must not strike two or more keys with the self-same played, and how splendidly: but not only his own the most fascinating effect, thus making the melody Mathias, Mikuli, and Madame Streicher. Madame he does not know how to connect two notes” was This has the ring of the “Eternal Now,” of which finger.” As to Czerny’s remark about the longer compositions, also those of other masters, in order undulate to and fro, like a skiff driven on over the Streicher’s diary, extending through ten years of his most scathing, withering criticism. so much is made in some systems of metaphysics. musical association with Chopin, is especially val¬ fingers being turned over each other, we well know to teach the pupil how they should be performed. bosom of tossing waves. TMs manner of execution, He further says that Bach, Mozart, Beethoven, uable. legato Scale Haying. that the playing of thirds and sixths as well as a . . . At a soil'd? (December 20, 1848) he made me which set a seal so peculiar upon his own style of Wagner, in their characteristic creations were never cantabile style in general has been made much play the sonata with the ‘Funeral March’ before a playing, was at first indicated by the term tempo Chopin’s Enjoyment of Teaching. Apropos of legato. Mikuli writes.that “he treated “modern”; that these works represent the basic easier, by the frequent violation of this rule—a large assemblage. On the morning of the same day rubato, affixed to his writings: a tempo agitated, evolution of the art; that even in returning to Although Chopin did not in his day become the cen¬ theyfun0t0UgHhlrth! different kinds of touch, especially violation so common as to have become, not merely I had once more to play over to him the sonata, but broken, interrupted, a movement flexible, yet at the their epoch we could not call them “modern.” He ter of school, yet the influence of his music, and of mended'.ri T^: As SJ“tic helps he recoin the exception which proves the rule, but a law in was very nervous. “Why do you play less well to¬ same time abrupt and languisMng and vacillating mended the bending inward and outward of the wrist adds that there have been great composers who have his playing and teaching have left an indelible’ im¬ itself, and one of infinite value. Legato in the outer day?’ he asked. I replied that I was afraid. Why? as the flame under the fluctuating breath by which at times been modern as he understands the term— press upon pianism; his etudes alone were epoch- the repeated touch from the wrist, the extending oi it is agitated. In his later productions we no parts can frequently be obtained only by this means, I consider that you play it well,’ he rejoined very he instances Handel and Mendelssohn; the former making in piano-technic. As Chopin was engaged in the fingers, but all this with the earnest warfim! longer find this mark. He was convinced that if which, thanks to the boldness of Chopin, is now gravely, indeed, severely. ‘But if you wish to play in Ms operas, the latter in music to the “Antigone teaching from four to five hours each day, it is a taught as a part of the technical equipment of every this evening as nobody played before you, and no¬ the performer understood them, he would divine this and Edipus” of Sophocles—but that such works and pleasure to learn that he thoroughly enjoyed the student. As to producing two or more consecutive body will play after you, well then!’” rule of irregularity. All his compositions should parts of works have long since faded away, wMIe work. Karasowski, in his “Life of Chopin,” writes: be played with this accentuated and measured sway¬ tones by means of the same finger, we now do this what was once true and innately vital still delights “He found in this laborious employment a certain tempo, and with metronomic evenness mi q . His Severity. in.almost every piano composition, perforce, besides ing and balancing. It is difficult for those who have us, and can never grow old. pleasure of which he made no secret, if only he dis¬ inV^%t“erodverrthh ^ ^ thf^ which, the player often prefers such fingering as a A view ot Chopin at Ms teaching is given by not frequently heard him play to catch this secret covered talent and industry in his pupils. He re¬ 7 means of obtaining a certain quality of tone different Mikuli: “Chopin made great demands on the talent of their proper execution. He seemed desirous of proved, it is true, the slightest mistake, but always by*a corf^P°ndingîrnhig)inwardaof^theeh^nd^^hd and diligence of the pupil. Consequently there were imparting this style to his numerous pupils, particu¬ scales with many black kevs ITS w ai “ , ' Thu from that gained by using successive fingers. These Have confidence in yourself; you know more about most kindly and in a manner to encourage the pupil. often des leyons orageuses, as it was called in the larly those of his own country. things Chopin taught, by example, by precept, ami yourself than anyone else, and you are capable of Only in later days, when his nerves were irritated school idiom, and many a beautiful eye left the high by the fingering which he sometimes marked in his Teaching Material. judging yourself best. to the uttermost by increasing disease, did he be¬ altar of the Cite d’Orleans, Rue St. Lazarre, bedewed come angry, generally with pupils who were slow to own compositions. Chopin used two makes of piano: esteemed very highly Aeeeva™ 1 „ utlllty he the Erard, when he was not feeling strong, because with tears, without, on that account, ever hearing Chopin is said to have admired greatly the com¬ Since music is the expression of soul-character, it comprehend. Then he threw the notes from the the dearly beloved master the least grudge. For was positions of Mozart, and to have taught them; and is easy enough to see what must be the musician’s stand and the pupils were obliged to listen to bitter evenness of the scales' (also of th t0 Ch°.pin tho it had a “ready-made tone,” and, when in good health, merely depended upon the utmost^'%arpeffos) not the Pleyel, which he considered the superior instru¬ not the severity which was not easily satisfied with although but one pupil mentions this fact, we can¬ first consideration. words. Chopin’s apparently weak hand has not only anything the feverish vehemence with which the not doubt it; for after hearing Ysaye’s playing of broken in pieces pencils, but chairs, also. But the the fingers by means of filter°f ment, because it yielded variety of tone in propor¬ A large heart begets a large mind. Thus is the master wished to raise his disciples to his own the “Concerto in E-fiat major” or Reisenauer’s render¬ outburst of passion did not last long. A tear in the on a thumb entirely free at the n ,exercises and tion to the skill of the performer. emotional interlinked with the intellectual. But the standpoint, the ceaseless repetition of a passage till ing of the “A minor Rondo,” one feels that Chopin’s eye of the upbraided pupil could appease the anger over, but rather on a lateral t P Und6r and will must always direct. it was understood a guarantee' that he had at heart original pianistic ornamentation germinated partly of the master at once, and his kind heart was trou¬ The Pedals. the progress of the pupil.” from the Mozart embellishments, as well as from There is a saying that life without music would bled to make amends for the wrong.” 2* as a In the use of the pedal he had likewise attained WMle these pupils emphasize the fact that Chopin the Italian school of bet canto, just as his harmonic be a desert, but music without life is still worse.— • ffeatest Mastery, was uncommonly strict regard¬ 6 often played to them, others state that his instruc- strength is founded on Bach. Some of Schubert’s Leo E. Haendelman. -** - armies ing the misuse of it, and said repeatedly to the pupil: 13 THE etude and nieoes. He was brought up a Catholic, but never 12 the etude “He was at once joyous and sad, skeptical and thing which had been done before. Only a close talked of religion. He kept his faith in his heart, credulous, tender and cruel, sentimental and mock¬ tom of the sea and cold drops of water were fallhw analytic examination of his works reveals the fact ing, classic and romantic, German and French, re¬ and not on his tongue. in rhythmic beats upon liis breast. that he was a profound musician, that the novelties He listened intently to discussions of politics and fined and cynical, enthusiastic yet cool headed; It was in vain that Madame Sand told him that of his thought and style are exfoliations of the literature, but took no part in them. His active per¬ everything except dull. To the purest Greek form he had heard the rain in his sleep. The notion simply plant whose seed was buried in the earth by Do¬ sonal force was thrown into the battle for the then >>5 he added the most exquisite modern sense; he was, in CHOPIN THE MAN vexed him. He had composed that night a prelude menico Scarlatti and nurtured in its infancy by Bach. new romantic ideas in music. In this alone was he in B minor, which sounded the fall of those drops But the technical solidity of Chopin’s compositions truth, Enphorion, the child of Faust and of the By W. J. HENDERSON a propagandist. Liszt tells us that his worship for K He called them tears falling from heaven upon his is hidden, under a characteristic superstructure and beautiful Helen.” his art was like that of the masters of the middle A kind and manly heart lay beneath all. When 71 heart. A sickly fancy? No doubt. The peevish this edifice is a revelation of the man. Chopin was a rich man invited him to dinner only in order ages. “Like them,” says the Abbe, “he brought to to give up its confession. Herein we may hope to imagination of a morbid mind in an unsound body it passionate and retiring, timid and proud, daring and Chopin was a mystery to his contemporaries, a to ask him to play afterward, he said: “But I ate so its service that pious devotion which at once en¬ find some solution of the mystery of his intimacy surely was, but without it we should not have had hesitating, tender and cynical, exquisite and ethereal nobles the artist and makes him happy.” Chopin the phantom to his successors. It is perhaps true that that B minor prelude. little.” MTien Ca'vaignac was dying and begged that no one ever quite understood him except Aurora with George Sand. all at once. He was a compound of strangely an¬ man is written in his music. As Mr. Huneker has so How did it begin? One night he played the piano Superstitious, too, was this wonderful Chopin. But Chopin come and play for him, he went at once Dudevant, the towering George Sand of French lit¬ tagonistic traits and emotions, and he suffered by aptly said: “Chopin’s music is the aesthetic symbol at a house where men and women were assembled. and gave the richest treasure of his art to soothe a erature, who was a woman and had the intuition of why not? Is there not, after all, something of weird the simple attrition of his own inconsistencies. To of a personality nurtured on patriotism, pride, and He disliked .to play the piano before an audience. A fantasy in all the greatest imaginative art? him might truthfully be applied the admirable words last hour of pain. He cherished family ties and her sex molded by the inspiration of love. Whoever loved to send little surprises to his sisters, nephews, love.” does understand a man of complex nature but a wo¬ public concert was misery to him. He could not bear greater conception has literature than Hamlet moved of Theophile Gautier on Heine:— man? Much has been written of Chopin’s character; the formal publication of his emotions. It was only to the soul by the spirit of his father, which none occasionally that he would play at receptions. On little of it explains him. His music tells us more but he may see? How mighty was the spell with well as in the prevailing character of the moods this night when he finished he found a dark-eyed, of his soul than all the books, which are at the best which Goethe raised Mephistopheles from the depths! which he expressed; while the Frenchman in him kept intense-looking woman leaning over the piano and contradictory. What a shudder of dread and awe hangs around the jealous watch over the perfection of the form, and gazing down into his eyes as if she would draw out He was a compound of melancholy and enthusiasm, apparition of Astarte in Byron’s “Manfred”! elaborate yet always logical development of the ideas, his very soul. He shrank from her, but she fas¬ and because of this men misunderstood him. He and the careful finish of every minor detail. To the cinated him. He was as a bird before a serpent. He A Necessary Factor in Music. had in the highest measure that exquisite femininity Pole is due that unfailing fount of emotion, varying went home only to be haunted day after day by that of intellect which is essential to the artist of ultra- The constitution of Chopin was a necessity. The in kind but never in degree, not spasmodic and fluc¬ look. George Sand’s power mastered him. The deli¬ refined style, and because of that men said he was wonderful link which he formed between the pianistic tuating, but always at flood tide. To the Frenchman cate femininity of his own nature gradually sur¬ a weakling. They called him a sick man, meaning art of Mozart and Bach and that of to-day would we owe that matchless musical diction, fluent yet that there was no health in him intellectually, as rendered itself to the splendid domination of her not have been forged had his nature been of a cast masculinity. Hers was the stronger force. This forceful, avoiding to a nicety the two extremes of well as physically. No doubt there is some truth in to mingle more freely with the surrounding world. laconic angularity and excessive elaboration. this. He was not the normal man, hut he was not Chopin, this gorgeous sunflower of music, turned to That peculiar contour of melody which we recognize an emasculate. The blood of a progenitor flowed in the command of the blazing sun of literature. as Chopin could not have been outlined had its origin¬ His Strength that of Steel. his veins, and he could rage splendidly for Poland in What followed? An intimacy in which the woman ator lived a practical inner life. The marvelous har¬ A very frequent error among superficial judges of music, and in life seek the repose of a woman’s was the cherishing, protecting element, and the man monic schemes of his works would not have been Chopin is that of mistaking his refined elegance of breast. the shrinking, clinging one. For this we are told what they are had he himself been anything but a manner for effeminate weakness of matter. They An Aristocrat. that Chopin was a degenerate, a weakling, an emas¬ psychologic recluse. culate. Let us confess without hesitation that his ignore the familiar fact that the greatest strength He was too much of an aristocrat to battle face With all the congenital and physically forced mel¬ French and Polish Characteristics Blended. is often combined with supple grace. Since when has to face with the sordid world, and for this, too, he ancholy of his nature, Chopin was not in the begin¬ polish been a real detriment to power? Since when was called weak. But after all how could he have ning morose or gloomy. As a boy he was rather in¬ In his unique and peculiarly fortunate endowment has tempered steel been of less strength and value been Chopin, whom Schumann called the proudest clined to be merry in a light and amiable manner, were blended to a singular degree the best attributes than crude iron? Chopin’s genius in this respect re¬ and as a youth lie was fecund in a gentle and whimsi¬ of the two widely dissimilar races from which he poetic spirit of the time, if he had been a doctrinaire minds us of one of those famous Damascus blades, like Beethoven or a poseur like Liszt? He was what sprang; the grace, elegance, and refined yet sparkling cal humor, which expressed itself in action and cor¬ Edgar Allan Poe, writing of Tennyson, says: potent jet pliant, trusty and trenchant, despite its he was, and even his personal appearance and com¬ vivacity of the French, their keen discrimination, respondence more than in his music. Yet even in “No poet is so little of the earth, earthy”; and de¬ gold-leaf tracery, its jeweled hilt, and its velvet scab¬ monest traits seem to have made contrary impres¬ later life he was not devoid of humor. The little finesse of detail and delicate finished workmanship; clares he would he willing to rate anyone’s poetic in¬ bard. sions upon his friends. Liszt says his eyes were blue combined with the warm, sensitive, emotional nature; D-flat valse, which is supposed to have been writ¬ stinct and perceptions by the impression made upon Earnest, whole-hearted patriotism, tender sym¬ and Karasowsky is at a loss to understand this, be¬ the wild, often somber, passions; the fiery impetu¬ ten at the inspiration of George Sand’s dog chasing him by certain of Tennyson’s lyrics. Similarly it pathy for the woes and burning indignation for the cause he plainly saw that they were brown. Scribes osity and the boundless soaring enthusiasm of the Its own tail, is ns blithe and airy a bit of composi¬ would be perfectly safe to rank the musical taste wrongs of his country, were omnipresent, well nigh have said that he was moody and melancholy, but Poles. Such an inheritance could not fail to make tion as might have emanated from the healthiest and susceptibility of any person by his ability or omnipotent- factors in his creative activity as they Karasowsky records that women said he had a cheer¬ of Chopin’s genius a thing at once strikingly indi¬ brain in Europe. It is a trifle, to be sure; but a nonability to appreciate the compositions of Chopin. were in his personality. And though in many of his ful disposition, with a heart full of longing. vidual, yet singularly complex; a texture of varied Chopinesque trifle is a precious jewel, and this one There is a refinement and delicacy, not merely of smaller pieces he gives utterance to his purely per¬ This same Karasowsky, who knew him long and hues and woven of many diverse threads; of intricate has not a single somber light in it. form and finish, hut equally of emotional content, in sonal feelings and fancies, most of his greatest com¬ well, writes thus about his personal appearance: pattern, yet unimpeachable unity, coming from the Often we are asked to discover in the polonaises every period of his; and at the same time a rich, positions may he directly or indirectly traced to na¬ “His dark brown eyes were merry rather than loom of fate a finished whole, in spite of its variety only the proclamation of Chopin’s patriotism, only fervent glow of tone-color, intepse, but never garish, tional episodes and experiences, and embody some dreamy; his smile amiable and free from all bitter¬ his noble rage against the oppression of Poland. Yet which appeals instantly and irresistibly to the sensi¬ a perfect master-web, with a satinlike gloss and ness. Very beautiful was his delicate, almost trans¬ great moment, or vital sentiment, taken from the life it is difficult to find in his letters anything that tive artistic temperament and the developed taste, shimmer, an exterior finish too soft and bland to of¬ parent complexion, his luxurious hair was auburn of his once glorious, but now down-trodden nation. justifies such extremism. When Poland fell Chopin but are wasted upon coarse and crude natures. fend the most fastidious feminine taste, yet strong and soft as silk; his nose slightly bent, of Roman Notable among these are the heroic polonaises, with wrote: “All this caused me much pain; who could to resist the stress of life’s warfare and the attacks cut; his movements were elegant, and in his inter¬ historic origin and feudal pomp, the great sonata have foreseen it?” Again he wrote; “How glad my The Poetic Element Dominant in Chopin’s Works. of time, and to preserve its tints undimmed through course with others he had the manners of the noblest with the “Funeral March,” which may justly be called many an age to come. mother will be that I did not go back.” A certain That subtle, nameless something, indefinable yet a national tone-epic, and the four ballades founded aristocrat. Everyone who could comprehend true ex¬ It may he urged that I am claiming the impossible Count Tarnowski published some extracts from a unmistakable, which in default of a better appella¬ upon poems of the Polish hard, Mickiewicz, who like cellence, true genius, was forced, so soon as he saw Ge6bge Sand. for our favorite, that intense subjectivity and broad Chopin, to say: ‘That is an extraordinary man.’ The diary said to have been kept by Chopin at this time. tion we designate “the poetic element,” is a dominant Tennyson in his “Idyls of the King,” crystallized They proclaim a dreadful state of feeling, but Mr. and omnipresent characteristic of Chopin’s produc¬ versatility are not, cannot he, coexistent in the sound of his voice was melodious and somewhat sub¬ part in the union was not that of a master an same individual. Notwithstanding this generally some of the vague, floating, half-mythologic tradi¬ dued. He was not above medium height; was by Huneker sniffs at them as altogether too melo¬ tions. Like the odor of the rose, which strictly ap¬ head. Chopin was surely not cast in the heroic mol truthful principle, it is just here that Chopin’s genius tions of the early days of his country into modern nature delicate, and in general resembled his mother.” dramatic for Chopin. pertains neither to the form, the texture, nor the He was brought to birth by omniscient Nature t On the whole, it is more reasonable to believe that color of the flower, yet in our minds is indissolubly displays the wonder of its dual nature. There is make a certain kind of tone-poetry, to originate When we consider how closely Chopin’s interests His life Experiences Psychologic. in the atmosphere of Paris, where artistry blossomed associated with them all, and represents for us the scarcely a tone in the whole chromatic gamut of method of art hitherto undreamed, a style so crentl and sympathies were linked with his native land, Mr. Huneker, in his admirabte book, “Chopin, The on every side and where his own art was under¬ essence of its individuality, instantly distinguishing human emotion, from the deepest despair to tran¬ so intimate, so delicate, so flowerlike that the rue when we contemplate the history of that land, so Man and His Music,” says with that brilliant perti¬ stood by some, Chopin was more at home than he the living blossom from the cleverest artificial coun¬ scendent hope, from frenzied passion to playful ten¬ winds of worldly conflict would have blown it b derness, from the noble courage of vainly heroic pa¬ bright with rosy hope and golden promise in the be¬ nence which characterizes all this author's writings: yond the horizon of human thought. had been in Warsaw, where his originality was merely terfeit, so this poetic aroma, this intangible, un- ginning, so stained with tears and blood as we pro “Chopin went from Poland to France—from Warsaw suspected, but not measured. The magnificent out¬ analyzable, yet all-important essence or spiritual in¬ triotism to the arch coquetry of the French salon, What other provision could fate make for such eeed, so polluted with infamy, so torn and violently to Paris—where finally he was borne to his grave in dividuality of the real art work, consists neither in that has not served him as the keynote for some ex¬ man, with his essential career to be carved, tha bursts of fury in some of his works, such as the defaced at the close, when the strength and perfid ■ Pore la Chaise. He lived, loved, and died; not for form, content, color, nor structural details, but is quisitely finished and intrinsically beautiful composi¬ that which she did make? She gave him the hel B minor scherzo and the A-flat Polonaise are superb of three allied powers of Europe united to write the him were the perils, prizes, and fascinations of a compounded of them all, pins an elusive something tion. Yet, however widely different these works are that was meet for him. She gave him the protectio as music, but if studied as expressions of an inner one word Finis, how can we wonder at the under¬ hero’s career. He fought his battles within the walls more. Its presence marks the difference between the one from another, and however well sustained from of a generous, passionate, puissant woman, wh life they indicate a disturbance resembling a psycho¬ tone of hopeless sorrow, of black despair, that sounds of his soul—we may note and enjoy them in his logic rebellion rather than an impersonal feeling, such true and the false, the living and the dead, in all an objective standpoint, eaeh bears the characteristic poured around him the wealth of a love materm stamp of the mint where it was coined. It would so frequently through the harmonies of this Polish as genuine patriotism. forms of art; and it is this element, felt if not in¬ patriot, and which has often brought upon him the Mr. Huneker further reiterates what we all know, rather than sensuous. His physical disabilities ai be impossible to mistake the origin of any of them, They are the expression of the revolt of Chopin, telligently recognized, in Chopin’s creations, that has criticism of those who seek in art only a comfortable that the experiences of Chopin’s life were psychologic. thattsW w% I!"8 T°man' They were sue endeared him to so many hearts above all other or any fragment thereof, if no name were affixed, that as time wore on they touched his thought H the man, against his physical restraints, his disabili¬ optimism or a pious resignation, and who forget, He was not a figure in the strenuous whirl of events. ties, and against the compulsory unveiling of his own composers, and has earned for him his title of “The or to attribute it to any other pen. So that not only He sat apart. He lived within himself, and when became intellectually morbid, yet his art continue musicians, but amateurs and diletantti who are sus¬ while they censure as morbid and sickly the depth Arm of purpose. Read the account give heart. Chopin raged inwardly, but it was less for Poet of the Pianoforte.” and delicacy of moods which they are incapable of he gave anything of himself to others he suffered. Mendelssohn, Chopin, Schumann, Hiller, Liszt, ceptible, will recognize a detached strain from one of bj George Sand of the winter at Majorca, and stud the prostration of his native land than about his understanding, that every great poet, whether in tone He suffered because his was one of those exquisitely Verdi, Wagner, all were born within a period of five Chopin’s works on hearing it for the first time, more the preludes which Chopin composed there own career, with which he was ever dissatisfied. If or words, since the world began, when he would sing sensitive natures which cannot share its emotions the expression of his ideas took a national idiom, years, all were champions of what was known in readily and infallibly than one from any other tone without something of the shame that comes of ex¬ One day Madame Sand and her son went'awav o his best of truth and beauty, has tuned his lyre to a that should not be construed as evidence of a delib¬ their generation as “Modern Romanticism,” and all master. Each of his creations has received a subtle posing the nakedness of a warm heart. It is not minor key? Savy'rain lâfamidnigrt ^ ^ retlll™d - erate purpose to sing solely the woes of Poland, appeared in the rival splendor of mature powers upon warmth, an idealized and indefinable sheen, from the easy for such a man to give friendship, for he must ,ain " falllng; Streams were swollen- road touch of his personality, that is as plain as his sig¬ were almost impassable. Chopin waited foi^ thm for Chopin utilized the dance forms of his country in the world’s horizon at approximately the same time. expose his secret life. It is almost impossible for him Among these brilliant names, none shone with purer nature for all those who have ears to hear and hearts music which certainly was merely melancholy or In the Greek language the word we translate to give love, and, when he does give it, he gives in luster or challenges more affectionate admiration to understand. were P-fuV^ bizarre and not eloquent of the wrongs of a down¬ “poet” means a maker. Then why should we not ap¬ agony and with certain remorse. than that of the French-Polish composer, Frederic trodden land. The Pole Conceived, the Frenchman Executed. ply to the musician, in his exercise of the creative Who fails to recall the miseries of Beethoven’s Chopin, at once the most impassioned and the most loves? There dwelt side by side with the love of the faculty, the word “poet,” just as freely as to the A Compound of Contradictions. ideal, the most fiery and the most tender, the most In Chopin’s compositions it was usually the Pole great symphonist something of the rage of the lion. who conceived; and it was always the Frenchman maker of meter and rhyme in lofty diction? Music, dition, his iUnT^'creaped drenched c°* The study of such a character can never give en¬ dramatic and the most lyric, the most intensely sub¬ He loved with the fury of a savage. Chopin, on the who executed. In the choice of his themes, musical when it involves the imagination, may he as truly he had had a dreamHeabS6nl tirely satisfactory results. Contradictions abound in jective yet the most versatile, of all writers for the other hand, loved with the keen torture of a wholly and poetic, his Slavonic nature predominated, as poetic as anything in language, introspective and retiring nature. It tore his soul I'1"'"1” disappeared h„H! Ih.'.jrt," " artistic natures, in none more so than in those of piano. 1°"S" ,le ™ V«g ut C musical geniuses. Chopin was unique even among ie sons of song. Nothing that he did was like any* 15 14 the ETUDE THE etude In the Chopinesque tune the arpeggio so predom¬ is a charming morceau. The concluding Andante inates as to admit the constant effect of the pedal. and Polonaise is always gratefully received and cor¬ This is not, of course, invariably the ease; many a respondingly appreciated. lovely tune came to our composer which did not MaKin£ Up a & Oil By EMIL LIEBLING |® Again we open rather pompously in the second fully conform to this model, but they were too program. The Fantasie, Op. 49, is a noble work, and precious to be lost, and by the terms of Chopin’s own laid out on large lines; it prepares an audience in an choice they must be committed to the pianoforte. ^2- Chopin Program impressive manner for the evening’s experiences. piCunis Yet even in the most of these the diatonic element I’layful and delicate is the little Impromptu, Op. 29, is so placed as scarcely to interrupt the pedal stream. and the Etudes from Op. 10 afford opportunity for Besides the beauty of color he thus gains, there re¬ The proper making of any concert program is a Pbogbam No. 2. technical display and digital fireworks. The rather sults a strong impression of legato such as rarely ob¬ matter of considerable difficulty, and involves much Fantasie, Op. 49. Mazurka, Op. 33, No. 3. somber Ballade, Op. 23, is relieved by that rarest tains in the works of other composers. And all this thought. Many vital factors are to be considered; Impromptu, Op. 29. Scherzo, Op. 31. of lovesongs, the G major Nocturne, and the some¬ is enhanced, wonderfully, by another device of the prospective audience and its probable character¬ Etudes, Op. 10, Nos. 3, Waltz, Op. 42. what difficile Mazurka, Op. 33, supplies just the Chopin, namely, his widely arpeggiated accompani¬ istics, the locality of the musical function and its 5> 12. Berceuse, Op. 2. needed contrast. The Scherzo, Op. 31, enjoys well ment, a device calculated to awaken in the largest possible demands, one’s own preferences, and like¬ Ballade, Op. 23. Polonaise, Op. 53. deserved popularity, and who has not heard and ap¬ possible measure the body of overtones. These min¬ wise the purpose and intent of the performance. Nocturne, Op. 37, No. 2. plauded that rhythmical puzzle, albeit Valse, Op. 42? gle in the melody and add to it breadth and beautv Almost all programs which are presented now¬ The mystic Berceuse and glorious Polonaise, Op. 53, and endurance, while, so to say, floating it upon an adays have a marked family resemblance. The The sonata which opens the first program is of end this program most suitably. BY EDWARD HALE, A.M. ample element of exquisite tone. These are the recipe is very simple: When in doubt, commence moderate length and the incidental “Funeral March” There are, of course, many other choice morsels things then in which our composer-pianist is pre¬ with a Bach prelude and fugue, continue with the serves to make up for the enigmatical Finale. among the great French Pole’s or Polish-French¬ One would be very glad to know just wliat was used, used excessively, the pedal in his playing; but eminent and in which he exemplifies in the highest conventional Beethoven sonata, draw lots for a Reinecke’s arrangement of the Romance is practi¬ man’s delightful works; the great, but very long, In the mind of Chopin when, in Paris, he wrote back he wrote his sonatas on the diatonic plan. We find degree the true genius of pianoforte music. Chopin nocturne or valse or two, infuse a foreign cal and effective. That usually correct “Vox populi,” sonata, Op. 58, can be endured when presented by to his old friend and teacher Eisner of his resolve only here and there a movement that betrays any Of the poetic content of Chopin’s works it is not air by a highly seasoned number by Sinding, and which is as prone to shout “crucify him” as to repre¬ a master; there is a bright little Mazurka, Op. 7, No. to inaugurate a new art era. obvious recognition of the pedal. And with all the necessary here to speak, for that is not a thing es¬ finish with a Liszt rhapsody; any of the fifteen will sent the “Vox Dei,” has decreed that the third Bal¬ 3, in F minor; many other etudes, valses, and noc¬ We are rather inclined, I imagine, to think of polyphony his works contain, there is none that sentially dependent upon the form of the art. Never- do. In this way you are classical, analytical, senti¬ lade, Op. 47, is the most popular, hence it is “it.” We turnes may be utilized, and there are some choice Chopin as a very pure specimen of that enigmatical seems prompted by the peculiar capacity of the piano¬ theless as expression reacts upon feeling it is no mental, dogmatical, and sensational by turns; money intersperse a characteristic Mazurka, and the fol¬ preludes from Op. 28; we can also use the Fantasie creature we call a genius. He seems to have had no forte. You would think that Bach, and not Bee¬ doubt true that Chopin’s inspired choice of his will flow into your coffers, and the scribe who sits lowing Nocturne, Op. 27, No. 2, would have to he Impromptu, some of the easier polonaises and possi¬ interests not intimately connected with his art. thoven, wrote for the modern pianoforte,—thinking vehicle of expression, his unswerving devotion to it. in judgment over you will in the next morning’s played very badly to miss connection. The Scherzo, bly the Rondo for two pianos, Op. 73. But every¬ Books lay on his table with the leaves uncut. He of it, of course, only as a polyphonic instrument. and the mastership he gained of its great and pe¬ Gazette heap choice encomiums upon you, lauding Op. 39, is very brilliant, and the three Etudes from thing of Chopin’s demands a finished technic, poetio was not ambitious even to write opera. Neverthe¬ When Chopin came upon the scene the newer treat¬ culiar powers had much to do with the glorious heri¬ your versatility to the very skies. Op. 25 present sufficient contrast to make an in¬ temperament, and highly developed artistic organiza¬ less my old friend Werner-Steinbrecher, who was his ment of the pianoforte was in the air, as new ideas tage of tone-poetry he bequeathed to us. If you were wise in the selection of your parents teresting introduction for the Impromptu, Op. 51. tion. The combination of these indispensable qualities pupil, declared to me that Chopin was a manly man. are, commonly, upon the eve of their materialization. and first blinked your eyes on foreign soil you can This work may prove caviare for many palates, but makes the ideal Chopin player—a rara avis indeed. The force of him, all appearances to the contrary, The Mendelssohn “Songs without Words” and the tour America year after year with identically the was virile force. He had sturdy purposes and clearly “Papillons” of Schumann are evidence enough of a same program, selling our people the same old goods conceived ambitions. What he did was not the prod¬ growing appreciation of the peculiar properties of THOUGHTS FOR THE HEW YEAR. every season and no one will cavil; but let a first uct of hysteria nor of clairvoyance, but of a sane the instrument. But these men gave it but a divided class home artist indulge in the same indolent prac¬ mind of astonishing powers. tice, and you can just watch for the indigna¬ He found the pianoforte cult in Paris in a bad way. In the same way as good mercantile houses get off tion meetings which will be held by brother artists, Elegant enough, polished enough, certainly, he could what they call a “trial balance” on the first of the the press, and the public at large. Verily, verily, not help admiring the impeccable Kalkbrenner; but, year, and at other stated times, in order to find out the domestic talent does have some hard sledding to searching his own intuitions, he knew that its day how things are going, so ought we, teachers of music. do right along. was over. He saw that it and all other pianoforte In our business we need a different system of book¬ And then there are the specialists of the piano¬ playing was radically wrong. And the fault went keeping from that used in commercial circles. Some¬ forte: the young man who, after a brief sojourn deeper, he saw, than performance, and involved piano¬ abroad, returns a devotee of Brahms, and inflicts thing like this is what we ought to find out:— forte composition. To make this clear we must ex¬ his immature misconceptions of that composer’s so¬ BY H. A. CLARKE, MUS. DOC. Do I love music better than I did last year? amine the instrument itself and its resources and natas or ballads upon us; or the octave fiend, whose Do I know any more about it? limitations. loose wrist enables him to rush in and play octaves If it be one of the surest tests of genius that its just as essential a part in the “order of Nature” as Have I added to my list of personal friends among The pianoforte belongs in strictness to the group of where others are satisfied to tread the original text; possessor has many imitators but no successors, the oak. Although a refined sentiment, that oc¬ the great composers during the year; either in the percussive instruments, although its resources and its likewise some wizard, who disdains to play less than then must Chopin be in the foremost rank of the casionally verges on sentimentality, is the main char¬ way of new names and works to understand them approach, in the hands of a master, to the cantabile three or four Chopin etudes simultaneously, or the favored few,—not very lofty, not very profound, yet acteristic of Chopin’s music, it is not by any means by, or in the way of greater knowledge of the works group put it in a class by itself. Nevertheless its magician whose double thirds must be displayed to gifted with that rarest of all gifts—originality. lacking in sterner stuff; nor does it fail—especially of those I already knew at the beginning of the year? method is so far percussion as to expose it to the advantage. All these people have to tell their little This hard-worked word, originality, is too often when stimulated by his intense patriotism—to flame limitations of that class of instruments. Are there more persons immediately about me who story; it is all done, of course, “pro gloriam Dei,” made the scapegoat for all sorts of artistic sins, out as in the great Polonaise in A-flat with startling love music and take a certain pleasure in it? That sensitive, malleable sostenuto which is the and in the name of pure art! through forgetting that it does not mean, cutting vigor. glory of the strings is almost entirely denied to it. Am I able to play or sing fine music in a way to There are also those who delight in placing rarely loose from all that has gone before, but only the It is constantly said that he imitated Field in his commend it to those unfamiliar with it more success¬ Its much discussed legato belongs chiefly to the Chopin’s Hand. played compositions on their programs just for the power to re-create from the old material some new nocturnes. This seems about as reasonable as to imagination; the attention which has been bestowed fully than I could a. year ago? looks of the thing, forgetting that a little player living form. This real originality is always a per¬ say that, because some early unknown Italian painter upon it is both an acknowledgment of its imperfec¬ devotion. It was reserved for Chopin—bom to the If not, why not ?—IF. 8. B. Mathews. may attempt a big program, but that it takes a sonal thing that can neither be communicated nor painted a Madonna and Child, therefore Raphael imi¬ tion and an endeavor to minimize it. The pianoforte, pianoforte—to lavish upon it the full measure of a great master to play a selection of smaller works appropriated. It exists in some degree in every tated him when he painted the Dresden Madonna. A new yeah! That means that a year has come again, has been likened to the orchestra, and in its with effect and success. The scope, possibilities, and human being, since no two men or women have ever In comparison with Chopin, Field’s nocturnes g,re to a close. What have we—be we teachers, students, polyphony and facility justifies the comparison, but Sensitive to musical effect beyond any of his fel¬ power of retention of the average listener are ex¬ been exactly alike in mental constitution since the colorless, evaporated to dryness; hut Chopin’s will or music lovers—accomplished toward forming a at the same time its color capacity is so small as to lows, he found in just those subtle effects hitherto tremely limited. All those rare technical tricks world began; but it is only when it is developed to be played for many a year to come. They possess make the comparison almost ridiculous. Now, while undiscovered or ignored the very substance in which definite character for ourselves in the year that has which are at the fingers’ ends of the modern virtuoso that extreme degree that it can see new ideals be¬ that chief essential to lastingness in any work of art it is quite the right thing to make all that can be to embody his unique musical ideas. Discrimination passed? Have we forfeited character-building? Have are apt to be wasted upon him. He hears an indis¬ hind the familiar things of earth that it gets the —absence of Mannerism. made of these defective powers of the pianoforte— of touch he employed no more, perhaps, than the we been blown hither and thither by every musical tinct roar in the lower region of the piano during name of Genius. It was because his genius was confined within nar¬ to acquire, in playing it, as near a legato as t.he con¬ other composers; it is in his treatment of the pedal wind that has swept across our course? Are we as the Chopin A-flat polonaise which ends in a rumble Behind familiar things a Mozart sees deals of flaw¬ row limits that he performed his work so well. Con¬ ditions will allow, and to bring into requisition the that he outclasses them all and wins his title to be incapable as ever of taking a clear and definite stand and jumble, whereas the student admires the cres¬ less, perfect beauty; a Beethoven, the heroic strug¬ fine a placid stream between narrow walls and it be¬ orchestral to stimulate the imagination in its effort called the prince of pianists. For the sake of the amid the cross-currents and vagaries of modern cendo and octave technic; many pieces only appeal gle of the soul, that in Carlyle’s words responds comes resistless. He is often said to occupy an to find tone-color in the pianoforte, the true treat¬ uninitiated reader I must try to show what this is musical growth? Can we yet intelligently praise or to him on account of some pregnant or catchy with the “everlasting no” to all the solicitations to unique place in the history of music, but every great ment of the instrument does not consist in specially that so characterizes the works of Chopin. rebuke the American composer? If we cannot an¬ rhythm, and a berceuse or nocturne simply produces half measures or weak compliances with the false or composer occupies an unique place; their divergencies exploiting these dubious resources. For it has other The sounding string, besides giving out its funda¬ swer these questions with satisfaction to ourselves, a comfortable desire for slumber. After submitting ignoble in life. But a Chopin sees ideals of grace, are always greater than their similarities, else they resources which belong to no other instrument, which mental tone, divides up and produces a series of then let next Christmas find each one of us less of a to the more or less painful experience of a lengthy exquisite refinement, and beauty that is warm with are not worthy to fill their places. even the orchestra possesses in a less degree. higher tones which, mingling with the fundamental, duplicate molecule and more of an Individual.—Ar- concert the little popular encore is gratefully remem¬ human life, not the antique statuesque beauty of Since Chopin no pianist has arisen who has drawn One of these is its polyphonic powers. I do not thur Farwell. affect its timbre or tone-color. These overtones as bered and long valued after the rest of the program Mozart’s ideals. any new secrets from that instrument, nor does such say harmonic which it shares with the organ; I mean they are called, are of exquisite, ethereal quality, like has been consigned to total oblivion. To one who believes that what we call the work¬ a new Avatar seem possible; but until this new the power which the pianist has of discriminating as the tones of an -Eolian harp. The sounding strum What a boon for the weary, strenuous teacher, The plot thickens when we attempt to rub it in, ings of Nature are simpl r the manifestations of the genius arrives—and even after the appearance of he chooses between tones, of carrying on several in¬ is able also to excite in other free strings series of what courage, what cheer, what freedom, what in¬ as it were, and produce the works of one composer Divine mind, every spark of Genius, even the small-, that mythical person, Chopin remains and will remain dependent voices and making them distinct to the like beautiful tones. Now when the damper pedal centive to better efforts come with the thought of only. Few masters can stand this successfully and the first who discovered the unsuspected possibilities hearer. The other resource in respect of which the est, is a sacred thing to lie accepted with thankful¬ (called also the sustaining and the loud pedaD is the Christ-Child, the season just ended. still fewer audiences, and it opens up an interesting of this “domestic treasure,” the Piano. pianoforte stands quite alone, and which is therefore ness. To the giants in music it was given to speak pressed, the piano strings are all free tQP vibrate We are no longer babes to be influenced bv the in¬ its pre-eminent distinction, is the pedal. speculative vista to conjecture as to the real motif their great thoughts in many ways, the multitude of Strike a low tone and a stream of exquisite sound nocent fables of Santa Claus and Kris Kringle, but which impels people to go to concerts. voices, the masses of the orchestra, were their fittest These two things make the pianoforte the unique Compelled to walk in lockstep with those who flows from the whole instrument. This ethereal flood we cannot be otherwise than profoundly impressed Among Chopin’s many works only a comparatively means of expression: yet the greatness of their and great instrument it is. True pianoforte playing can and should be allowed to move at a different of tone appealed to Chopin as the very essence of by the visions of the larger life and the freedom from limited number appeals to the general public. The thought could make itself known through even the is that which exhibits consummate mastership of rate, a great many pupils lose all interest in school pianoforte and the true material upon which to form superstitious trammels which burst upon the world following two programs may, if adequately per¬ simplest means. But to others it is given to speak these two things. And true pianoforte composition on that first Christmas morning! work. They therefore leave school. So also with is that in which these two things dominate. Tried by wav toTid "rfi- He SaW t0° ât here was “ formed and interpreted, score a success:— through one medium only. This was the ease with way to hide m some measure the imperfections of Especially should we teachers be supremely thank- music pupils. The class system is not suited to all this test, the treatment of the instrument down to the Chopin. The Piano was his Familiar, and it yielded instrument. The desideratum was stvle of 13 tul for the Life and Example of the Model Teacher. Program No. 1. cases. time of Chopin was never adequate. The famous up to him all its secrets, and enabled him to speak position in which the pedal could be fully exnloH^' His gentleness in dealing with our shortcomings, His Clementi studies, for illustration, declared a thou¬ Sonata, Op. 35. Scherzo, Op. 39. through it a language never heard before nor since. Deep rhythmic breathing generates a large quan¬ Now, when he discarded the scale Orvl Ja * 5 d' patience in pointing out our errors. His encourage¬ sand times to be the true and adequate preparation Romance from Concerto Etudes, Op. 25, Noe. 1, His Genius was purely lyric; his attempts at large tity of vital energy. It causes the whole contents of arpeggio a, the keynote ofh^meC, we°P ment when we fail and almost despair, are eminently for the playing of the pianoforte classics, might have Op. 11. Transcribed by 7, 9. “forms” seem forced and unnatural essays in an un¬ the trunk to oscillate upward and downward in per¬ upon the finished product, say: how flnl ’Jd r worthy of our imitation. been written for an instrument which had no pedal Reinecke. Impromptu, Op. 51. familiar tongue. This fact is sometimes stated as fect rhythmic unison with the respiratory motion, natural; hut it was a strike of gZnt Xt m Z Surely His sympathv with us in all our troubles and allowed no discrimination of touch. Beethoven Ballade, Op. 47. Andante and Polonaise, a derogation from his genius, but it is as unreason¬ like the action and reaction of the waves of the ocean, deed, make an epoch in pianoforte music. ’ make Him indeed a Model which we will do we’I to Mazurka, Op. 33, No. 4. Op. 22. able as to expect the rose to develop the sturdy stem constituting, in this one respect alone, a superb phys¬ follow closely in the year just begun— H. It. Palmer. Nocturne, Op. 27, No. 2. and spreading branches of the oak, yet, the rose is ical culture,—Stebbim. 16 THE ETUDE the ETUDE the same kina of measure and the same tempo. It dom played in public. Why? My children, do you is the rhythmic tonality, which the composer estab¬ not know by this time that the garden variety of Musical Rhythm and Rhythmic Playing lishes within his very first beginnings of the piece pianoforte virtuoso will play difficult music if the The pulsation at a given rate begins with the difficulties be technical, not emotional or emotional piece and continues without any. more interruption and not spiritual? The F-sharp minor Polonaise is VM.fr. II. than that of the ticking of a clock entirely through always drummed, on the keyboard because some silly the “movement,” and the movement is farther defined bfOGY’S story got into print about Chopin’s aunt asking the By W. S. B. MATHEWS by the recurring of the strong pulse periodically composer for a picture of his soul battling with the once in so many pulses, according to the kind of soul of his pet foe the Russians. Militant the work measure. is not, as swinging as are its resilient rhythms: syllables with; the modern poet counts his fingers. It is unfortunate that all our dictionaries and per¬ In written music the place of the strong pulse is granted that the gloomy repetitions betray a morbid But prosody was made when a man with a potential haps all our elementary text-books are wrong in so marked by the bar, and there is no way in which a dwelling upon some secret, exasperating sorrow; but poem inside him was only too glad to move himself bmENTS important a matter as the nature and meaning of composer can free the player from the obligation of as the human soul never experiences the same mood musical rhythm. If you look for a definition, you withal in getting it gracefully out of him. minor, B-flat major Mazurkas, the A-flat and C-sharp putting in the measure accent, except by tying down twice in a lifetime, so Chopin never means his will find it reduced to matters of “longs and shorts.” The early dances were very soon differentiated into minor Impromptus, and last, though not least, the the notes occurring in this place. When he does that passages, identical as they may be, to be repeated in Rhythmics was long ago defined by Lowell Mason a moderate tempo for ordinary occasions, a slower Berceuse,—why I insist should this group be se¬ you make the syncopated tone with the extra ac¬ the same mood-key. Liszt, Tausig, and Rubinstein as that department which treats of “the length of one for solemnities, and a faster one for occasions of lected to the exclusion of the rest, for, all told, Dussek Villa on the Wissahickon, taught us the supreme art of color variation in the tones.” As this error is fundamental and mislead¬ great joy. By the times of classic Greece the dance cent, to carry you over. In piano music and orches¬ there is still as good Chopin in the list as ever came ing to a remarkable degree, it has done a lot of dam¬ had differentiated itself far more, and a great variety tra only one voice, as a rule, syncopates in this way, 1 December 25, 1904. out of it. repetition of a theme. Paderewski knows the trick; age. The most serious damage is in the very early of frisky figures of verse and stepping had been in¬ while the others put in the measure accent where due! I know we hear and read much about the “heroic” so does Joseffy and de Pachmann—the latter’s Occasionally a very subtle composer does, indeed con¬ Dear Mb. Editor: Your letter about the Chopin pianissimi begin where other men’s cease. So the teaching, where, in one system at least, they teach vented, suitable to the cults of Dionysius, Venus, etc., number of The Etude—The only musical publica¬ Chopin, and the “New Chopin”—forsooth!—and what they are pleased to call “rhythm” by fitting as well as the more sober rulers of the pantheon. ceal the measure accent for a long while together as “Chopin the Conqueror”; also how to make up a accusation of tonal or thematic monotomy should Schumann does in the finale of the Concerto in A tion I care to read in these days of musical gas, char¬ not he brought against this Polonaise. Rather let ns into a measure compass of any standard kind (such latanism and chicanery—caught me in the humor for Chopin program—which latter inevitably recalls to What is a Dance? minor, where he has about 124 measures of what is blame our imperfect sympathies and slender stock as Vo Vo Vo etc.) precisely enough notes to com¬ a reply,—that is, a printed reply. Since my return my mind the old crux: how to he happy though hun¬ really either a V, or a 7. measure, the written sig- of the art of nuance. plete the sum-total of durations according to the It seems a silly question. But a few years ago I from the outskirts of Camden, N. J., where I go gry. [Some forms of this conundrum lug in matri¬ nature being V4. Mr. Godowsky thinks that Schu¬ But here I am pinning myself down to one compo¬ time-signature. As an exercise in elementary frac¬ searched diligently in libraries, dancing schools, and fishing for planked shad in September, I have been mony, a useless intrusion.] How to present a pro¬ mann heard his V, all through this 124 measures un¬ sition, when I wish to touch lightly on so many! tions and note values, this is all well enough, but it among that encyclopedia of social usages, the mod¬ busying myself with the rearrangement of my musical gram of Chopin’s neglected masterpieces might fur¬ derneath the actual Vj which he plays. He savs he The F minor Polonaise, the E-flat minor Polonaise, has very little to do with rhythm. Thus we come ern woman, to find out the essential difference which library, truly a delectable occupation for an old man. nish matter for afternoon lectures now devoted to thinks it in that way, or rather he says that he called the Siberian—why I don’t know; I could never to the following questions:— transforms a “step” out of a mere getting over As I passed through my hands the various and be¬ such negligible musical dibris as Parsifal’s neckties the ground into a “step” in a dance. Nobody could thinks it as a V* syncopation over a •/«. Until I had detect in its mobile measures the clanking of con¬ What is Rhythm? And What do We Mean by loved volumes, worn by usage and the passage of the and the chewing gum of the flower maidens. tell me; yet everybody who dances makes the change called his attention to its very easy explanation as vict chains or the dreary landscape of Siberia—might Rhythm in Music? years, I pondered after the fashion of one who has As a matter of fact, the critics are not to blame. I being in fact a */„ he had not thought of it in that be played by way of variety; and then there is the intuitively. But taking the thing in a large way, we more sentiment than judgment; I said to myself:— have read the expostulations of Mr. Finek about the The most generalized definition of rhythm T have light. Dr. Mason believes, with Christiani, who says C minor Polonaise, which begins in tones of epic all know what a dance is. It means a rhythmic “Come, old fellow, here they are, these friends of untilled fields of Chopin. Yet his favorite Paderew¬ ever heard calls it: “A symmetric fluctuation of in¬ grandeur [go it old man, you will be applying for a moving according to a certain scheme of rhythm that Schumann forgot to change the measure sig¬ the past forty years. Here are the yellow and beski plays season in and season out a selection from tensities.” Observe: a fluctuation of “intensities.” position on the Manayunk Herbalist soon as a critic 1] within the measure, and a certain grouping of mo¬ nature and meant nothing more subtle than 7, I penciled Bach Preludes and Fugues, the precious the scheme I have just given, with possibly a few ad¬ Thus we have involved a capacity of intensity and incline to the other opinion. The Nocturnes—are they all familiar to you? The tions in a larger plan, which we call the “figures” of ‘forty-eight’; here are the Beethoven Sonatas, every ditions. The most versatile—and—also delightful— nonintensity, a fluctuation,—that is, a capacity of the dance. It takes so and so many measures of the Observe, then, that the basal rhythm of a piece re¬ Chopinist is de Pachmann. From his very first after¬ F-sharp minor was a positive novelty a few years periodicity and of something behind doing things bar of which is fa&iliar; here are—yes, the Mozart, music to carry out a figure. It is easy to say things quires us to maintain the pulsation unchanged (or Schubert, and Schumann Sonatas [you notice that noon recital at old Chickering Hall, New York, in ago when Joseffy exhumed it, while the C-sharp permitting fluctuations; that is going on long enough which are not so. It happened to me once, in a not perceptibly changed) from beginning to end of a I am beginning to bracket the batches! ]; here are 1890, he gave a taste of the unfamiliar Chopin. minor, with its strong climaxes, its middle sections to make it an interesting question as to whether moment of overconfidence in the ideality of Sebas¬ “movement,” and to put in the measure accent from Joseffy, thrice wonderful wizard, who has attained so evocative of Beethoven’s Sonata in the same key the display of energy is absolutely uniform, like a Mendelssohn’s works, highly glazed as to technical tian Bach, to say that while his minuets and cou- first measure to last. This is the fundamental rhyth¬ surface, pretty as to sentiment, Bach seen through to the height of a true philosophic Parnassus,—he —have you mastered its content? The Preludes are perfect machine, or subject to fluctuations, being now rantes could not be danced, they were nevertheless mic obligation of rhythmic playing. Listen to an only plays for himself, O wise Son of Light!—also a perfect field for the “prospector”; though Essipoff more intense and now less intense, as is the manner the lorngnette of a refined, thin, narrow nature. And idealized forms suggesting the moods of the dance. orchestra and observe the continuity of it, as dis¬ gives at long intervals fleeting visions of the un¬ and Arthur Eriedheim played them in a single pro¬ of all life whatever, so far as known to us. here are the Chopin Compositions.” The murder is It occurred fortunately to me to count Bach's meas¬ tinguished from the playing of most pianists, who known Chopin. To Pachmann belongs the honor of gram. Nor must we overlook the so-called hackneyed Rhythm is one of those elemental finds of the out—I have jumped from Bach and Beethoven to ures, and I found that he always had precisely so stop the clock any time when they feel like having a persistently bringing forward to our notice such gems valses, the tinkling charm of the one in G-flat, the human race that they could not well avoid. Having Chopin without a twinge of my critical conscience. many measures in a minuet, or other dance form, few moments of refreshing repose. Clocks with good as the “Allegro de Concert,” many new mazurkas, elegiac quality of the one in B minor. The Barcarolle symmetries of upper limbs, symmetries of lower Why ? I hardly know why, except that I was think¬ and the chances are very great that any one of them works inside them do not run in this way. the F minor, E major—A minor Ballades, the is only for heroes. So I do not set it down in malice limbs, moving by alternate action of the two legs, ing of that mythical desert island and the usual can be danced by anyone who knows the rules of Observe, further, that the composer has other F-sliarp and G-flat Impromptus, the B minor Sonata, against the student or the everyday virtuoso that subject to periods of rest between periods of labor, idiotic question: what composers would you select if the game in Bach’s day. means of defining his pulsation and measure than he—or she—does not attempt it. The F minor Fan- man has learned that there are “times” to go on, and you were to he marooned on a South Sea island—you certain of the Vaises, Fantaisies, Krakowiaks, Pre¬ Now what we call Rhythm in music is precisely by placing force upon the keys of the instrument. taisie, I am sorry to say, is beginning to be tarnished times” to stand still; times to move one leg, times know the style of question and, alas! the style of ludes, Studies and Polonaises—to mention a few. this: A transformation of the dance spirit and its He does this by selecting his moments of tone-begin¬ answer! You may also guess the composers of my And his pioneer work may be easily followed by a like the A-flat Ballade, by impious hands. It is not to move the other; also that such movements can be realization by the eye, by means of sound-groups in nings. The rhythmic vitality of a tone lies in the selection. And the least of the three in the last dozen other lists, all new to concert-goers, all for weaklings; nor are the other Fantaisies. Why performed “rhythmically,” as in good walking, or time for the ear, in place of the body-motions and moment of its beginning, and not in the moments of group above named is not Chopin—Chopin, who, as a equally interesting. Chopin still remains a sealed not let us hear the Bolero and Tarantella, not Chopin “angularly” as when we try to make a manikin walk. groupings in space for the eye, as the dance gives its prolongation. 1 believe I am the first to point piano composer pure and simple, still ranks his pred¬ book to the world, notwithstanding the ink spilled at his happiest, withal Chopin. Emil Sauer made a Thus already in this simple use of the word them. Or to clear it up a bit, let us observe that this out. For example, in the middle piece of the ecessors, his contemporaries, his successors. over his name every other minute of the clock’s busy success of other brilliant birdlike music before an “rhythmically” 1 have brought out that quality of the dance in reality consists of two somethings: Chopin Nocturne in G minor, Op. 37, there is a long I am sure that the brilliant M- Finek, the erudite traffic with Eternity. America public. As for the Ballades, I can no longer musical rhythm which our text-books try their best There are motions to perform rhythmically, in sev¬ passage in chords, */« in quarters, a pulse motion. In Mr. Krehbiel, the witty Mr. Henderson, the judicial A fair moiety of this present issue of The Etude endure any but Op. 38 and Op. 52. Rosenthal played to avoid, namely: its sweep, its graceful transition eral rhythms in fact, the step of the dance and the from one swing to the other, its constant onward mo¬ the theme of the “Andante” in Beethoven’s Sonata Mr. Aldrich, the phenomenal Philip Hale, have told could be usurped by a detailed account of the beau¬ the beautiful D-flat study in Les Trois nouvelles groupings of the dance figures which carry us over tion; all these as opposed to the angular walking of in G, Op. 14, No. 2, there is also a passage in pulse us and will tell us all about Chopin’s life, his poetry, ties of the Unheard Chopin—you see I am emulating Etudes with signal results. It is a valse in disguise. several measures of the music. Thus the dance ad¬ the machine, which stands still between times motion, in */, measure, but the notes are written in his technical prowess, his capacity as a pedagogue, the critics with my phrase-making. But I am not And its neighbors in A-flat and P minor are Chopin dresses the eye in two ways: It consists of rhythmic whereas the body of man in walking moves pretty eighths with eighth rests alternating. To the ear his reforms, his striking use of dance forms. Let me the man to accomplish such a formidable task. I in his most winning moods. Who, except de Pach¬ ways of going, and pleasing circular and graceful steadily forward despite the interchange of legs in the rhythmic value is quite the same. So also in contribute my humble and dusty mite; let me speak am too- old, too disillusioned. The sap of a generous mann, essays the G-flat major Impromptu—wrong¬ lines of motion in grouping—all these being body mo¬ carrying the weight. Moreover, in running, the mo¬ Schumann’s “Nightpiece” in F, a pulse motion in */„ of a Chopin, of the Chopin, of a Chopin—pardon my enthusiasm no longer stirs in my veins. Let the fully catalogued as Des Dvr in the Klindworth edi¬ tions in space. But there is also something more. tion is still more rhythmical, because in running the written witli eighth notes and rests alternating. tedious manner of address—who has most appealed young fellows look to the matter—it is their affair. tion? To he sure it resumes many traits of the The dance moves in time no less than in space- per¬ body moves forward while it is not actually carried Again, take an opposite case, Schumann’s to me since my taste as been clarified by long ex¬ However, as I am an inveterate busybody I cannot two preceding Impromptus, yet is it none the less fas¬ haps it moves more in time than in space. Hence upon the legs, but seems to float in the air. “Waruni?” It is a slow movement in 7<- The perience. I know that it is customary to swoon over refrain from an attempt to enlist your sympathies cinating music. And the Mazurkas—I refuse posi¬ the eye-impression of time-succession and organiza¬ By rhythm in music we mean the entire system of Chopin’s languorous muse, to counterfeit critical rap¬ for some of my favorite Chopin. tively to discuss at the present writing such a fer¬ tion is perhaps transformed in the mind to an idea rhythm to the ear is a pulsation of V.. and the ef¬ its motion in time. This idea includes, observe, the tures when his name is mentioned. For this reason Do you know the E major Scherzo, Op. 54, with its tile theme. I am fatigued already, and I feel that of life experience. In fact, we know that all poetic fect is created by tone-beginnings at the proper lesser idea that the music does move in time, and skimming, swallowlike flight, its delicate figuration, my antique vaporings have fatigued you. Next dances have in them a sort of story, a cycle of life points, while all tones are prolonged. During the I dislike exegetical comments on his music. Lives keeps on moving so long as the “movement” con¬ of Chopin from Liszt to Niecks, Huneker, Hadow, and its evanescent hintings at a serious something in month I shall stick to my leathery last, like the experiences Now, when this thing is brought over third and fourth measures he expects you to feel his tinues. This is the great underlying conception which first and third pulse while the music gives us merely the rest are either too much given over to dryasdust the major trio? Have you ever heard de Pach¬ musical shoemaker that I am—I shall consider to the “long and short” idea of rhythm overlooks. The mann purl through this exquisitely conceived, con¬ some length the use of left hand passage work in throughihro„rtb the Itonal k,eepS organization; aDd pCTfects and inthe place life ofstory the the second and fourth. This principle is universal, or to rhapsody. I am a teacher of the pianoforte, music sweeps steadily forward from beginning to trived and balanced composition, truly a classic? the Hummel sonatas. Or shall I speak of Chopin body motion floating before the eye in space, it gives that the vitality of tones, rhythmically considered, that good old keyboard which I know will outlive end of the “movement” in time, and “rhythmically” Whaur is your Willy Mendelssohn the mol as the again, of the Chopin mazurkas! My sour bones be¬ us musical motions floating before the ear, in pitch lies in the moment of beginning. Also that the all its mechanical imitators. I have assured you of in time. Now what is this “rhythmically”? It does rhythm of any succession of tones can be defined to this fact about fifteen years ago, and I expect to Scotchman asked. Or are you acquainted with the come sweeter when I think of Chopin—ah, there I not patch itself together with so many small frac¬ the ear by tapping upon a table with a pencil the hammer away at it for the next fifteen years if my G-sharp minor Prelude? Do you play the E-flat go again! Am I, too, among the rhapsodists, Mr. tions to complete such and such larger fractions. “ - K time-moments when the tones begin, of one voice or health and yonr editorial amiability endure. The Scherzo from the B minor Sonata? Have you never Editor? Old Fogy. Nothing living is put together in such a way that of all the voices. Chopin music is written for the piano—a truism! — shed a furtive tear—excuse my old-fashioned ro¬ the fragments can be cut apart and then combined so why in writing of it are not critics practical? It manticism—over the bars of the B major Larghetto Here we come to the real rhythm cf the individual Oub present existence is sordid; music is a realm again into life, like a puzzle map. in the same work? [The last movement is pure piece, which, having established for the ear this basal is the practical Chopin I am interested in now¬ of romance that cheers and encourages us on toward Whence came Rhythm ? I have already shown adays, not the poetic—for the latter quality will passage writing, yet clever as only Chopin knew how tonality of rhythm, goes on with its own individu- a better existence, which, we are here tq evolve and that it is a natural find of mankind, being a simple to be clever without being offensively gaudy.] b:v weans of rhythmic designs, patterns of always take care of itself. create ourselves—even out of the sordid material. inference from seeing things move. Moreover, there ai Zrzsrzzsr\ - How about the first Scherzo in B minor? You play U. In their little t-neel ™ Jj"***™ rhythmic figures differing from the basal rhythm in Primarily among the practical considerations of are rhythms of seasons, variations of the planets the Chopin music is the patent fact that only a cer¬ it, but do you understand its ferocious irony? [Oh, Rev. Frank W. Gunsaultts, Chicago, says: which are rhythmical, that is, periodic, returning once such ways as to be seized by the ear, and enjoyed ByrtyThm of^2/“ rhythm" tain section of his music is studied in private and author of “Chopin: the Man and his Music,” what About the first thing we need in the education of in so often. The first application of this principle in as the expression of the individuality of the piece. played in public. And a very limited section it is, sins of rhetoric must be placed at your door!] And modern life is the historical sense, an appreciation art probably took place in what we call verse, or in tire system of its organized motions in“toe w' Mow, this is a larger question for which we have no piece has what I might call its l Every as those who teach or frequent piano recitals are able what of the E-flat minor Scherzo? Is it merely an of the relation of the years that are and the years a combination of carefully selected syllables in form room, excepting to say that all such rhythmic de¬ rrtu. of m-n;: *• to testify. Why should the D-flat Valse, E-flat and excuse for blacksmith art and is the following finale that are to be with the years that have been, that of a hymn of worship, which the family spoke to¬ signs involve valuations of pulse fractions and pulse- of what we call a “motion ” that uT ®10?ally also G minor Nocturnes, the A-flat Ballade, the G minor only a study in unisons ? There is the C-sharp minor gether, clasping hands and stepping four steps this combmations in a single tone—all of which have to we may be kept from blundering. Education must tion by a given fraction of oulse) the m°‘ Ballade, the B-flat minor Scherzo, the Funeral March, Prelude. In it Brahms is anticipated by a quarter give the whole man to the United States of America. way, for one “verse” and four steps the other for 0%wvted-in averaffe music students. the two G-flat Etudes, or let us add, the C minor, the of a century. The Polonaise in F-sharp minor was another “verse.” Hence also that persistent pro- ing at a certain .ate, or nearly so. this Sg °n hythm in music, then, is organized motion in All education deals with man as head, heart, and damned years ago by Liszt, who found that it con¬ sodical term “foot,” the thing they counted their separable part of the hasa! rhythm of th l™ ir" M»ie. When it stops, it ceases to be motion, and E minor and C-sharp minor studies, the G major and hand, and each is necessary to the others. The music piece. The basal rhythm „LJ!L* the,.lndmdual B-flat preludes, the A-flat Polonaise—or, worse still, tained pathologic states. What of it ? It is Chopin’s student also needs the perspective that comes from 1 eommon to all pieces in erefore is no longer rhythm. And the organiza¬ tion falls to pieces. the A major and C-sharp minor Polonaises—the B masterpiece in this form and for that reason is sel¬ a thorough study of the history of music. 18 THE ETUDE 19 THE ETUDE and picturesque language that brought the scenes hurriedly consulting his watch he found that he had vividly before her mental vision. SNOWBOUND IN A STUDIO. voice of the violin, the impassioned soul of the man, source of the piano cost him. It remains for the barely time to dress and reach his destination, while At last he 'came to a pause, and turning to the stinctively Longfellow’s Sicilian of the Wayside Inn spoke to her this New Year’s eve through the raging piano student to realize that de Paehmann’s technic she suddenly recalled the arrangements being made girl, whose dilated eyes and parted lips revealed rose before her:— tempest, in a language she could not but understand. does not exist primarily to dazzle or to astound, but A New Year’s Eve Story. for a merrykrcle, to which she had been summoned her complete absorption in his recital, said gently: “In sight of Etna born and bred, By the strange mischance which had thrown them merely to serve in the higher offices of interpretation. to speed the passing year that night. She ran “And now, Linda, let us hear from Beethoven; Some breath of its volcanic air window and puffed the curtains aside, while a startled thus together, he and she, as alone in this snowy Arthur Symons, the English poet and critic. In his enough of my restless desires and wanderings, I am Was glowing in his heart and brain.” BY SHEILA. exclamation, half surprise, half consternation, broke fastness as though shut in some storm-swept hut volume entitled “Plays, Acting, and Music,” has but a bird of passage at the best. Play to me some¬ She no longer marveled at the strange spell he ex¬ mid Alpine solitudes, the careless happy companion¬ written of de Pachmann even more convincingly than from her lips; he came and stood silently by her thing strong, and simple, and splendid, from the ercised over his hearers; that this handsome, flash¬ ship of' many months leaped at a single bound to if he had written of scales, double notes, and all the The dreary December day was drawing to a close, side, as the serious nature of the situation dawne mightiest master of them all; as only you can play upon him. A blinding whirl of snow danced before ing-eyed stranger from the south fired her imagina¬ something warmer, stronger, more enduring; it could technical jargon of the critic. His observations are the last day of the “old year.” A white light glim¬ it, I sometimes think, when in the mood.” of value not only to the music-lover, but also to mered beyond the naked treetops in the western sky, his startled vision; shifting, drifting, storm-driven, tion, held her by a subtle power which transcended never be the same again. through which lights faintly glimmered, and silvery all earlier interests or longer attachments, colored And muffled and strange, borne from afar on the the teacher. I make a few extracts from his essay. betokening the sunset hour, while the wind that Without a word of protest the girl went to the sleighbeils came faintly and afar; swiftly and silently life with the roseate hues of romance. What he wings of the wind, the midnight bells rang out their “Chopin’s music, unlike most other piano music, ex¬ whistled about the great building in the heart of piano, preludized for a moment, and then through as they played, like a tidal wave the great blizzard played she never knew, wild, nameless songs of an¬ greeting to the newborn year, and Luigi, lowering ists on terms of perfect equality with the piano. the busy city had a strange, boding sound. the tumult of the tempest the exquisite music oi And de Pachmann, unlike most other pianists, ex¬ Luigi Novelli had been playing fitfully throughout which was to cause such widespread havoc, had other clime, songs that sped straight to the heart, his violin for a moment, wished her a “Happy, Glad the “Moonlight Sonata,” with its flowing grace, ten¬ ists on terms of perfect equality with Chopin’s the afternoon in his bare little music room, while swooped down upon the defenseless city, holding 1 and brought the unbidden tears to her eyes; the New Year!” derness, and undercurrent of touching sadness, music. I have heard pianists who played Chopin in voice and violin, flute and pianc, now painfully in¬ in a mighty clutch. flooded the studio and led them far into the land of what they called a healthy way. The notes swung, sistent, now dreamily distant, responded at inter¬ The girl shuddered, and clung to his arm in mo¬ dreams. Luigi sat spellbound, his dark eyes fixed spun, and clattered, with a heroic repercussion of vals from the neighboring studios. He had been run¬ mentary terror. “What shall we do?” she cried. upon the slender form of the girlish musician, his sound, a hurrying reiteration of fury, signifying noth¬ ning through his musical repertoire, living over past He laughed lightly, and patted the little hand on impetuous, quick-veering nature stirred to its depths ing. The piano stormed through the applause; the triumphs, it may be, seeking a fitting selection for his arm. “Wait here a moment while I make an in- by the noble music so foreign to his own fiery, way¬ m pianist sat imperturbably, hammering. Well, I do that evening, when he had been summoned to shine vestigation,” and ran swiftly below; but when he re- ward genius, which seemed born of southern storm k t n true Interpreter of Chopin not think any music should be played like that, not as the star at a splendid mansion in the suburbs, turned she read her fate in his grave and darkened and sunshine, and tropical splendor. where wealth, fashion, and beauty would throng to face. It was too true; the storm was already well Liszt even. Liszt connives at the suicide, but with “To really know Beethoven,” said Linda, when she -0—0 By EDWARD BURLINGAME HILL 0—0- Chopin it is murder. When de Pachmann plays listen to his violin. advanced, the gale rapidly rising, the streets im¬ I The handsome young Sicilian, the lion of the sea¬ passable, the movement of the city practically sus¬ came to a pause, and broke the charmed silence—“to Chopin, the music sings itself, as if without the in¬ son, in a city that prided itself on its musical cul¬ pended, the lives of those abroad in serious hazard. divine his sweetness, strength, and lofty grandeur, Vladimii; de Pachmann, the celebrated pianist, that by means of subtle variety and deft opposition tervention of an executant, of one who stands be¬ ture and critical acumen, was not insensible to* the Lost in music, careless of time, they had let the his soul, one must hear the symphonies played by who is again in this country after an absence of sev¬ of contrast one never feels that his dynamic range tween the music and our hearing. . . . De Pach¬ impression he made on one and all; and though his precious moments slip away, while others more some matchless orchestra, like our own. The magic eral years, has shown already that he is still at the is seriously limited. He can make a soft, delicate mann gives you pure music, not states of soul or of aspirations were pure and lofty, his ambition bound¬ watchful had made good their escape from the now of the strings, the fire of the brass, the rustic charm height of his career as a virtuoso. His life as a con¬ melody more significant in its infinite gradations than temperament; not interpretations, hut echoes. . . . less, the intoxicating draught of an early fame was solitary building. and pathos of the wood-wind—how well he under¬ cert artist has been virtually a succession of tri¬ many a devotee of the strenuous and modern “orches¬ The art of the pianist, after all, lies mainly in one still sweet to his boyish lips. His had been a bright “Luigi, do not leave me;” pleaded the girl, as the stood them all; they poured out their secrets at his umphs, yet he has always been his own severest tral” style of piano playing, who too often forces the thing, touch. It is by the skill, precision, and beauty and meteoric career, since the day when music had situation was fully borne in upon her; and the bidding. Luigi, why do you so seldom play the critic. He was born at Odessa, Russia, on the Black unoffending piano far beyond comfort to the listener. of his touch that he makes music at all; it is by taken him by the hand and led him far from the man did not laugh at the foolish and inconsequent great Beethoven Concerto? I am convinced it would Sea, in 1848. His father was Professor of Philoso¬ In considering de Paehmann’s playing one is re¬ the quality of his touch that he evokes a more or home of his youth and kindred; he had traveled far, speech, but only said soothingly:— gain an added warmth and meaning at your hands, phy in the university of that town and an amateur less miraculous vision of sound for us. Touch gives worked incessantly, yet fortune had been kind, suc¬ “My dear Linda, there is nothing to fear; the through the medium of your wondrous Stradivarius.” violinist of no mean skill. He was his son’s first him his only means of expression; it is to him what cess easily won, it seemed, by the royally gifted man. matter is simple enough as it seems to me, we “No, no—Linda”; was the moody response. “You teacher, and later sent him, at the age of 18, reUef is to the sculptor or what values are to the Something fresh, sweet, and naive, in his heart, some¬ are literally snowbound, and must prepare our¬ tread upon sacred ground; at that shrine I needs to Vienna, where he studied for two years at the painter. To ‘understand,’ as it is called, a piece of thing in his music, kept him true to art through all selves for a lengthened siege. If I could feel as¬ must worship in silence. I am but a poor interpre¬ Conservatory under Professor Dachs. At the age of music is not so much as the beginning of good play¬ the shoals and quicksands of fashionable life, the sured as to the contents of your china closet I ter, after all; it is always Luigi, Luigi, Luigi—” with 20 or thereabouts he gave a series of concerts in ing; if you do not understand it with your fingers, pitfalls spread for his careless feet; while his am¬ should be easier in mind; the pangs of coming hunger a sarcastic intonation. “Leave me to my own way¬ Russia which were very successful; but de Pachmann what shall your brain profit you ? In the interpreta¬ bition forbade content with an ephemeral fame, such already assail me.” ward fancies, my imaginative flights, the ‘wizard’s insisted upon retiring for further study for eight tion of music all action of the brain which does not as a mere salon success implied. “As to that, Luigi, we shall not starve. I am al¬ spell,’ they prate about so constantly. I can tickle years. At length he played in Leipzig, Berlin, and translate itself perfectly in touch is useless. You ways prepared for an impromptu lunch, you know;” the ears of the crowd, dazzle their eyes with my fire¬ elsewhere, but again he voluntarily subjected him¬ may as well not think at all as not think in the term One by one the sounds died away in the great and rallying her spirits she ran to the little cup¬ works, play upon their heartstrings, do with them self to two years more of thorough work. After this of your instrument, and the piano responds to one building, the ceaseless humming of the human bee¬ board to make a serious investigation. what l will; but when it comes to Beethoven—” and long period of probation, he finally appeared at thing only, touch. Now, de Pachmann, beyond all hive was stilled; the soprano closed in a prolonged “Coffee, cream, rolls, marmalade, pickles, and, yes he paused expressively. Vienna and Paris, meeting in every instance with other pianists, has this magic. When he plays it, cadenza, and a melting triU,' designed to search the —a box of chocolate bonbons”; she called out in “For shame, Luigi”; protested the girl, while the unanimous approval. Since that time he has played the piano ceases to be a compromise. He makes it heart of man, the flute gave a parting shriek for triumph. color rose to her soft cheek and her blue eyes light¬ all over Europe with ever increasing reputation. He as living and penetrating as the violin, as responsive the night, and the grand piano was shut with a “A girl’s lunch,” he ruefully commented; “however, ened. “You would not take such criticism from an¬ has made six visits to this country before his pres¬ and elusive as the clavichord.” crash. Laughing voices down the hall, hurrying the coffee and rolls will carry me safely through, other; do not so belittle your heavenly gifts. I do ent tour, beginning in 1890, then in 1891, 1892, 1893, Not to continue entirely in terms of eulogy, it footsteps below, gay Christmas salutations, the and we will not quarrel over the pickles and candy.” not know you in such a mood. Come, you must do 1899, and 1900, successively. must he acknowledged that de Pachmann does, to bang of the storm door; yet Novelli stood irresolute Without more ado they set to work, and while he penance”; and rising she took his violin and forced Although de Pachmann has amply demonstrated a certain degree, come between the music and his by the window, carelessly fingering his violin, look¬ draped the windows with heavy shawls against the it into his hands. “Play to me the program you his capacity to play Bach, Mozart, Beethoven, Schu¬ audience, by his grimaces, his gestures, and his oc¬ ing at that white, boding sunset across the Com¬ wintry blast, and goaded the stove to renewed fury, planned for the musicale to-night; and then—then bert, Weber, Mendelssohn, Schumann, and Liszt, it casional remarks to his listeners; by his surreptitious mon, while his warm southern blood shivered as be¬ she plunged into preparations for supper with true improvise in vour Happiest vein. We will see if this is as an interpreter of Chopin that he is most widely alterations and additions to the pieces that he plays. fore a coming tempest. housewifely zeal, spread a spindle-legged table with Luigi is so bad as he is represented.” known, and upon which his fame as a pianist will Nevertheless, when in his best vein, he gives us not One other there was who lingered; from the studio her daintiest china, and made a tempting display of For a moment he laughingly protested against undoubtedly rest. In addition to giving many recitals only the rarest and most triumphant interpretation across the hall came the airy whirling movement of the few edibles at her command. When all was such feminine tyranny, then yielded to the situation entirely devoted to works by Chopin, he has played of Chopin, but the choicest and most legitimate ex¬ the “Spinning Song,” played with a lightness and ready she looked about the brilliantly lighted room with what grace he could summon, and placed a pile the F minor concerto with the principal orchestras ample of pure piano playing that we have had in buoyant grace that seemed to defy the wintry with a glow of pleasurable pride, and as he drank of music on the rack that would have startled many of this country on at least three of his visits here. our day. Every pianist has his less felicitous mo¬ weather, and coming storm. his fragrant Java from a cup of scarlet and gold he Chopin’s fate at the hands of pianists has been ments, de Pachmann at his highest is truly supreme. “Dear girl, how well she plays it”; he murmured; a tried accompanist. Bolero, Berceuse, and dreamy confessed that “it was not so had, after all, and he Barcarolle, the grace and elegance of Vieuxtemps, varied in the extreme; too many of these artists then impulsively he crossed the hall, violin in hand, Vladimir de Pachmann. would give her a character as capable hausfrau when the color and witching rhythm of Sarasate, the daz¬ have accentuated his traits in their interpretation of and entered with an apology on his lips. “Just a she wanted it.” PRIZE ESSAY CONTEST: 1905. zling splendor of Paganini, salon music such as had his music until they produced the effect of manner¬ few accompaniments,” he begged; “if you can spare isms. They were flatly sentimental where they minded of Liszt’s remark about Clara Schumann, the time. I’d like your decision about some of the tested the skill of violin virtuosi for many long It was a scene for a painter,—the color, the lights, years; such was the music he invoked that night. should have been simply lyric; they have tortured that “many make more noise, but few make more ONE HUNDRED DOLLARS IN PRIZES. solos too.” the reddening fireglow, the merry couple at their im-’ Chopin’s wonderful suavity and balance of phrase into music.” The Etude wants the best ideas of the teachers The girl cheerfully assented, and professed her promptu supper; he like a Russian prince in his fur- hopeless caricature of rhythm, and utter morbidness He began hotly, recklessly, as if still out of con¬ To hear de Pachmann’s phrasing, in its absolute of music in the United States or elsewhere; and to willingness to play an hour longer; so, bringing in a lined overcoat, while the girl, shrouded in soft shawls, of emotion. They have at times reduced him to the ceit with his own great gifts, stirred to his depths mastery of crescendo and diminuendo, is worth a stimulate interest in the writing of practical, helpful heap of tattered manuscript, he lit the gas in the seemed like some slender white flower slipping from mere standpoint of a German pedant; or else they by the “divine discontent” which comes to all true quarter’s lessons to the attentive piano student. He articles on topics connected with musical work offers darkening studio, and they plunged into a sea of its sheath. He had ever marveled at the dainty have attempted to force' his peculiarly idiomatic artists, at times; but the touch of his beloved who has listened to his playing of the slow move¬ prizes aggregating one hundred dollars for the best music, regardless of time or coming engagements. grace and feminine charm she imparted to the little piano style to take on the riot of tone-color that is “Strad,” that confessor of his joys and sorrows, the ment of Chopin’s F minor concerto must have fallen five essays submitted:— studio with its simple appointments; beside this associated with the modern orchestra. technical difficulties to be met and conquered, the a victim to the power of the piano to charm by ca¬ There was nothing strange in this intrusion; charming interior, with its oriental draperies, pic¬ De Pachmann’s interpretations of Chopin are, to First Prize .$30 charm of the music he played, soon melted his mood, ressing tones *of song alone. In this movement he hardly a day passed but he found his way to the lit¬ ture-hung walls, and open piano, its thousand’ deli¬ characterize them as a whole, the most perfect em¬ Second Prize . 25 leaving only an undertow of emotion, like the swell is consummately lyric, dramatic, and deeply poetic tle room to ask the services of the winning mistress, cate touches and refinements, his own room, with bodiment of that often used, but seldom realized Third Prize . 20 after the storm, which gave added intensity to his by turns; he seems transported by an inward ecstacy seek her criticism, bow to her judgment, which he its scattered manuscript and masculine disorder axiom, “Art that conceals art.” In listening to de Fourth Prize . 15 interpretations. At last Linda withdrew from the of interpretation. His performance of the concerto had learned to value. In a sense they had been seemed as a hermit’s cell. And Linda herself, in her Pachmann it is impossible to find in his technic any Fifth Prize . 10 good comrades though the length of their acquaint¬ piano, and flinging herself into an easy chair, beck¬ as a whole is noteworthy for a supple elasticity in slender grace and blonde loveliness, her fresh youth traces of his years of arduous toil, any suspicion of ance could be reckoned by months rather than passage work, clarity and flexibility of tone, and an Writers may choose their own subjects. We ad¬ and enthusiasm, her simple, earnest, and purposeful oned him to proceed with the concert aione. A smile ungraceful or inartistic phrasing; everything flows years; but what is time in the happy land of Bo¬ embodiment of the very spirit of Chopin that is well vise beforehand that topics of a general nature, such life seemed as a revelation to the foreign-born man flashed across the violinist’s dark mobile face, he from his fingers in the most. spontaneous and un¬ hemia? Strong mutual interests, musical enthusi¬ nigh faultless. as “Beauty of Music,” “Power of Music,” “Music with his preconceived ideas of womanhood, an ideal lifted his head with a certain pride; here at least he forced way. His tempo ruhato is a living illustra¬ asms, the freemasonry of art,—above all, the warm, It is hardly necessary to discuss de Pachmann’s Teaching,” “Practice” are not suitable. Such sub¬ to be cherished. was master in his own realm, and he knew it; for tion of this much discussed detail of performance, a unreasoning impulses of youth, drew them together; finger, wrist, and arm technic, except to note that it jects could not be discussed exhaustively enough Their spirits, rose at table, and the whole affair the gift of the improvisatore was his by divine right, gentle yielding of the rhythm to bring out some deli¬ the bold, handsome Sicilian, with his glowing genius, is singularly straightforward and natural. It does to be helpful in the small space we can allow for resolved itself into a merry adventure; they shared and his violin obeyed his bidding as a spirited steed cate touch of emotion, some flashing play of tone- and dawning fame, the fair-haired Northern girl, with not bear the hall marks of a “method,” there are no the essays. the rolls with scrupulous exactness, voted the mar the hand of its master. color, without perceptible disturbance of the general her hopes, dreams, and pure aspirations. He was ultramodern devices to surmount technical difficul¬ Essays should contain from 1500 to 2000 words. malade a success and divided the last chocolate bon¬ It was a charmed hour that followed! the warmth balance of rhythm. It is the most perfect equation like an eagle on a cliff, facing the flashing sun, she ties. De Pachmann’s technic is the result of un¬ Competitors may send in more than one essay. bon. When the third cup of coffee was reached Luigi and color of the lighted studio, the wild storm rag¬ imaginable between a free, unfettered delivery of but a bobolink merrily trilling in the meadow limited time, keen intelligence, and indomitable perse¬ The contest will close March 15th. Do not roll waxed confidential and told her of his early life £ ing at the easement, the white isolation of the win¬ melody and a fundamental sense of true musical ex¬ grasses; but capricious fate had thrown them to¬ verance, and reveals itself to-day as a wonderfully manuscripts and write on one side of the sheet only. far Sicily his headstrong resolve to become a vio¬ try night, the telltale face of the young girl, the pression. His sense of tonal variety is unique among gether, and the future was written in the stars. controlled medium of interpretation, responsive to The writing of the best thoughts and experiences linist contrary to the wish of his proud family tbe changing eyes that dwelt dreamily upon him—all, all living pianists. Seldom attaining more than a robust It was late before they came to a pause, and every demand that is made upon it without straining that a teacher has can he made a fine educational varied incidents of his wandering career, in glowing wrought on Luigi’s mood, gave inspiration to the forte, he has so many subordinate nuances, so many for effect. He alone can tell us what patient and un¬ influence and we trust that many of our readers will magical moment. As Linda looked and listened, in¬ degrees of softness between piano and pianissimo, remitting labor this polished command over every re¬ give themselves the stimulus of this contest. 31 THE etude 20 THE ETl) DE The following are the an- “How many of you children are there?” That is how the little Verdi boy grew to be such [The beautiful little story that PUZZLE CORNER, swers to the puzzles as found The little boy was silent, but his sister answered, a great man. By crushing all that has bad and un¬ THE LITTLE follows was written by Mme. in The Etude for December, “There were seven of us, sir; but there are only two wholesome out of his life (and you can see that there ENCHANTER: Eugenie Foa, and translated from 1904. We are pleased to receive puzzles or sugges¬ had been enough of it even from his babyhood) and A STORY OF the French by Lucia Berrien of us left now.” tions for puzzles from our readers. Always send an¬ “Your father is very poor, is he not?” living up to the best he knew. And so all men came MOZART. Starnes. Another instalment will swers with puzzles submitted to the Editor. “Yes, sir,” she replied. “Our mother gave us this to honor him, and we love his memory because we n. be printed in TnE Etude for Feb¬ Hidden Composers: 1, Schumann. 2, Balfe. 3, morning the pieces of bread we have, but we have cannot but see, through it, that it is possible for ruary.—Editor.] Chopin. 4, Auber. 5, Liszt. 6, Flotow. 7, Bellini. every one of us to become noble, and that poverty, not eaten it, for it is all the bread in the house. H. The Messenger of the Saint. 8, Delibes. failure, and sorrow cannot prevent us if we will not Every day, when Mamma gives us our dinner, she New Puzzles. permit them to.—Helena M. Maguire. “Good St. Jean Nepomucene, make ns useful to says: ‘Go and eat in the meadow, my dear children.’ our parents,” repeated the little boy after his sis¬ That is so we will not see they have kept none for Hidden composers (the name of a composer will What would our boys ter; after which they rose from their knees. themselves.” be found in each paragraph, in consecutive let¬ LITTLE LESSONS and girls think of a “Our prayer is finished,” said Frederika. “Poor children,” said the stranger, deeply moved. ters) :— A Happy New Year to all the Readers of the Children’s Page. ON LITTLE THINGS. public-school acquaint- “I have thought of something,” said Wolfgang. “Tell me, when you prayed to the saint, for what did 1. This American composer, whose premature WHAT IS MUSIC STUDY? ance, aged anywhere “What—already ?” you ask?” death is regretted by all, gave proof of musical tal¬ One Christmas morning both the good man of the house and Signor Provesi, from 9 or 10 to 15 “Yes, it came to me during my prayer. Listen, ■ “I asked him to give me a way of earning some ent at an early age. When he was four years old THE YOUNG VERDI, about eighty years ago a lit¬ the leader of the society, became interested in him. years, if when asked: “Who was Christopher Colum¬ sister; I can play prettily on the piano; and I can money to give to my parents,” Baid Frederika, “so he was found at the piano thrumming a tune. Vine- tle boy was trudging along Provesi took him as his pupil, and young Verdi en- bus” or “Who was George Washington” he should also play, not badly, what I have composed, when that my brother and myself may not, every day, be acre was the poetical name of his childhood’s home. a lonely country road all alone. Now, everyone who tered deeply and seriously into the study of music. reply “I don’t know!” You would expect him not Mamma is not there to recommend me to be modest. the only ones to have any dinner. Wolfgang thinks 2. This composer, one of the most original of mod¬ He composed music for the “Philharmonic ’ to which ever got up at four o’clock on Christmas morning to only to tell you who these great men were, but to You, Frederika, have not my skill on the piano, he has found a way, but I do not agree with him.” ern times, met an appalling misfortune—first in the he once used to listen at the fence, and was allowed inspect the Christmas stocking by lamp or firelight be able to add many interesting facts about them, though for your age you play very well.” “If what he says is true, and he plays so well on complete loss of his hearing, followed by an attack to conduct it himself, and sometimes took his mas¬ knows how pitchy dark it is at that hour, and so would you not? Now, why do you expect that? “But you are a marvel!” interrupted Frederika. the piano, and you too, his idea might be executed, of insanity. He never recovered his senses, but died ter’s place at the great organ in the Cathedral. can understand how it came about that this little What sort of reason have you for expecting any¬ “Do not interrupt me, dear sister, you might make and I will try to help you,” said the stranger. in an insane asylum. After his two years at school he ran errands for a lonely boy slipped in the dark and tumbled into a thing of the kind? “Why” (you say) “he has been me lose my idea. You are pretty enough for us “My brother is an expert musician, sir,” said 3. This musician, though not known as a com¬ man who kept a grocery store and so continued to ditch filled with icy water, and came very near going to school for several years; of course he should both; some fine morning we will go to walk, hand Frederika, eagerly. “He not only plays by sight poser, is one of the world’s great singing teachers. drowning, only that a woman going by heard the live in Busseto. know these things.” anything he sees, but he has composed several very In time his life has covered a long arc. I am sure When he was 16 years old his friends obtained for in hand. We walk a long distance—a very long dis¬ splash and fished him out. Then had this little chap But how would this sort of reasoning, or argument, that if I mentioned the name of his most famous him a sum of money sufficient to send him to the Con¬ tance. We are on the road to the chateau—we ar¬ pretty pieces.” to be hurried into a nearby house and bundled apply to music students? Suppose we choose some pupils who visited this country a little more than servatory of Music at Milan. But when he got there rive—we enter. You, Frederika, must begin to sing. “How old is your brother?” quickly into dry clothes for,—only fancy it! he was young piano students, who have been taking les¬ Some people come up—they are inhabitants of the “Six years old, and I am eight.” a half-century ago his name would he easily guessed. the organist of the village church and had, for all the heads of the Conservatory decided that he was sons for two or three years, and we ask them: “Who chateau, as one can see. ‘Oh, the pretty children!’ “And this child composes already!” cried the pre¬ 4. This composer was the most noted pianist of his chattering teeth, to play the five o’clock service. not musical enough to attend their school! So he was Johann Sebastian Bach?” “Who was Mozart?” they cry. They make us enter, they ask us to rest, tended messenger of St. Jean Nepomucene. his day. His playing, though as brilliant, was as Imagine what an important little man it was! They was turned away. cold as an icicle. Men tire soon of art without feel¬ Now this very thing lias happened to a great many “What can you tell about Haydn, Beethoven?” and so but I go to the piano--” “That astonishes you,” said Wolfgang, laughing. say he received eight dollars a year salary for play¬ ing; hence, though a little more than a century boys who have afterward become great musicians, so on. How many boys and girls, do you suppose, “If there is one,” interrupted the little girl. “Come home with us, sir, and you shall hear me.” ing, and that he had to walk three miles twice a could answer and also state some interesting par¬ ago he stood at the head of his profession, now day on every feast-day and on Sunday to play his if ever you go to a Conservatory and _ are made to “As if there were not pianos everywhere, these The stranger looked at his watch, thought a min¬ ticulars about each one? If anyone, so questioning only his technical works command attention. These, organ. It was a hardly earned little salary, wasn’t feel that you don’t amount to anything and never days,” said Wolfgang, scornfully. “But you make ute, and then said, half seriously, half playfully: boys or girls, should say: “Why! How is this? however, are among the finest of their kind, and it; but this little boy became in time the richest will, don’t let that discourage you. Remember that me impatient with your interruptions. Well, I go “My dear children, the great Nepomucene, the rev¬ you are keeping excellent company in your humilia¬ Not able to tell us anything about Bach, Mozart, to the piano, I sit on the stool, and I play, I play! ered saint of Bohemia, orders me to tell you that keep his name alive. composer that ever lived, making every penny by his 5. One of the early American composers, he de¬ tions, and just keep on and prove the worth that is Beethoven, etc.? Have not you young people been The ladies and every one else are delighted. Then you must return to the house. You must remain music, and using it to found a home for poor mu¬ serves especial attention from those interested in sicians. in you. That is what Verdi did—he studied with studying music, taking lessons regularly for one, two, they embrace us; they give me bonbons and money there the rest of the day, and before night you will the training of the young. His name receives added His name was Giuseppe Verdi, an Italian. I have private teachers after they refused him admittance or three years, and yet you cannot answer such in¬ and to you they offer gay ribbons. But we take have some news. Now go.” distinction from a son, who is one of the most told you about a Polish boy who became a great to the Conservatory, and proved himself to be far quiries about these great musicians?” The reply nothing, and I say to them: ‘Let us, I beg, take “Wait one moment, sir,” said Wolfgang, eagerly, prominent American musicians and teachers, and musician, Frederic Chopin; about two German boys, greater than those men who had condemned him. would be, no doubt, “We have been learning how to this money home to Papa and Mamma.” holding him by the flap of his coat. “Before you particularly well known to the readers of The Robert Schumann and Felix Mendelssohn; and about That is why Verdi is such a good example for play upon the piano; our teacher has never told us “You have the spirit of a little wizard,” exclaimed return to heaven—where doubtless you came—-could Etude. the French boy, Hector Berlioz. Now I want you to boys and girls to follow who intend to make music about the people you mention; we have not learned Frederika, throwing her arms around her brother’s you, the friend of Nepomucene-” 6. In Tonic Sol-fa why is Re-Si represented by r. t. know about this Italian boy, because Italy is the their life-work—he had such a faculty for keeping on. about them.” neck and embracing him. “What are you going to say, my brother?” inter¬ instead of r. s.? It should rather be r. t., because land of song, the land where the people sing as Most persons stop growing menially somewhere be¬ Now, dear little friends, do not blame your teacher, “And that is not all,” replied Wolfgang, submit¬ rupted Frederika, trying to keep him from finishing. Sol and Si both begin with the same letter. Si is naturally (and almost as much) as they breathe and tween 25 and 35; after that they do no new indi¬ because all teachers have not the time to teach his¬ ting smilingly to her embrace. “When I say that, He whispered some words in her ear. changed to Ti in order to avoid confusion between because this Giuseppe Verdi did more and better vidual thinking, their minds become a treadnull, their tory and biography and other subjects (all belong¬ they ask me to finish my story. The king hears us “No, no,” she cried; “it is impertinent—no, Wolf¬ these two syllables. things for Italian song and Italian opera than any work a round of repetition. Verdi was different. ing to music study) ; the proper thing for you to do gang, you must not, do you hear?” speak—he sends for us; he puts on me a lovely 7. Fancy the organist’s dismay on receiving the other composer of the nineteenth century. His mind kept on growing, doing new and better is this: ask your friends to join with you and form “What is it, little one?” asked the stranger. suit, on you a beautiful dress, and we see all the following telegram from his leading singer just as I think he was bom about the poorest little boy things all the time until he was 88 years old, and a little musical club, and then arrange, as club mem¬ palace. Then we enter the salon, where they are “She does not wish me to ask the messenger of you ever heard about, almost as poor as the Blessed that was the year he died, 1901. Each new opera he bers, to meet together once a fortnight at each he was about to begin the service—in fact, he was beautiful ladies—such lovely ladies—more beautilul the great Nepomucene to dine with Mamma,” replied already on the organ bench: “Am in a deplorable Babe that was bom at Bethlehem. He was born in wrote was better than the last. Critics were always other’s houses (in turn) and study all sorts of women were never seen, or such handsome gentle¬ Wolfgang, so hastily that his sister had no time to 1813, in a little bit of a village named Roncole, where condition; cannot possibly sing this evening.” trying to take his measure, and .it is funny now musical things together. Your teacher will, I am men. Such beautiful gilded furniture, and a piano— stop him. lived only the poorest and most ignorant laborers, the to read the things that were written of him at dif¬ 8. He varies greatly in his teaching. For exam¬ sure, lend you some good books, but you will have oh, what a piano! The wood is covered with pure “But you will come, will you not, sir?” kind that come over to this country in droves to ferent times in his life, but those who began by your Etudes anyway, and each month \'ou can find ple, we heard him tell you that in playing the scale gold, the pedals are silver, the keys are mother-of- “Certainly,” said the stranger. “And now, is there work upon the streets and railways. He heard only calling his operas cheap, noisy, and coarse, ended by something that will interest you and instruct you the hand must be held just so; us, another time, he pearl, and there are diamonds everywhere! We anything you want? Speak—do not be afraid.” the lowest kind of talk, and saw, I imagine, a good bowing deeply to the refined" and exalted genius of in musical literature. The president of the club can told that it did not matter—any way was good that play; the court is delighted—they surround us— “A coat for Papa,” replied Wolfgang, “for his is many unseemly actions, for his father kept a kind his later works. appoint a different leader for each meeeting (each produced the effect wanted. they caress us. The king asks us what we wish for. so worn out that sometimes he cannot give his of little shop in their house where he sold pipes and His first operas were cheap and noisy, and why? member taking his, or her, turn), and this leader 9. This pianist-composer in his day was considered fAnything it is your pleasure to give us, your Ma¬ lessons.” tobacco, etc., so that little Verdi had a chance to Just because there was one time in his life when he will choose something to be read, in class, by the by some as greater than Beethoven. Time has em¬ jesty.’ He gives us the chateau, and we live there “And then?” see a good deal of roughness and uncouthness.' Yet broke his rule of keeping on. It happened when he members and discussed afterward. Clubs can be phatically reversed this judgment, but his composi¬ with Papa and Mamma-” “Why, a beautiful dress for Mamma. That would despite it all, he was a quiet, nice kind of a boy. was hardly more than a boy; so it will be all right made very pleasant social affairs by introducing a tions are still grateful to the skilled pianist, writ¬ A burst of laughter interrupted him in the middle please her.” He had his own share of Italian temper, but he to teU about it here. You see he had married the musical game, at the close sometimes, and by play¬ ten as they are with an eye to the unforced capabili¬ of his speech. Frightened, Wolfgang looked at his “Enough, my brother,” whispered FrederikA, with could be reasoned with, and he was, for the most Busseto grocery-man’s daughter when he was still ing upon the piano for each other, etc.: but always ties of the instrument. His is music that one can sister. They turned and beheld the stranger. Hidden the sensitive delicacy of a well-born child. part, a steady-going little man, who would follow a quite a boy. Later they went back to Milan to try make it a point to study first and to learn some¬ hum—melodious and pleasing, if old fashioned.— behind a tree close to the children, he had not lost “Leave me alone, sister; I still wish to ask for hand organ for miles. (Afterward every hand organ to get an opera produced, but he was not successful, thing of real worth at each meeting. F. 8. Law. in the world played selections from his operas.) a word of their conversation. Seeing himself dis¬ something for yofi.” and his wife and two babies starved to death in If you wish to begin with music history, find your The man who played in the village church taught covered, he approached, suppressing with difficulty “I do not wish for anything—you will abuse the their little attic. Then it was that he said it was April, 19Q4, Etudes and begin with the first Lesson Verdi to play upon the spinet (a tinkling, small in¬ the mirth excited by Wolfgang’s innocent prattle. bounty of the stranger.” I have a Pro- no use for him to go on. There was nothing to In Musical History presented in The Etude Music strument that came before the piano) and upon the “Do not be afraid, children,” he said in kind tones; “I am very much pleased by the delicacy of your CLUB CORRESPONDENCE, gressive Musical Club work for any more, he was predestined to be a Study Club. You will find No. 2 in May, No. 3 in organ. Then when Giuseppe’s folks saw how very failure. “I wish for your happiness only. It is the great sister,” said the stranger; “but I authorize you, m of twenty members. June, No. 4 in September, No. 5 in October, No. 6 in musical he was, they thought it would be a good idea the name of the great Nepomucene, to tell me all We meet twice a month and study biographies of So he resolved never to touch the piano again or November, and so on. Look also for sketches about Nepomucene who sends me.” if he were to learn to read, write, and do arith¬ you wish.” the great musicians and musical history, and also to write another note of music. He passed months musicians; you will certainly find them in the back The little boy, springing to his side, took his hand metic. So they sent him to live with a cobbler in in which he did nothing but read. You see, he did play musical games. At our last meeting we had numbers. Study one at a time, carefully and thor¬ and exclaimed in a tone of charming familiarity: “Well, if I may wish again, it will he for a grand Busseto, the nearest town (three miles away), where not belong to a cultured family, and had only gone a test on nine of the biographies. One member won oughly; and I promise you that you will become “Oh, then, you will do what we ask?” palace with many servants, so that Mamma will not he went to school for two years. This was when he to school two years, so his taste in literature was “Not immediately,” said the stranger, laughing. have to do all the work, and become so tired. And first prize, four second prize, and one third prize. We very much interested. think of supplying all the members with Tapper’s was 10; but before this he had succeeded his music not good. He read “dime novels,” the kind that boys Then, seating himself on the knotty trunk of a I think that is all.” teacher as organist in the little Roncole Chapel, and Why not have musical scrap-books, too, and col¬ “Chats with Music Students” and Clarke’s “Diction¬ like to read on the sly, and that are burned if a fallen tree, he stood Wolfgang before him. “But you have asked for nothing for yourself.” so it came about that when he went to Busseto he lect pictures of musicians, etc., to preserve in them? ary of Music.” Great interest is shown by the mem¬ member of the family ever comes across them. But “I will agree to your request if you will answer “Oh, but that is useless, sir. Give Papa all he had to walk three miles each way every time he Little books intended for unmounted photographs bers, and good work is being done.—Abbie E. 8chenck. there was no one to care what Verdi read, 'and I truthfully all the questions which I ask you. I needs, and I will wish for nothing.” was to play at a church service in Roncole. make very good scrap-books; are inexpensive (25 suppose in all these months of idleness he read hun “Charming and adorable child!” exclaimed the Now in this town of Busseto where Giuseppe went cents) and convenient. will know if you lie, so beware!” I have Deen requested by our club to write to you dreds of them. What was the result? Just this stranger. “Farewell—I will see you again soon.” to school lived a man who loved music; he had a A Home Music Club is a very nice thing. By this “Sir, I never told a lie in my life,” said Wolfgang, asking that you please publish this letter in The that when he did go back to work again his operas a little angrily. As he spoke, he departed, disappearing so quickly Etude. piano in his house and a daughter who played upon were at first just a sort of cheap novels set to I mean a club in which the family join and once a “Very well, 1 believe you. What is your father’s among the thick trees in the forest that the children “The Beethoven Club of Coudersport,” Pa., was or¬ it. Also a musical club, called the Philharmonic So¬ music, full of gypsies, robbers, and bandits and week have a musical evening together. Ask your name ?” stood in surprise. ganized September, 1904, with a membership of fif¬ ciety, used to meet there for practice. They used to the rest. But he did not stop here. He kept on. He parents, your aunt, or your elder brothers and sis¬ “Leopold Mozart.” “Do you think that he will come to dinner?’’ teen, Mr. Theodore Stearns, .Director. The club make lovely music, and one night someone, going put these trashy operas under his feet, and reached ters to join with you and assist you. It will benefit “What does he do?” asked Frederika, as she and her brother started back meets at Mr. Stearns’ studio, Monday afternoons, at in, stumbled over little Giuseppe Verdi, who was lis¬ up to something better. He began by writing music them as well as you, to consider this branch of music study. “He is a teacher at the chapel; he plays the piano to their home. 4.15. We pay ten cents dues every meeting. This tening enchanted at the old iron gate. They brought for a cheap popularity, and ended by bringing his and violin.” “Of course he will,” replied Wolfgang, confidently. money we use for buying music. We expect to give him in and he told them that he came and listened audience up with himself into the realms of the Our young friends must remember that just learn¬ “For my part, I believe he is making fun of us.” recitals and entertainments during the winter.—Ola every night because he liked music and “played a purely classical, to an appreciation of musical set ing to sing or to play upon some musical instrument “Is your mother stffl living?” “Well, we shall soon see,” replied little Mozart. little himself”! Of course they made him play, and tings of Holy Scripture and of Shakespeare is, by no means, the whole of music-study.—Robert F. “Yes, sir.” Culdin, See. Chandler.

■id 33 THE etude

MAKE 1905 YOUR BANNER YEAR IN MUSICAL WORK. ture to de Pachmann cr Hofmann; what gives the scapular—that is, shoulder—muscles into strong play. N9 4684 enjoyment is the superstructure, the finished, artistic AT DAYBREAK The exercise of these muscles, they declared, has a product. Yet under that lie years of technical study directly strengthening effect on the brain and spine, of the hardest kind. The foundation is made up of which is highly beneficial. intense self-sacrifice and conscientious effort. A Monthly Journal for the Musician, the Here is an American Boland for a German Oliver! They knew that to achieve an enduring success, Music Student, and all Music Lovers. Who shall agree when doctors disagree? the foundation must be wide and deep, and they Subscription, S1.S0 per year. Single Copies, 11 spared no effort in its construction. It is the wise Foreign Postage, 72 Cents. It is a notable characteristic of great men to put student who takes these points to heart, determines re allowed for c wrong estimates on their abilities. This is seen to dig deep for his foundation, and to be content to among the lesser as well as among the greater lights make no display of himself in his years of prepara¬ Remittances orders, bank cheek oi_, „_„_ of art and literature, thus proving, in a minor fash¬ tion. States postage stamps are always received fo: ion, that greatness and mediocrity are akin. Every sent in letters is dangerous, and we are not responsible tor ita safe arrival musical community furnishes examples of the singer DISCONTINUANCE.—If yon wish the Journal stopped, who lays stress on his compositions and of the Learning by one’s own experience is good, but wi e*{t,wifl'b>tlCe '"nSt "8 letter’ other- composer who thinks he can sing, to say nothing learning through the experience of others is better in paid. 6 C°n ’nUe ' arrearages mus e of the performer who prides himself on his teaching one respect: it is a great time-saver; it comes the RENEWAL—No receipt Is sent for renewals. On the abilities and the teacher who persists in his attempts nearest to a second incarnation with the memory of the date to which your subscription is paid up, at performance. Instances of this idiosyncrasy may the experiences of the first retained. True, the hard which serves as a receipt for your subscription. be seen in the works of certain of the great compos¬ knoeks received in life pound into one the sense that MANUSCRIPTS—All manuscripts intended for publication was omitted in the original make-up; but had one should beaddressed to THE ETUDE, 1712 Chestnut Street, ers. One, who excels in the pathetic and intense, de¬ lights in turning out scherzos—in which the jest is the greater good sense to learn through the experi¬ butions on topics connected with music-teaching and music- study are solicited. Those that are not available will be hard to find; another with an abundant gift of humor ences of others how much time, how many tears, returned. does his best to burden the world with lugubrious how many wasted hours might have been saved. ADVERTISING RATES—50 cents per agate line. $7.00 per andantes and adagios. A little boy was asked bow he learned to skate. He inch, $50.00 per quarter page, $200.00 per page. 10 per cent, additional for selected space. Time discounts: 5 per cent This same trend of humanity is to be noted in replied, “Oh, by getting up every time I fell down.” for three months, 15 per ce"‘ <•—a ~™«.. or,— —* *— men of literary walk. Gladstone, animated by the 12 months. Copy to be re, reived not later than the IE He was wiser than he knew, in that reply. It is only insertion in the succeeding success of d'lsraeli, fondled the thought that he, too, the student who will get up and try again who learns. THEODORE PRESSER, could write a sentimental story; Kipling, with his The harder the fall, the more the wise learner tries 1713 Chestnut St., Philadelphia, Pa. inimitable prose and his lifelike stories of India, sets to avoid the next one. It is these falls that pound Entered at Philadelphia P. O. as Second-class Matter. more store by his weak poetry than by his other Copyrighted 1904, Theodobe Pbesseb. in the wisdom. Knowledge is but the accumulation works. He joys in the poetical effusions that break of facts; wisdom is the sense to make good use of out at every new political move. Wilkie Collins, not them. The wisest man is perhaps the man that has A German specialist in nervous diseases declares satisfied with his fame as a novelist, and Charles had the most falls and learned the most by them. that in his opinion musical education begins at too Dickens, the greatest analyst of human character, All this applies to the student and the teacher of early an age. As a result of his investigations he cast longing eyes toward the stage and the plaudits music in the most direct way. Mistakes are ex¬ asserts that the psychic balance of the young is en¬ that greet the playwright. On the other hand, pensive, but they may teach us to learn by the ex¬ dangered by the premature study of music, and fixes Pinero, the leading English writer of plays, sighs periences of others, and that is one of the "evidences the ages at which it is safe to begin the practice of because he is not a novelist. Many a good lawyer of the highest wisdom. To this end the student must this art at 16 for women and 18 for men. has written poor fiction; but, on the other hand such keep his eyes open. He must observe, weigh, and de¬ This is another of the many mares’ nests that scien¬ names as Samuel Warren, Owen Wister, and James duce; must notice where others succeed and where tific men, particularly those who have to do with Lane Allen prove that many a novelist gets into the they fail; learn both from success and failure of phases of degeneracy in humanity, are constantly dis¬ ranks of the lawyers by mistake. Salvini is re¬ others; and then may he hope that his own falls shall covering. Many professional men, such as lawyers ported to have been dissatisfied with the honors that be fewer. and physicians, see the seamy side of life; their duties came to him as a great tragedian, and was discon¬ bring them in contact mainly with the diseased in tented with the fate that did not make him an morals and body. Their point of view insensibly be¬ opera singer; and Booth thought his strongest ability The commission of clergy and laity appointed by comes pessimistic, directed as it is to those lacking lay in his playing of comedy—he who was the great¬ the Archbishop of New York to study the recent in¬ normally healthful attributes of mind and physique. est tragedian. structions of the Pope in regard to the music of the No doubt, because this man of healing has had cases These instances serve to prove that a man’s esti¬ church and to formulate their effect in this country of nervous failure among young people resulting from mate of his own abilities is not always to be relied have made their report. It is too long to reproduce a too severe discipline in the study of music, he is upon. The public judges without personal bias, un¬ here even in substance. Suffice to say that the revo¬ led to condemn it in toto. He probably does not re¬ tinged by the individual’s preferences. The wise poli¬ lution, both in the style of music and in the means flect that the thousands upon thousands of healthy tician feels the public pulse. One of McKinley’s of performing it, is even more radical than was an¬ music students are not brought to his attention— means for attaining popular success was in “keep¬ ticipated. The masses of Haydn, Mozart, Beethoven, only the exceptionally few, from whom he formulates ing his ear close to the ground”—in other words, Cherubini, and of many other less distinguished com¬ his drastic rule for the government of all. finding out what the people wanted. Not the highest posers, heretofore the pride and glory of ecclesiasti¬ It is safe to say that if education in music began ideal, perhaps, but one that makes for political suc¬ cal music, are irrevocably banished from the church— universally at the above-mentioned ages the art cess. The musician may well take a leaf from the would soon become decadent. At adolescence,—that if the conditions laid down by the pontiff are faith¬ book of experience and feel the public pulse as to fully observed; and of this there appears to be no wonderful period of growth, of mental, spiritual, and his own abilities. The public cares not what you physical development, when the soul reaches out to question. These conditions leave nothing but the would like to do—only what you can do, and to the Gregorian tones and music of the school of Palestrina grapple with hitherto undreamed-of mysteries, when best advantage. Consequently, its dictum may well to express the aspirations of believers. To the mu¬ the mind expands in intelligence to unexpected alert¬ be taken into consideration in professional life. ness, when the body assumes its ultimate capacities— sician it seems almost as sweeping a change—and the coming man, the coming woman, with all their with far less to recommend it—as the historic one proposed by an earlier Pius, the fourth of that name, plastic possibilities for the future, are already pres¬ Fifty feet of the Bunker Hill Monument is undei ent. What is lacking at that critical moment will, ground. It was covered up there sixty or seventh in 1563. Then the abuses in church music were so in nine cases out of ten, be lacking throughout life. years ago and no one has seen it since. It will stai great that a commission was appointed to consider The care of educators nowadays is to have all the there for ages, for that structure is so built as tc the advisability of doing away with it altogether. As dormant faculties of the adolescent awakened and resist the encroaches of times almost as successfully all know, Palestrina saved music to the church by vitalized, so that in adult years his character and in¬ as the pyramids. A thoughtless observer might haw composing three masses so full of devotion and sin¬ dividuality shall find no avenue of expression closed said that much of this immense body of substructure cerity, though employing all the resources of the to them by reason of an imperfect or one-sided edu¬ is wasted. Surely ten or twenty feet of foundatior art known at the time, that the Pope declared that cation in early childhood. Almost more than any would have been enough ? But the builders knew bet it must have been some such music that the Apostle other • refining, cultivating influence is music the ter. They knew the immense weight of granite that of the Apocalypse heard sung by angle choirs in the New Jerusalem. birthright of the young. Besides, for obvious sea¬ would rest on this foundation. They desired it tc sons, both physical and mental, it must he begun in last for ages, not only so long as a shallow founda There is a possibility, however, that one restriction youth if it is to he really a friend and companion to t.on might endure. They wanted it to resist thal may be removed—that requiring boys to fill the the adult. enormous downward pressure and the surge of the places of the women now singing in Roman Catholic That there is another side to at least one branch churches. The manifest difficulty of finding capable of musical art—and that the one that comes in for of the P08Sible ^ * c onsters, the distress occasioned many deserving the strongest condemnation from disgruntled critics There is a lesson in all this for the student oi singers by the abrupt withdrawal of means of sub- —is shown by a lecturer and close student of musical any subject and, more especially for the student oi ms ence, coupled with the prohibition of taking part [*§-~- topics, who boldly recommends the practice of the music, two lessons, perhaps. The first is that if one m the services of non-Catholic churches, may lead to piano as a means of physical culture. In a recent desires to erect a superstructure of any value or ner a modification of the decree—at least in this country, lecture she cites the experiences of two New York where conditions vary greatly from those prevailing physicians who evidently do not share the opinions “kt ln. **°Pe' ^ *s Relieved in some quarters, that if of their German confrere. While watching the back The second, and equally important, is that thU suitable representation of these hardships be made of a young woman in evening dress who was playing foundation is hidden and unrealized by the We o he Holy Father, he will be inclined to grant a the piano, they discovered that she brought all the r number of spectators or auditors. One listens in rl? Dispensation in this respect from the strict letter of Copyright, 1904,by Theo.Presse*. British Copyright Secured. his instructions. 2 m 4758 4 N9 4758 Triumphal Mareh from 'Aida” Triumphal Mareh from ‘Mda”

Arr. by PRESTON WARE OREM

Allegro maestoso m.m.J=100 Secondo G. VERDI

Anaan 4 REVERIE ’ "" |5-. Bp. ■[9* 11 a r—2 I 1 A.L.BROWN, Very slow.

V A — m r1 *Tf[- i mM 4f= '' 1 M—11— ^ALJ

Op. 28.Nn.9n

]W »:!<3 4 m Mjg jijnr" i 71 : i ^ 3 iiiJ /’frt'. simile_ i—Q-. t, l '| f—m , J-^J 1 1 [J C3-I ., f r T^j|i.£ p /> ____Z- rA. cr

\>i ‘ * 1 L J5? ^ 5;| % ~ | I v* # 77

F.G. RATH BUN.

83 SLUMBEE SONG . KARL WILHELM KERN, Op. 121 Allegretto M.M.J=_112 Zt To Mr. and Mrs. G. Thurston Sea bury. FOREVER AND A DAY CARL SOBESKI.

less sound is nigh. lone am sighting, And longiflg here,my love, for my heart al-way. bird of air love I’d spread my pinions light and

My thoughts are far way, r love, ^dis-tant lands with home and Nor rest ' till ‘ 1 had found thee,love.

▼ 3* 5 poco rit

5385 23

CROSSING THE BAR. N9 4711 WM. H. PONTIUS. L.H. Moderalo e con espressione

Sun - set and ev’ning star. And one clear call for me. And

inay there be no moaning of the bar When I put out to sea. But

Also published for Low Voice, 23 THE ETUDE Teachers are invited to express themselves frankly on the question: “Would the formation of a ‘Singing Masters’ Guild’ be advisable?” with arguments pro or con. Send your five-minute speeches to the OCA U Vocal Editor, H. W. Greene, 504 Carnegie Hall, New York City. If accepted they will appear in the Vocal Department of The Etude. If not, and stamps are LPARTME/NT inclosed, they will be returned. CONCERNING THE EXTINCT “BASSO PRO- Conduct edby H-W-Greene FUNDO.” BY GEORGE CECIL. THE SINGING MASTERS’ GUILD. to follow. His clever reading into our motives the quaint truism which our mothers taught us “Satan Judging from the roles written for the bass voice (Continued from December, 190b.) finds some mischief still for idle hands to do” might by Meyerbeer, Rossini, Donizetti, Halevy, and other Mr. E. G. Goodrich addresses the meeting as fol¬ be painful if we had received our inspiration from composers who flourished at a period when there were lows:— such a doubtful source, but we insist leaving out of far more capable singers than there are nowadays, “Mr. Chairman, Ladies, and Gentlemen: The fact consideration his point of unfilled lesson periods, as the basso profundo was by no means the rara avis that I am here this evening in response to a printed that has no bearing upon the subject, that we arc that he is at the present time. Lablache, Staudigl, communication, which I presume is true of all or deeply in earnest in our purpose of impressing upon and Karl Formes, together with several others, man¬ most of us, places me entirely at ease. There are no teachers their great and worthy responsibilities, and aged to invest the lowlying portions of the music in¬ qualifying obligations hedging me about, and I pro¬ the sense of dignity which is theirs by right, to trusted to them with an amount of weight which pose to give my views in regard to this plan of the the end of bettering, not only their conditions iro- greatly added to its dignity and impressiveness. chairman, regardless of his feelings, or those among fessionally but their pupils artistically. We maj he Later Foli kept up these traditions—to be succeeded you who are in sympathy with him. wide of the mark, but as yet I am »ot convineeo J by Abramoff, the memory of whose performances “A mental review of kindred organizations affords this. I await further remarks, again urging you :« in the seldom heard “Zauberflote” still lingers. But no basis for encouragement that this which has been speak frankly and as your convictions dictate,” now that Edouard de Reszke has retired from the suggested can be made of any value. A Singing Mas¬ Madame Hattylaura addresses the meeting:— opera stage—or, at all events partially retired—there ters’ Guild can be little better than a name. It is a “Mr. Shareman, und Ladies, und Shentlemen: I am seems to be no bass who is, strictly speaking, a basso creation of fancy, born of an itching for prominence broud to pe here dis eefning. I vont to eggsblain all profundo. on the part of its promoter, and it is an almost cer¬ apout my vonderful metod. I first discover him in a Splendidly sonorous though the voices of Plangon tain indication that he has not enough professional dream. It is zo beaudiful, und zo zimble. All my and Journet are, they are (in compass) more basso work to fill his time and is employing this, if not bubils sing choost like anchuls from Heafen, und ve cantante than bass, being, apparently, of little ef¬ new, rather unique method of bringing himself before vill haff no more bad singing if you vill all gome fect below the G. Though Planeon sings Marcello in the public. I catch your expressions of disapproval, to me und learn how to teach my metod.” “Gli Ugonotti,” he is not heard to the best advantage and see that I am making myself unpopular by Madame H. resumes her seat amid generous ap¬ in those phrases in the celebrated “Piff, Paff” air such plainness of speech. But why need we mince plause, while Mr. Goodrich telegraphs a smile to the which take the singer down to F; while the wonderful matters! chairman. “If your chairman sat here and I at the head of The reader has, of course, correctly surmised that the table as the father of such a plan, he would un¬ until now the speakers at the initial dinner of the doubtedly think of me and of my efforts precisely as I prospective (on paper) “Singing Masters’ Guild” have Si - gnor,. vien, vie-ni, Si-gn°>? regard him and his plan, only I question if he would personified but the “baseless fabric of a dream” on in the first act is equally beyond his powers. Nor in have the courage to say so. It is not difficult to pose the part of the Vocal Editor. It is his purpose, how¬ the scene with Amneris Is he able to sing the phrase as an organizer, but it takes courage to be disagree¬ ever, to throw the subject open to the profession. To “Iside legge de’ mortali nel core”—which descends to able; that, however, if impertinent, is not pertinent this end a number of prominent teachers have been F-sharp—as a Ramphis with the compass of a true to the subject. You have my estimate of the man invited to appear at the dinner (on paper) and bass would, though in the higher portions of the and his plans which it seems to me should be taken present their views. Among the first to respond is music the excellence of his upper notes and the ease into account in summing up on the real question at Mr. Frederic W. Root, of Chicago, who addresses with which he produces them must make some of issue, which is: Shall we organize a Singing Masters’ the meeting as follows: his baritone hearers envious. Guild? Mr. Chairman and Fellow Teachers: There is no Under these circumstances it would appear that a “If any considerable number of prominent teachers field in the domain of pedagogy that is so much in future awaits the basso profundo who, in addition should feel that they are at a disadvantage because need of helps as the teaching of singing. to being able to sing in Italian, German, and French, an identity of interests is lacking in a common ve¬ The singer must, in a degree, make his musical in¬ is the fortunate possessor of a compass the lower hicle of expression, or medium for the exchange of strument as well as play upon it; and both the mak¬ register of which is of the desired weight and ideas, it would manifest itself. Not, however, by ing and the playing are intellectual problems of a resonance. For, besides the artists already referred calling together a conglomerate representation of our subtle and elusive nature. Then, too, this delicate to, neither Klopfer nor Knupfer can sing those por¬ specialty, but by a gradual awakening on the part work of forming the voice and of teaching the ef¬ tions of the music for Hermann (“Tannhauser”) and of the teachers to such a need, which might result, fective, expressive use of it must be done without the Heinrich (“Lohengrin”) which take them below the by a slow and cautious growth, in an organization aid of established grades and standards to guide, en¬ compass of a basso cantante, Delmas, the bass of not unlike that which exists now only in the imag¬ courage, and illuminate the work; and moreover it the Opfira, Paris, being equally unfortunate in basso inations of the chairman and his sympathizers. That ir. ust often be done amid a fire of irresponsible, super¬ profundo parts. In the beautiful “Noch bleibe denn such a medium for the exchange of thought is not ficial criticism and suggestion from bystanders. unausgesprochen” they get on well enough till they desirable or necessary is proven clearly enough by The vocal student who does not undertake through come to the low F—when they are done for! Per¬ the fact that it does not exist. The impetus for an fundamental training,—who “just sings naturally” haps the immediate future holds the required voice association of teachers must come from within and and “catches the songs by ear,” and is not disturbed and attendant linguistic accomplishments; failing develop outwardly, embracing at the flood of its by scoops and breaks, faulty intonation and hap¬ that, it is, let us hope, possible for some really capa¬ growth a group of such members of the profession as hazard rhythm,—does not ask for or desire or appre¬ ble singing master to develop in an intelligent pupil have qualified, by merited success, to sit in its coun¬ ciate solicitous care. But the average pupil who un¬ what the present generation of operatic basses lack. cils, and bear an experienced hand in shaping the dertakes solid education in this line, unless trans- trend of the art. This is no light responsibility. cendently endowed by Nature, must pass through a EASE IN SINGING. That such a work can be successfully carried forward wilderness of inimical and obstructive possibilites to BY FRANK 3. BENEDICT. by an organization of promiscuous teachers of sing¬ reach the goal where mental and physical faculties ing, such as would naturally respond to the invita¬ are in condition to produce that which merits the V. tion that brought us here this evening, is only an term Art. For such a one all possible guides and (Concluded from The Etude for December, 190b.) idle dream. facilities should be provided. “While I will gladly co-operate with any effort that And even after one has made his way through The second class consists of those who have decided one can reasonably expect will result in lasting good this wilderness of theory, experiment, and illusion, correctly as to the kind of voice they have been to the vocal profession, I view the plan under con¬ which, in view of all the conflicting things said of it, gifted with and who are able to handle their high sideration with distrust, and decline to become a vocal method is, if he attempt to teach others he will tones well enough so far as dynamic demands are party to its development.” find that, to cross this territory, the travelers he concerned, yet who really contract the throat when The chairman rises at the close of Mr. Goodrich’s must guide start from so many different standpoints, singing softly and force when using full voice. This remarks and says:— that numerous other paths beside the one he has man¬ may be true enough even though the singer protests “Fellow Teachers: Before we continue our five- aged to blaze for himself must be explored and that all is easy. Often an expert ear is required to minute speeches I wish to thank Mr. Goodrich for charted to secure a successful outcome. detect this crime against the voice, bo cleverly is the his exceedingly frank and not by any means unex¬ The older teachers have made themselves ac¬ affair managed by a talented singer. pected objections to entering upon the work under quainted with most of the intricacies of this sub¬ Proqf to the ear lies in deadness of soft tones and discussion. ject; but as it takes something like a quarter of a lack of brilliancy or a certain forced, harsh quality “When I said I would like to hear from those century and also a deplorable sacrifice of pupils to in full voice. Many a singer suffers from this very present either pro or eon I spoke in good faith, and gain this acquaintance, the younger teachers of sing¬ trouble who would indignantly deny the fault and be Mr. Goodrich has not only presented the con side of ing stand in great and pressing need of whatever highly insulted if told of it. On the other hand, she the subject clearly as far as he has been pleased to can be devised to help in this line. will freely admit that Miss “So and So” has a far carry his argument, but he has done more, he has On this account, Mr. Chairman, let us look hope¬ finer voice than her own, while it may be that her set you all an example of frankness which I urge you fully to the proposed guild.—Frederic If. Root. apparent inferiority is due to the very fault of which 25 24 THE ETUDE THE ETUDE It must not be imagined, however, that because sing softer purposely—so I won’t get a big effect! greater number of cultivated singers. Who is to we are speaking. A singer laboring under this dif¬ Modification of Consonants. The British [and American] composer of the future so much is said of nature and instinct that the writer He’s jealous,—that’s what’s the matter. I got twice blame? There is but one answer. The voice teachers ficulty is fatally hampered and must eventually take who desires to write opera must study his language This subject will usually take care of itself up to excludes the cultivation of the voice by the many as many encores as he did at the church concert, and of to-day are responsible. rank below those of equal gifts who have been more anew and forget all about the style of foreign com¬ this point, but, when a point has been reached where and excellent means which have been handed down posers. The first thing he must understand is that he didn’t like it a bit; neither did his wife. And We find our best American singers seeking new fortunate in their training. from one generation of singing students to another. the full voice may be used on the high tones, great our normal accent is Iambic in anything approaching anyway she isn’t in our set!” ideas, new methods and teachers. One hardly knows Then there is the singer who looks upon every high care must be taken that consonants do not close the On the contrary, the object of this discussion is to where to go to secure safe instruction. Pupils feel note as a fort to be taken by assault, no matter the declamatory or speaking voice, and he must re¬ “I know it, and doesn’t she give herself lots of throat. This may be accomplished by modifying point out a way by which all may be able to profit to member that it is unnatural to have more than two airs?” replied a sympathizing friend. that the best results have not been obtained under what obstructions are in the way. He may actually them as by prefixing a soft “h” as “(lx)mercy,” or by the utmost by such study. Of all musicians the singer present conditions. They realize their latent powers, get a fair result, tonally, and in justice it must be unaccented syllables. Our poets have tried their Patient argument finally convinced the lady that any device which will serve to keep the throat open, needs most incessantly to study, for the very reason hands at measures that will give them more scope a pianissimo passage would really be more effective but their demonstrations satisfy not themselves nor acknowledged that he is doing less violence to the as “t(uh)rees.” It must be so skilfully done as to that his is the most delicate of all musical instru¬ their hearers. Consequently they rush in desperation voice than the singer who smothers the high tones, than the limited accentuation of our natural lan¬ if not sung fortissimo. .This desirable result was not deceive the auditor, as is also true of the vowel modi¬ ments, both by reason of its beauty and sensitiveness to the latest sensation.in the way of a teacher. There imagining that because they are soft they must neces¬ guage; but these experiments have never been a suc¬ attained, however, until after she had left the re¬ fication. as a means of emotional expression. is a new something he claims to have discovered of sarily be “easy.” On the other hand, his lack of cess. William Morris, who attempted to capture hearsal in high dudgeon three evenings in succession. low Tones. exceptional value to his pupils. After a few such ex¬ ability to sing in any other way than with full power some of the secrets of Homer’s verse, only succeeded Meanwhile, Mr. Allen aged perceptibly, and his tem¬ A WORD FOR THE AMATEUR. periences a fairly good voice has become greatly im¬ practically eliminates him from the ranks of the Low tones are also subject to modification as to in producing a tortured and unnatural style; which per began to show signs of wear as the season pro¬ paired, bad habits formed, and prospects ruined be¬ artisic and reduces his musical availability to a prac¬ vowel element. Let the pupil practice “zum-zim” a cannot be read with the emphasis and accent that is gressed. yond repair. This same condition of affairs exists tically inconsiderable quantity. great deal and copy the same style of tone production Who enjoys music, without fear or anxiety, pro¬ required by the sense of the words. Swinburne has A rumble would crop out in the basses, “If he’d abroad. Voice-placing is even in a more deplorable To return to the theory of vowel formation on in the words. The attempt to pronounce the vowels fessional or financial? The Amateur. done more than any other poet to enlarge the scope pay a little more attention to the tenors, we’d do state there. There are so many teachers and new high tones it must be emphasized that the modi¬ distinctly on the extreme low tones will close the Who enters into a concert, heart and soul, serenely of English verse; but his experiments are not really better work, I think. The basses are all right.” methods that one does not know how to choose. A fication is extremely slight; so slight, indeed, as throat as surely as on the extreme tones of the upper seated in the third balcony? The Amateur. successful. Finely cadensed prose affords the English “He needn’t jump on the tenors so much, it’s all the to be scarcely noticeable to the average listener. Still voice. This lesson of vowel and consonant modifica¬ Who knows all the professional people in town, composer the fullest scope for variety of declama¬ fault of the contraltos” would be the reply from the number of American teaehers have located abroad a decided change takes place, the mouth opening tion therefore means the addition of several tones to with interest for all and malice for none? The tion. tenors. “Contraltos, indeed” indignantly; “our former and are successful. Let us turn back to the old Italian methods, to more widely for “oo” and “ee,” somewhat more the range both above and below. Amateur. And that brings me to another aspect of a ques¬ leader never had to speak to the contraltos. She said for “o” and “a,” while for “aw,” “a” (as in had), The pupil should now be able to sing any word Who elevates local public taste, and makes good tion which is of mueh moment. It is this: although we were always right!” the singers who sang from infancy to the grave with well-preserved voices, where art co-operated with and “a” (as in far) the change consists almost wholly easily, freely, and effectively upon any tone in a con¬ concerts possible? The Amateur. the conventional idea is that poetry and music should “1, for one, cannot stay in this club, if Mr. Z. is Nature. There was Farinelli, with his sympathetic in allowing the head resonance to predominate. siderably extended range. The average soprano Who is the bone and sinew of the choral society? be allied, the stiffness of all prosodical schemes mili¬ to be allowed to sing flat all the time,” said Mrs. X. - voice, who relieved the King of Spain of a melancholy When singing softly the mouth may be nearly closed, should take F above high C, mezzos D, and altos The Amateur. tates against the free expression of emotion in music. confidentially over her coffee one evening; “and will the modification of the vowel being effected wholly B-flat. This may seem like claiming a good deal as Who gives just and intelligent criticism, unbiased Poetry is a specialized form of speech, a highly arti¬ you tell me why she wears that hideous green bow which threatened his reason. Crescentini, who caused the stem Napoleon to shed tears. The great Mali- by this latter means. The tip of the tongue is also a result of such simple means. The explanation is by jealousy. The Amateur. ficial arrangement of natural speech accents for the in her hair?” slightly drawn back from its resting place at the simple enough, however. Tone production, artificial Who can acquire a full and delightful store of sake of obtaining a verbal music which shall convey . Finally Mr. Allen, by making himself generally dis¬ bran. The wonderful Porpora—one of the most il¬ base of the lower teeth. The sensation is of decidedly ideas and habits aside, is in its very nature essen¬ musical knowledge in general, because of no ciaim the emotion behind the words. That attempt to liked, managed to reduce the club to something like lustrious of Italian masters, who spent six years less action than is experienced when the lower tones tially instinctive. This may be verified without diffi¬ in particular? The Amateur. realize emotion is not required when the poem is order, although he never succeeded in gaining and training his pupil Caffarelli, on scales, trills, groups, culty. Children at play or calling to each other out are sung. This looks simple on paper, and it is easy Who can dream over his music, undisturbed by the illustrated by music,—a far more subtle and powerful keeping the absolutely undivided attention of the appograturas, etc. Not until during the sixth year of doors constantly use tones pitched around high C to see how these various modifications are made by flight of time and the fear of rivals? The Amateur. medium for the expression of emotion. Indeed, the singers; and his wife nearly brought all his efforts did he teach him pronunciation and declamation. and even up to G above or higher. When the mother closely observing a fine singer. When it comes to Who should be encouraged to lay off indolence, and very conventions that help to give verse its color to naught hy giving a party and forgetting to in¬ Then at last the great teacher was satisfied and told calls them you will hear another high tone, effectively practical work, however, the same difficulty is en¬ become a true musician, if not a professional? The and swing better music, for music has its own laws vite the secretary’s wife. his pupil to “go,” saying to him: “You are the great¬ placed and with the vowel properly modified. Street countered which has been spoken of before, viz.: the not in any way analogous to those of language. The Musically, the club improved, in spite of difficulties. est singer in the world.” Where can we find any who hucksters in calling their wares instinctively choose Amateur. tendency to exaggerate. A very little of this latter merest skeleton of a poem or prose of well balanced Illness, bad weather, sick babies, etc., depleted the are willing to submit to such dictation from a singing a high pitch as most productive of business, and in the upper voice will soon seriously affect the organ cadences is what is required. For this reason you ranks, but they managed to give a very good con¬ master now, where such patience and willingness to their vowels and consonants are modified too. As, THE ENGLISH LANGUAGE AND MUSICAL itself; so the greatest caution is necessary, or the will find that the finer and more finished a poem cert in the middle of the season. Mr. and Mrs. Allen work and wait, even with the hope of such a re¬ pupil will get deeper and deeper into the mire. The “haw-berrays” for “strawberries,” “A (pp) holes” for SETTINGS. is in its complete metrical expression of thought the congratulated themselves heartily after the concert, ward as was Caffarelli’s? “apples,” etc. The farmer in calling his pigs takes a situation is rendered more difficult by the fact that A whiter in the London Musical Opinion who when it was found that only the president, vice-presi¬ We can form no idea of such singers or such voices high tone every time, and he needs no vocal teacher less successfully can it be set to music; whereas, on the notion prevails almost universally that the in¬ signs himself “Common Time” sets forth some inter¬ dent, and secretary resigned! in this present day, as were Balthazer, Ferri, Se- at five dollars per half hour to tell him that a hard the other hand, a bald sentence may call forth the creased brilliancy of the high voice is due to increased esting ideas in regard to the relation of the English Considerable feeling was engendered by the fact verino, Farinelli, and Crescentini, who was the last “g” closes the throat. Moreover he knows by ex¬ greatest powers of the divine art. effort. Exactly the opposite is the truth, so the first language to musical setting. We quote parts of the that Mr. Allen took it upon himself to import a virtuoso of the Italian school, so famous during the perience that his audience will understand him per¬ task is to thoroughly uproot this old idea. article:—* finished singer when one of the soloists fell ill at the first half of the eighteenth century. A beautiful voice For this purpose the labial humming is admirably fectly if he modifies their family appellation to HOME TALENT. Each language has its own genius, its own peculiar eleventh hour. It may have been taking a liberty is a gift from God, which must be perfected by un¬ adapted, as will be readily comprehended by the “Eoo-ee,” instead of plain “pig.” Another proof is tricks of emphasis. How, for instance, are you to BY X. T. Z. with club traditions, but it saved the day. The tiring labor on the part of its possessor. Every voice reader who has followed this discussion. The indi¬ that fine singers are often at a loss to explain how translate French so that it shall fit the music? In public unanimously agreed that the Beethoven Club can be improved. There is promise of some success rect method of teaching is therefore recommended, they produce their tones. It is reported of Patti that When Mr. and Mrs. Allen moved to a suburb of our neighbors’ language there are many short un¬ had never done such creditable work. for all. While all cannot be gifted, most voices, if here as elsewhere, for reasons already given. Con¬ she was wont to cut short all inquiries as to her one of our large cities they identified themselves at accented syllables that cannot be reproduced in Eng¬ The club thereupon became ambitious, and decided properly trained, prove a pleasure to oneself as well tinuing the exercise just given we will suppose that method by saying that she didn’t know how she once with things musical. A long experience of fif¬ lish. You cannot have three unaccented syllables that only a man of superior attainments and great as to friends. the pupil has come to the first “high” tone, that is, made the tones. What we have done in these exer¬ teen years, as soloist in some of the best city choirs, consecutively in English. Then the French unac¬ reputation could do such an organization justice: In selecting a teacher great care should be ex¬ the first one which tempts him to extraordinary cises is simply, by means of the labial humming and gave Mr. Allen a feeling of confidence in his ability. cented final “e” of poetry has no real equivalent. The fact that at various times he had led various “We have loyally supported Mr. Allen for a full sea¬ ercised. The vocal cords are the most delicate of preparation because he feels instinctively that the imagining the vowels and words on high tones, to These details are slurred over in English, but that uproot artificial notions regarding them, and, having choruses more or less suecessfuUy enabled him to son,” said Mrs. B., who had to be “sat upon” regu¬ all musical instruments. The only recommendations process employed before is inadequate. For this and slurring—such as giving two notes to one syllable done this, instinct does the rest. accept the position of director of the suburban musi¬ larly, owing to a tendency to flat excruciatingly; teachers can have are results in their pupils, not al¬ for each succeeding tone he may simply relapse into or monosyllable—is quite against the best modern The pupil may now apply this newfound ability to cal club without any misgivings as to his qualifica¬ “and I think we have done our duty toward home ways the teacher’s singing—that can easily be mis¬ the labial humming, which will enable him to go on ideas of setting words to music; and I do not know a song. Probably this will seem like a new proposi¬ tions for the office. talent, don’t you?” judged. It is the product of another’s painstaking; up another octave or so. As he descends the scale any translations in which the position of words in tion altogether, at first because the very idea of a The Beethoven Club was a social and musical affair “Yes indeed,” replied Mrs. C., who had cheerfully hence it is a pity, but nevertheless true, that the ex¬ he may resume the pronunciation of the words as a sentence has not to be altered. As the stress of formerly. During the humming, however, he must song induces, generally, an artificial attitude of mind. of some years’ standing, and as it was without a tried to sing two beats ahead of the club all win¬ cellence of a teacher cannot be determined in this the music was conceived by the original composer to imagine the words. Suppose, for instance, that the The song should first be taken with the labial hum¬ leader for the ensuing season Mr. Allen’s advent was ter; “of course we have no objection to Mr. Allen manner. Upon the capabilities of pupils depends the fall on a certain word of the utmost dramatic im¬ pupil can do the labial humming to F above high C; ming. Quite a list of them may be gone through with considered by some of the members to be “almost personally, but we must consider that we owe a duty possibility of a voice instructor’s honestly establish¬ portance, any alteration really weakens the dramatic he will have practically no pronouncing to do until in this way before the words are attempted. At first providential.” Be that as it may, the modest re¬ to ourselves, and I think the time has arrived for us ing himself. effect of the music. I know that these are by no the last two or three notes. All this time, however, both vowels and consonants should be modified very muneration offered for his own and his wife s ser¬ to engage a really great leader, and become one of The teacher should be forever a student, always means popular ideas, and I shall probably be referred he must be diligently imagining the words. This is, much on middle tones, fading into the labial hum¬ vices (the latter as accompanist) came as a welcome the very best clubs in the city.” searching, adhering to established ideals, never wav¬ to many translations in which the original has been of course, all soft work and the finest kind of exer¬ ming on the upper voice. Gradually these leading addition to the family income, and Mr.' Allen en¬ ering, always on the alert; never experimenting, only faithfully followed as to the music falling on the cise for the organ itself. Let us now suppose that strings will be outgrown, and by far the most trying tered upon his duties with enthusiasm. There was VOICE CULTURE OF TO=DAY. proving; ever studying human nature. A voice and difficult part of the singer’s art has been mas¬ right word; but, so far as my knowledge goes, this teacher is not successful who does not take each this exercise has been used for a few weeks. no question about the club’s being a social one, what¬ BY MBS. LUTIE A. GUNN. Two habits should now he established. First, the tered. is never obtained without sacrificing our language. ever it might be musically. Advice and criticism were pupil personally into his thought, studying each tem¬ pupil will be absolutely cured of the idea that high Dynamic Shading. The closer the translation is to the original, the less offered with charming frankness, and Mr. Allen dis¬ During the past few years many articles have perament in order to bring out the best in each par¬ is it English and the more absurd does it sound in been written and many theories expounded upon the ticular voice. tones are to be taken by main strength, and will For a considerable period the pupil must now be covered early in the season that there might be dif¬ performance. question of voice culture. History shows that a su¬ Although the correct art of teaching voice culture never, under any circumstances, allow himself to he contented to sing everything in this careful way and ficulties in managing a neighborhood club. trapped into a display of force preparatory to taking There is a bigger question behind this matter of "Let us sing one of your old numbers,” said the perior method of training the voice once existed. has never yet been formulated, the best one can do very softly. He must not be ambitious to sing with translation. I will even go so far as to aver that the fort. Second, he will have become accustomed leader pleasantly, at their first meeting. A part song Why has the art of teaching the old method been in is to select the teacher of experience, who succeeds “expression” too soon. When the point has been there is not one composer who has yet understood to the idea of modified vowel sounds on high tones. was chosen and was progressing smoothly when a a measure lost? Is it because of aggressiveness? A through study, research, and patient effort. The reached at which more “power” may safely be turned the genius of the English language for declamatory These two habits usually bring about the desired voice from the tenor ranks exclaimed in the midst of desire for quick results? Of the restless ambitions teacher who is broadminded and open to conviction on, the instinct of the pupil will make it known. Oc¬ purposes. Our style of vocal writing is largely result very soon. The pupil comes to regard the a delicate passage, “Under our former leader we sang of people of a progressive age? When all things, lives to perpetuate the art in others. The question casionally a pupil will be found who is so exceedingly founded on German music, which—except in the case change to the labial humming on the first high tone that much slower, and I think your time is wrong!” even the art of singing, must be accomplished in a arises: How are we to promulgate the correct meth¬ cautious by nature that he will need prompting, but of Wagner, and to some extent of Schubert—does not as a rather tame and uninteresting effect, and some Mr. Allen bit his lip and gave the authority for his *short duration of time? ods of voice production? There is but one way: Cor¬ in general it may be said that it is human nature to follow the genius of the German language: it was day when he is not noticing what the exact pitch is tempo and resumed his baton. What has become of the real students? The voice rect teaching. exploit its own prowess, and when the voice is ripe largely founded on Italian; and, when that influence he will forget to change to the labial humming, and, “I think Mrs. Allen must be crazy,—she played an pupil of to-day expects to he launched as a concert the pupil will unconsciously add tonal emphasis where is not to be traced, it will be found that the vocal as he did not “force the issue,” the result may be eighth twice instead of a quarter and never observed singer after from three to five years of study, and the sentiment of the song demands it. After this melody is too often instrumental. Brahms is an Reflection, and plenty of it, is absolutely neces¬ confidently expected to he correct. Little by little that rest at all,” came in an audible whisper from after a short career the voice fails and the singer the voice cannot fail to grow in every way by the instance of this. In some of his finest songs he does sary before undertaking anything, but once your the higher tones will come in a similar way, with the contraltos. “I know it,” replied a pretty soprano, sinks into oblivion, while others are ready to step in mere routine of singing, even if regular study is no not scruple to repeat words in a meaningless way in mind is made up, you should strike to such purpose proper modification of the vowel sound, and the longer kept up. No undue strain will ever be put —“I noticed that,” adding irrelevantly, “Do you like for a short-lived glory. All this is caused by the whole problem of “high” tone production is solved. order to pad out a verbal phrase that was too short lack of proper foundation. The years of toil and that all obstacles fall to pieces before you. There upon the voice and it must grow steadily in power for the melody he had invented. All this has been the way she does her hair?” are only two means of strength in this world—pru¬ Of course, it must be borne in mind that, the higher and effectiveness. The club decided upon a pretty and rather ambitious drudgery in tone-building have not been fulfilled. copied by English [and American] composers; and, dence and patience.—Berlioz. the tone, the more marked the modification, until a work for the season, although the soprano soloist The knowledge of music is spreading in every coun¬ Interpretation. when they are modern enough to recognize the claims point is reached where the difference between the objected to some of the solos, and the two rival con¬ try. The field is broader. This country is filled with Few people know, and fewer still care to know, of the world in the marriage of music and verse, they vowel sounds is very slight or disappears altogether. With a voice developed in this way the mental and traltos would not speak to each other for two weeks. instructors. There is hardly a home in America where that every change of mental state is accompanied copy Wagner, who modeled his declamatory style and Above A the mouth comers may be slightly drawn emotional nature of the singer find ready and spon¬ “I don’t care,” said the soprano, “I’ve sung for there cannot be found some kind of a musical in¬ with a corresponding change in the power, force, and back as in smiling. This only applies to female his vocal melodic phraseology on the genius of the taneous expression. This is also a natural function years in some of the very best choirs, and I object strument. Vocal music is taught in the public rhythm of respiration; but such continual interaction voices or boys’ voices. such expression being practically instinctive. German language, which differs very considerably schools. The world is more appreciative of good between the brain and. the lungs is an indisputable from our own English, decidedly to Mr. Allen’s dictation. The idea of his telling me how to sing those solos. He wants me to music than ever before. Why then are there not a fact.—Stebbins. 2. the etude 26 THE etode Pedal Organ. attached to from 30 to 50 tones. Needless to say the instrument, to raise the organ recital to its pres¬ in St. Luke’s Church, Germantown, Pa., where with that special measures will be necessary to teach this ent position of respect, and to create a genuine love Feet Feet only 39 speaking stops we get grandeur of tone that plain chant, .for if it must be sung it must be learned. for legitimate organ music. Great Bass . 32 Bombard . 10 fills the edifice completely and overcomes its notori¬ And how many can teach it? Among the suggestions In Boston his first recital, November 14th, was so Open Bass . 16 Sub-bass . 16 ously poor acoustics, besides giving us, under the successful that arrangements were immediately made Great Flute. 10 Flute d’Amour. 8 are special courses, congresses, etc., and even the serv¬ able performance of the organist, unlimited effects. for his farewell recital to be given in Symphony Hall. The usual Pedal Couplers.—Glide M. Reed. ices of the gramophone have been thought of. The full organ is obtained on only 30 stops, the “That there are many doubting Thomases in the This recital took place on Thanksgiving Eve, before famous soft stops like the Violin are not used for world who question the practicability of some of a large audience, at which time he played a program full effects, yet the majestic volume of tone (not . As one of the results of these reformatory measures is an open secret. When made up entirely of his own compositions (a severe screechy) pours out because of the justly famous GREGORIAN MUSIC, the recent mandate of the to the difficulty of properly singing the Gregorian test for any composer or performer), and included andCHOIR~ reeds and perhaps the finest mixtures in the coun¬ Pope, relative to the music chant is added the further one of dispensing com¬ the First Sonata, Fugue in D, Marche Funebre et try. of the Catholic Churches, a commission was appointed pletely with women’s voices, the conditions, at least in Chant Seraphique, Nuptial March, and several other The cost was $10,000, yet no organ in these parts by Bishop Colton, of the Diocese of Buffalo, N. Y. America, warrant a questioning attitude.” compositions. The following day the artist sailed can compare either in effects or volume of tone, Among those on this commission was Rev. James F. from New York for Paris. McGloin, rector of the 'Bishop’s Chapel, who, after The organist whose ness of touch, the strength and self-control which and the Diapasons are not spoiled by having the A common request addressed to clerks On November 15th a breakfast was tendered Mons. Gambas in their department. I have heard some 60- the report of the commission had been delivered, was Guilmant at the Hotel Astor, New York, by the LEGATO PLAYING: playing is not charac¬ this same hymn playing demands from each separate SACRED in music stores is: “Tell me a good, new, or 80-stop organs whose powers were far below interviewed by a reporter of the Evening News of Guilmant Club, formed of the pupils of the artist, A POINT IN THE WORK terized by a perfect le¬ finger, the change of fingers, a change which must SONGS, sacred song.” Choirs are multiplying all this superb instrument, and even the monster Buf¬ Buffalo and, among other things, said:— with Mi-. W. C. Carl as President. Two recitals were OF SOME ORGANISTS. gato should be an un¬ often be made with lightning quickness while holding over the land, and music is being given falo organ could not begin to equal it in volume, yet “Gregorian music is undoubtedly very beautiful if given in New York City, one in Brooklyn, and one at imaginable absurdity; a certain tone, in order to make no break in time or a larger place in the service, with the result that a the cost there was $18,000. adequately sung. If properly presented it should be the First Baptist Church, Philadelphia, under the and yet the unimpeachable testimony of our auditory rhythm, and to have the needed fingers in the requi¬ greater variety of music is needed. Many choirs I note also the placing of the 16 feet needs in the sung by men’s voices, and without instrumental ac¬ auspices of the Organ Player’s Club. nerves tells us that he not only lives and breathes, site positions to finish the phrase with smoothness, sing an invocation at opening, an anthem before make this sort of work much harder than it seems Swell, thus making it the fuller department. This companiment. but that he is sometimes heard hopping from chord the sermon, some times a solo as well, another piece, Mr. Clarence Eddy gave an organ recital in Saint to chord or note to note in the church services. In¬ to the inexperienced listener, and render it a fac¬ practice is too common and much to be regretted. “How many churches can furnish a proper com¬ solo, duet, or quartet to follow the sermon and em¬ Andrew’s Lutheran Church, Pittsburgh, Pa., Novem¬ stead of the smooth, unbroken flow of tone, welling tor of the greatest value in gaining control of the At St. Luke’s the second Great organ is called the plement of men’s voices capable of a capella singing? phasize its thought, with a response after the closing ber 17th. as from an exhaustless spring of beauty, the phrases keys. The piano touch, in him whom we might term “Trumpet Organ,” with wind at 7 inches. “It may be added that to find singers who hon¬ are broken, the tones are more or less choppy, the the pianist-organ-player, is apt to show more quickly Think of getting into overalls half an hour before estly desire to sing Gregorian music is about as dif¬ prayer. Henry Hiles, Mus. D. Oxon., F.R.C.O., the well That there is somewhat of a dearth of useful sa¬ whole effects is as if there were springs of another in the playing of hymns than in anything else; for playing to “set” the electrics on our new-fangled ac¬ ficult as finding the proverbial needle. known English organist and composer, died early in cred songs, which can be made a real part of the sort beneath the keyboards, which the acting or¬ there is here no variety of effect in solo and aceom- tions which I know do so often fail, as compared “Gregorian music is called Gregorian because it was November at the age of 78. ganist has not strength to with our tubular pneumatics, believed that to Pope Gregory I (590-604) was due service, to aid the minister in his sermon, may re¬ The large and well-equipped organ factory of the press, and hold in place, suf¬ which although called “out of the credit of collating, revising, and transcribing sult from two things: the weakness of the texts fur¬ Hutchings Yotey Organ Company was totally de¬ ficiently to bring into connec¬ date,” never stick. the liturgie chants of the church, including the earlier nished to the composers or selected by them, and stroyed by fire on the night of November 11th. tion. The piano touch is too I append the specification of Ambrosian chants. He was credited also with es¬ to the lack of real power or climax in the songs. The fire originated in another part of the building plainly in evidence, for a St. Luke’s organ, which was tablishing the so-called church tones which bear his Some composers seem to think that an attractive from that occupied by the Organ Company, and by truth which may seem built and voiced under the melody and clearly defined rhythms are out of place a hot air explosion burst into the organ factory. Al¬ strange to the uninitiated, direction of Mr. Carlton Mich- “M. Gevaert, director of the National Conservatory in a sacred song. most before an alarm could be given the entire fac¬ and which I think is never ell, much of the voicing hav¬ of Brussels, in his investigations into early music has Judging from a number of songs issued by differ¬ tory was a roaring furnace. Many organs in various fully realized until put to the ing been done by him. proved to the satisfaction of a great number that ent publishing houses, those who have the selec¬ stages of construction were destroyed, and one large test, the touch which pro¬ Organ in St. Luke's to the Greek Popes, Sergius I and Gregory IH the tion of sacred songs favor such as are settings of organ for a western city had only been finished an duces the finest singing tone Church, Germantown, credit is due. M. Gevaert's opinion has been contra¬ verses from the Psalms or other portions of the Holy hour before, the men working overtime to get it com¬ in piano work will not pro¬ dicted, but he seems to have proved his contentions, Scriptures, or of standard hymns, thus assuring a pleted that night. Other quarters were secured while duce a perfect legato on the and his fixing of the origin and development of the thoroughly devotional character, such as can be used the fire was raging and inside of three days cases, Roman chant to the period 425-700 seems to be sup¬ in connection with a sermon. It is certainly bet¬ consoles, chests, etc., were being constructed to re¬ The organ touch must be Suboctave o ported with full facts. ter that a composer should add music to the noble, place those destroyed. We understand that a very thoroughly acquired; it Viola . “Singing schools for the study of Roman chant were strong prose of the Bible, which has in so many cases much larger factory is to be constructed which will should be the first point mas¬ Echo Viole . organized in the early part of the seventh century. a clear musical flow, than to a metrical version which double the capacity of this well-known company. tered by anyone who makes Flute Traversiere Pope Agathon (seventh century) definitely fixed the at once defines his phrases, and the number of notes Mr. Alfred Hollins, the blind organist of London, the slightest pretense of use Salicet. text and melodies of what is to-day called the Anti¬ it may contain. One other point may be urged in met with a triumphant reception at his first organ of the keyboards of that in¬ Flute d’Orehestre phonary. Pope Sergius, whose pontificate ended in this connection. A familiar verse from the Scrip¬ recital in Sydney, Australia, last summer, the audi¬ strument. And there is really Piccolo Harmonique.. 2 701, revised the old songs of the ritual, making them tures, a familiar hymn, can be understood by hear¬ ence cheering him at the close of the recital. no |xcuse for deficiency in Orchestral Oboe. 8 conform to a uniform style, and he is now credited ers, where as in other cases members of the congre¬ this point; for, no matter Swell to Choir Unison. with introducing the four church tones and their gation will be apt to say: “What is she singing Part I of a new Method of Organ Playing, by how limited may have been Tremulant. plagals. about? I could not understand one word!” Ernest Douglas, of Boston, published by J. Fischer & the opportunities for study Revisions and Revivals. We recommend organists, choirmasters, and singers Bro., of New York, has appeared. It opens with two of the organ under a master Three Double-Acting Co -j- to give earnest study to the matter of the selectiou pages of descriptive matter and leads at once to pedal of the profession, if a player bination Pistons for “Revisions and revivals of the church chant have and use of songs for the church service. Use only exercises for alternate feet. A few exercises for has any musical perception at Choir Organ. been undertaken from time to time. It is well known such as have a real place in worship, and see that the manuals are followed by a large number pf pedal all, he knows the effect that that the famous Council of Trent labored long and Great Organ, exercises of considerable difficulty ;in fact, the major is required, and his ear, if successfully to reform existing evils in church music. they are sung not for vocal display, but to help in first division. part of this volume is given up to the development trained to careful watching “At that time (sixteenth century) Gregory XII re¬ the service. It is a responsible position to be a Feet quested Giovanni Pier-Luigi da Palestrina to under¬ choir singer; this responsibility, fully discharged, of pedal technics. If the pupil masters the exercises, for the slightest break or Bourdon. 16 take a revision of church music ‘to do away with the means much to those who listen. at the end of the volume he will be well advanced hitch in the flow of tone, will Principal Diapason. 8 superfluous accretions, to abolish the barbarisms and in one of the requisites of organ playing. instantly announce the ap¬ Small Diapason ... 8 confused passages, that God’s name might be rever¬ Mr. Frederick Maxson gave his two hundredth or¬ pearance of such defects in Flute Harmonique.. 8 A subchiber.—Will you oblige ently, intelligently, and devoutly praised.’ gan recital at the Drexel Institute of Art and Sci¬ his work. This being the Octave . 4 QUESTIONS me by stating in what year, by Organ Built for the Louisiana Purchase Exposition, St. Louis, Mo. “The Graduale, published in 1614-15, was the model ences, Philadelphia, December 1st. case, thorough, systematic, Octave Quinte_ 22/» AND ANSWERS, whom, and by whose authority for the official book approved by Pope Pius IX in persistent practice, with the Super Octave . 2 the organ was first introduced New Music: Harry Rowe Shelley, Star of the Ori¬ attention concentrated upon the business in hand, paniment, as in many organ numbers of no great dif¬ 1869 and published by Puslet. It has been known into the church. Also state the scriptural authority ent (Schirmer). Frank A. Ward, And There Were will overcome the difficulty. I do not mean by this ficulty; but there is the necessity for the unbroken SECOND DIVISION (TRUMPET ORGAN). since as the Ratisbon edition and recognized as the for the use of musical instruments in worship. Shepherds (Schirmer). Horatio W. Parker, Brightest that one can master the organ without the supervis¬ standard book of Gregorian music throughout the harmonic and melodic flow and there is here no Feet Feet Answer: The introduction of the organ in churches and Best (Schirmer). Alfred Hollins, O, Worship ion of a competent teacher; hut I do mean that Roman church, until within a year, when the present friendly pedal to blend the harmony, “to cover a mul¬ Trombone. 16 Clarion (Harmonic).. 4 occurred some time between the fourth and seventh the Lord (Novello). G. Coleman Young, Thy Word when one who is a pianist takes up work on the Pope Pius X, surprised Christendom by approving the titude of sins” in lack of connection of the tones of Trombe (Harmonic).. 8 Mixture, V rks. centuries. Platina tells us that Pope Vitalian I, is a Lantern (Novello). Arthur Foote, The Law of organ with perhaps opportunity for but few lessons Solesmes edition, published by the Benedictine order. soprano, alto, bass, or tenor. A.D. 666, first employed the organ for public worship, the Lord is Perfect (Schmidt). Charles P. Scott, in the special technic of the new field, he can find in “With the Ratisbon edition a comparative sim¬ The study of the piano, and thorough, practical THIRD DIVISION (ECHO ORGAN). but a Spanish bishop, named Julianus, gives an ac¬ God, our Protector (Schmidt). Charles P. Scott, this lack of opportunity for study no excuse for plicity had been attained. A staff of four lines, two work upon the piano are of the greatest value to count of their use in the churches of Spain at least Father, Take My Hand, trio (Schmidt). William torturing the organ and the audience by non-legato Feet Feet clefs, and three kinds of notes sufficed for all the anyone who essays work on the organ. Indeed, one two hundred years earlier. Nothing more definite is Fink, God Have Mercy (Schmidt). William Fink, playing. Though there is much that he cannot do should always begin the study of the organ from Echo Salicional . 8 Clarinet . 8 melodies. known about the introduction of the organ into the God is Love (Schmidt). Arthur W. Thayer, He That without further study, with an intelligent apprecia¬ the vantage ground of an effective working knowl¬ Quintadena . 8 Tremulant. “The Solesmes edition gives eight varieties of sin¬ church. Dwelleth (Schmidt). Arthur W. Thayer, Thou Lord tion of the principles of organ touch, which should edge of piano technic. But, while this is true, the Flute Octaviante .... 4 gle notes, including the Punctum (square, diamond, See Gen. iv and xxxi, 27; Job xxi, 12; Num. x, of Hosts, trio (Schmidt). W. H. Neidlinger, Hark! be clearly defined, and thoroughly impressed upon difference between the touches which produce thd with ictus, with ictus of subdivision), the Virga, the 1-10; but more specially Dan. vi, 18, and I Chr. xiii, 8. What Mean Those Holy Voices (Maxwell). J. Chris¬ the pupil in the first few lessons, he can at least best effects on each instrument should he clearly un¬ Couplers. Apostropha, the Oriscus, the Guilisma, two varieties topher Marks, There Were Shepherds (Maxwell). learn to play with smoothness. derstood, and thoroughly mastered at once. At all Ch. to Gt. Suboctave. Sw. to Gt. Octave. of neumes of two notes, the Pes and Clivis; five John S. Camp, Must Jesus Bear the Cross Alone? The practice of hymns is one of the most effective events, until this has been accomplished, the pianist- Sw. to Gt. Unison. varieties of Neumes of three notes; the Porrectus, As noted in another article, Mons. (Church). William G. Hammond, Communion Serv¬ means for acquisition of power so unfailingly and organ-player should have sufficient consideration for the Torculus, the Scandicus, the Salicus.the Climacus; MIXTURES. Alexandre Guilmant gave forty organ Seven Double-Acting Combination Pistons. ice (Church). John S. Camp, I Lay My Sins on so completely to connect the tones of every part of the public to smother his aspirations to a church Seven special Pedals. eight varieties of Neumes of more than three notes, recitals at the World’s Fair in St. Jesus (Church). F. Flaxington Harker, Magnificat the harmony, that the entire harmonic fabric shall position.—Edith Allison. the Porrectus flexus, the Scandicus flexus, the Salicus Louis, during the months of September and October. in B-flat (Church). F. Flaxington Harker, Let My be as perfect, as wholly without tear or flaw, as it flexus, the Torculus resupinus, the Climacus resupinus, After these recitals he made a short tour, giving Swell Organ. Complaint Come Before Thee (Church). Benjamin would be, were it woven from the tones of an orches¬ To the Editor of the Organ De- the Pes subbipunctus, the Scandicus subbipunctus, twenty-seven recitals in various Eastern cities. Such Feet Feet tra. The average church music committeeman does NEW STYLE OP partment of The Etude a series of recitals speaks well for the vitality of Lambord, God Is Our Hope (Church). A. M. Shuey, Geigen Diapason .... 8 Cornopean . 8 and the Scandicus subbipunctus resupinus; and four not realize that the playing of hymns is an especially SPECIFICATION. I note in a recent issue of this remarkable artist, as well as gives undeniable The Great Jehovah, solo (Composer), Viole d’Orchestre ... 8 Oboe . 8 varieties of Liquescent Neumes, the Epiphonus liques¬ difficult thing to do, and, when the organist is heard The Etude a scheme for doing testimony to the value of his method of organ play¬ Mr. George J. Huss, an expert on church music and Viole Celeste . s Voix Humaine. 8 cent Podatus, the Cephalicus, the liquescent Torculus, to bounce through the familiar phrases, thinks that away with a great number of stops in our organs, ing. No other organist has received such universal one of the oldest organists of New York, died the Rohrflote. 8 Unison. and the Ancus. he might play hymns with smoothness, if he can do but I fail to grasp the superiority of that scheme praise and admiration in this country, and no other latter part of November. He was born in Bavaria Octave . 4 Octave on itself. “A glance at some of the pages of the Solesmes edi¬ nothing else, and is likely to rate him accordingly. over some of the present practices. The plan is cer¬ organist or composer of organ music since the time in 1828, and came to this country when he was 20 Mixture, III rks. Tremulant (Light wind). tion proves it to be essentially florid in style. It is But we who are on the inside know that the firm¬ tainly inferior to the one we have used in our organ of the immortal Bach has done so much to elevate years old. Contra Posaune.16 Tremulant (Heavy wind). not at all exceptional to find one syllable of the text THE ETUDE 29 28 THE ETUDE A CORRESPONDENT who endeavor to be conscientious in their work feel it their calling and enable us to understand the higher their duty always to interrupt the pupil if even the joys of their art. Will not all our teacher-readers SOME INTERESTING seems deeply interested in most insignificant technical blunder has been com¬ make the effort to move up to a higher level of art QUESTIONS. the work and duties of a mitted. Such a course too often defeats its own teacher, has asked us to ex¬ and achievement? ^humor£sques^ purpose, for the simple reason that the player thus press our views on this subject. It gives us par¬ loses self-confidence and mental poise. Technical It is probably the experi- ticular pleasure to dwell on such a subject, more es¬ blunders are not always necessarily defects in the (JARELESS TUNING, ence of all teachers that pu¬ By ALFRED H HA US RATH < pecially since there is such a vast army of men and sense that the player knows no better or is incapable pils, even the gifted ones, are women who are to-day engaged in teaching and of of a better performance. Frequently they are merely exceedingly careless in tuning the violin. We say this great number so few who have, or seem to have such mishaps as may occur to the accomplished artist, “careless,” because in the case of a pupil of sensitive- The Difference.—Proud mother (after son has even a fair conception of their duties. indicating nothing radically wrong in the player’s hearing, no other reason can be attributed to his been pounding the piano for two consecutive hours): Our correspondent has asked us more questions technical equipment. As mere technical accidents, readiness to play before the strings have been per¬ “I think Johnny is just full of music.” .TKENT than we have space in which to answer; but we shall Conducted by GEORGE LEHMANN. they require no special attention, and frequently call fectly tuned; and even where the teacher is not Father (wearily): “Yes, I am too, but then I’m try to cover what, seems to us the most interesting for no comment whatever: as undoubted physical de¬ absolutely convinced of the correctness of the pupil’s and important ground of his general inquiry:— not boisterous.” In this restless ana progress- its use is not accompanied by an accumulation of fects, their correction, immediate or otherwise, is ab¬ ear, and, for this very reason, remains in doubt as Gbamophonia.—Owner: “I’ve got the greatest THE “PAGANINI” ive age it is only natural that rosin dust. But such an advantage is surely too in¬ The Commercial Side or Teaching. solutely imperative. But the teacher must be capa¬ to whether’ the imperfectly tuned strings are the singer in the world.” TONE-PRODUCER, we should eagerly welcome any significant seriously to be considered by any player, ble of distinguishing between accident and disability, result of an insensitive ear or of indifference, the Try as we may, we cannot separate commercialism Neighbor: “Who is it?” inovation that promises superi¬ whether professional or amateur. for if he lacks the perception and experience that en¬ manner of the pupil’s process of tuning often fur¬ from art. As long as there exists the need of earning Owner: “I don’t know his name, but he sings bass, ority over the inventions of the past. We may all able such distinction, his efforts to be conscientious nishes sufficient evidence that better results could a living, as long as the individual assumes obliga¬ and the record costs two dollars.” be more or less resigned to the usage of those things So much has been written in will impede the pupil’s progress rather than assist easily be attained with a reasonable amount of care. tions and responsibilities, so long must he also sanely that experience and custom have decided to be ex¬ YSAYE’S OPINION these columns in connection him in the attainment of greater skill. The question of faultless tuning has undoubtedly Unnecessary.—Dorothy: “Papa, the piano must take into consideration the question of money-mak¬ cellent. Nevertheless few of us are so unprogressive, OP RODE. with Rode’s famous studies As to the material that should be utilized for pur¬ been a serious one with all pedagogues. Nothing be tuned in time for the reception to-night.” ing. The painter, the poet, the musician, however or so unwilling to ease our difficulties, that we would that it is hardly conceivable poses of illustration,—here the artist teacher finds a Father: “Nonsense! Play something from Wagner, idealistic and unmercenary, is compelled by force of demonstrates this fact more clearly than the ab¬ hesitate to experiment with anything that really that our readers should mistake our attitude to¬ wonderfully rich field for the exercise of his knowl¬ sence of all helpful suggestions on this point in the and they won’t know the difference.”—Scraps. circumstances to acquire and accumulate money. In¬ promises better results with no greater expenditure ward these remarkable compositions. What we spe¬ edge and his gifts. He will not merely seek to en¬ best works devoted to the pupil’s early training. tellectual labor makes its demand for pecuniary com¬ Desperate Case.—Mrs. Askit: ‘Your new boarder of mental and physical effort. When, therefore, we cially wish all students to know is the esteem in lighten the pupil on the point in question, or clarify The “Methods” by Spohr, de Beriot, Dancla, for ex¬ pensation quite as naturally and justly as does the does not look very well, Mrs. Boardum. What’s the learned that the rosin, which string-players have which these etudes are held by violinists who, judged what is either obscure or misconceived; but he will ample, naturally introduce this -subject in their early meanest physical labor. So, without going too trouble with him?” been using ever since the discovery that horse-hair superficially by their merits, might be supposed to be look far beyond the surface of the difficulty, and so pages; but beyond informing the pupil that he must deeply into our correspondent’s first question, we Mrs. Boardum: “Why, I don’t know, but they say was the best medium for vibrating fiddle strings, was far beyond the needs, both musically and technically, present his views that the pupil not only comprehends tune the four strings accurately, with a suggestion will only yet add that, with the inexorable need of the poor fellow has a saxaphone.”—Chicago News. to be superseded by something infinitely better in of serious study of Rode. what he did not before understand, but also grasps as to the manner in which the bow should be drawn, every respect, we gladly cast all doubts to the meeting material responsibilities constantly staring In a recent discussion of the value of Rode’s etudes the fundamental principles which are involved. nothing is said that can be of the slightest assistance Absent Treatment.—Mr. Slick: “I believe I’ll get winds and invested in a cake of “Paganini Tone-Pro- an old friend of Ysaye assured the present writer every human being in the face, it is an altogether When it comes to the selection of material for to the player who does not know instinctively when Lydia a practice clavier instead of a piano.” that the Belgian artist has never neglected the study false conception of idealism which imagines it must musical and technical training, the greatest care he has actually attained his object. These well Mrs. Slick: “Why?”' This new how-food was probably given the incon¬ of Rode, and that, even to-day, when he apparently necessarily soar above all questions of lucre. But is required to lead the pupil aright. Our standard known violinists and authors were doubtless baffled Mr. Slick: “Well, it makes less noise. I approve ceivably hideous name it bears because the discov¬ does not require their aid, he is absolutely devoted to there is surely a commercialism in art, in the works—such as, for example, Fiorillo, Kreutzer, and by the peculiar difficulties of the question, as were of this silent practice, its a kind of absent treatment, erer of its ingredients believed, or was anxious that them, and may often be heard practicing some one tcaeher’s art, which cannot be too strongly con¬ Rode—are naturally indispensable in every ease. We probably all other writers who preceded and fol¬ you know.” the public should believe, that any player who used of the twenty-four etudes so slowly and consci¬ demned. It is the commercialism which we encounter know of no etudes that can replace either Fiorillo or lowed them. This, at least, is our natural con¬ it would be able to rival the tone produced by the entiously as any struggling, painstaking pupil. We every day—the kind of commercialism which would Youthful Criticism.—Brother Willie (while sis¬ Kreutzer, and there is surely nothing in the whole lit¬ clusion, since nothing of pronounced practical worth famous Italian virtuoso. Naturally, the temptation were further told that it is Ysaye’s frankly expressed be branded as dishonorable in the business world. We ter is struggling with the Sonate Pathetique): “Did erature for the violin that can be favorably compared can be found in the many volumes that have been to walk in the footsteps of Paganini is quite ir¬ conviction that no higher degree of instrumental skill mean the acceptance of pay for services that are Beethoven compose his music on a pianola?” with Rode’s twenty-four Caprices. But neither the devoted to the young violinist’s development. And resistible; and when so much can be accomplished is necessary than the ability to master the Rode not rendered, and certain forms of deliberate mis¬ Mother: “Why, Willie?” works of these three masters, nor those of others if all our excellent players were asked the question, with such absurd ease and for so pitiful an ex¬ etudes. representation. Unhappily, teachers are rarely so Brother Willie: “Because it never stops.” that are utilized to precede or follow them, should “How did you learn the art of tuning the violin?” penditure of money, the imbecility of the violinist That we were delighted to learn Ysaye’s opinion circumstanced that they can calmly close their doors be administered in the order in which they are writ¬ the probable answer would invariably be, ‘It is im¬ The Latest.—Mr. Spice: “Quaver has just com¬ who would stick to the old-fashioned rosin and refuse of Rode goes without saying. That such an opinion to all but gifted pupils. Indeed, our teachers might ten; and a number of both Fiorillo’s and Kreutzer’s possible for me to remember.” In all probability, posed a piece for nonlovers of music.” to produce tone as Paganini produced it is inconceiv- reflects the greatest credit on this great violinist die of starvation were they to accept only the tal¬ etudes, for that matter, should not be studied at ah. however, the ability correctly to tune the violin is Miss Saccarine: “For nonlovers of music! Howv may astonish the majority of students who ‘long ented ones among the thousands that are studying It is the custom of many teachers to deal with all the direct result of custom and experience. The alert unique! And how does it sound?” The “Paganini Tone-Producer” is, we are told, a ago” put aside their Rode and have wholly forgot¬ music. But, talented or otherwise, the pupil that pupils alike respecting the study of etudes and solo and sensitive ear is soon impressed with the char¬ Mr. Spice: “It doesn’t. It’s composed entirely of combination of certain gums. It contains no rosin, ten that such a master ever lived. pays for instruction is fully entitled to the teacher’s pieces. Certain etudes are invariably taken up after acter of a perfect fifth interval, and without being and we are assured that, as a means of vibrating the The great majority of players have unfortunately interest and attention. This phase of the question certain others have been disposed of, and the same able to determine just how the proper appreciation strings, its superiority over all forms, qualities, and not been trained to appreciate Rode. They scramble is, we fear, not always clearly understood by our “Ad.”—Prof. Notorious, by his ideal method, of¬ course is pursued with concertos and general solo of this interval is brought about the player is never¬ grades of rosin is astonishingly great. Besides which, through the twenty-four etudes, giving not one the teachers; but there can be no question that teachers fers unprecedented opportunities for learning “to play work. Such a plan is obviously absurd, and neces¬ theless peculiarly sensitive as to any deviation from special stress is laid on the fact that, as the “Paga¬ serious and prolonged study which it demands if any¬ owe it to themselves as well as their pupils to ac¬ the piano to pieces in one month.” the correct pitch. nini Tone-Producer” is not a rosin, the player is thing artistic is to be accomplished. And that i3 quire appreciation of the business relations which sarily fails to accomplish the desired result. The earnest teacher who studies the needs and the indi¬ The same thing occurs, in reality, with all play¬ Natural History.— spared, by its use, the annoyance of having his in¬ all. should exist between them. The organist—a curious bird— strument covered every day with rosin dust. This, viduality of each pupil will always find that he can¬ ers, with this difference only, that the gifted pupil The blame, however, rests chiefly on our teach¬ Sits perched on wooden frame; at least, sounds reasonable enough; so we are al¬ General Duties of a Teacher. not consistently adhere to any definite course of acquires this art without apparent effort, while a ers. It is they who are responsible for the fact that He claws the keys,—it seems absurd,— most willing to forget the impossible name in which work. He will find himself in much the same posi¬ sluggish ear acquires it laboriously and only after the majority of students who painfully struggle The average conception of a teacher’s duties seems And pedals into fame. these mysterious gums have been baptized, hoping with the difficulties of the great concertos are in¬ to be the giving of general information and the cor¬ tion as a skilful physician who, while guided by gen¬ much experience. The following anecdote attributed to Ysaye will in¬ that the new “Tone-Producer” may really prove help¬ capable of playing the first Rode etude even tolerably rection of glaring mistakes. This, indeed, is far eral principles and experience, must take into con¬ Postal Cards.—“Dear Teacher: Will you please terest all readers who have given the question of ful in producing good tone. well. It is they who train pupils in such a manner from being good teaching. Almost any ignoramus sideration, above all things, the general condition of transpose my hour to another week, and oblige, tuning any consideration:—- Well, we have tried it,—tried it without prejudice that the least competent boy or girl ridicules the can call the pupil’s attention to technical mishaps his patient. In other words, talent and temperament “Your pupil, and with the strongest predisposition to find it ex¬ idea of “going hack” to Rode. “Why, I dropped and glaring crudities. vary so greatly in kind and degree that often what To a well known music litterateur of London Ysaye “Lizzie.” cellent. The practical results, however, are disap¬ is best for one may be harmful for another. recently said: “My first teacher was my father, Rode long ago!” is an expression frequently heard; The pupil’s personality requires, first of all, earnest “Dear Professor: Please excuse Freddie when he pointing. The “Paganini Tone-Producer” does not, and the boy who sneers at a gifted player for his consideration. The building up of individual tendencies is one of who was the best violinist in my native town, Liege. He grounded me in the principles of violin playing. ought to take a lesson. Yesterday he contracted a it is true, create a dust to settle on the bow and in¬ earnest devotion to Rode would probably be greatly In the beginning as well as in the later and the the most delicate and difficult tasks set for all teach¬ Excepting the instructions I received from him, I black eye, and is ashamed. strument as rosin invariably does. But it is certainly shocked if he could be made to understand that higher development, the subtle art of strengthening ers. To develop a strong natural tendency for vir¬ was really self-taught up to the time I had the good anything but helpful in the production of a good tone it requires years of patient toil truly to master the the pupil’s individuality and, at the same time, sur¬ tuosity, for instance, is in itself a simple matter; but fortune to fall into the hands of Henri Vieuxtemps. “Mrs. A. Sharp.” —which, under all circumstances, is the most vital twenty-four etudes. reptitiously eradicating everything objectionable in to accomplish this without sacrificing the higher aims “I presume that I was about 18 years of age point for consideration. The friction caused by the The ability to play the Rode etudes as they should his musical and instrumental tendencies—this is the of art is indeed itself one of the highest works of art. Extracts from Miss Hammerchewer’s Home-made when I first met him. I was playing in a concert in application of rosin to the bow-hair is, as every¬ be played necessarily means the possession of the art possessed by the few—the art that calls for the Virtuosity, as it is commonly understood, is the need Dictionary of Musical Terms:— a small town in Belgium when my attention was ar¬ body knows, essential in the production of tone. most admirable attributes. These etudes are so re¬ finest instincts and is broadened only by the keenest of every player; but it should always be developed Con pedale—With the foot. Without a certain degree of friction between hair markably well constructed that they contain prac¬ observation. as a means to nobler things. Alone it can never rested by a white-haired, distinguished looking gen¬ Playing by ear—A kind of musical frolic. tleman, who occupied a front seat. He was demon¬ and string it would be impossible to produce any¬ tically everything an artist requires in his musical But since so few men are gifted with the truly high give pleasure to any intelligent lover of music; but /’—Furiously. strative in his applause, and when afterward I found thing better than uncertain and unsatisfactory and technical equipment. By this we do not mean powers of a teacher, the great majority can be de¬ if it be made a subservient attribute, the vehicle to mf—More furiously. out that the gentleman in question was none other sounds; and while rosin, if too freely applied to the to say that the Rode etudes are all-sufficient for the pended upon only to perform their general duties as lofty musical expression, it will always command our Manual of Harmony—-A musical cook-book, giving than the incomparable master himself, my pleasure bow-hair will create too great a friction and neces¬ violinist, and that Paganini and all other important guides, in a painstaking and honorable fashion. Just admiration and often excite our wonderment. full directions how to cook up chords. knew no bound. That same night he said to me: sarily result in the production of a crude and impure educators may be dispensed with. Quite the con¬ what such duties are is not a simple matter to re¬ However great the difficulties which confront the Congregational singing—A concerted endeavor on tone, a knowledge of its qualities and its proper ‘God has sent you to me. I will make you the great¬ trary. Ernst, Paganini, Wieniaski, Vieuxtemps—all duce to a brief and intelligible formula. But, roughly able teacher, none are so peculiarly subtle as those the part of the congregation to lead and outsing the application have proven it to be, for generations, the est violinist of all time.’ Soon afterward I went are essential in the training of a violinist. They5 too, speaking, the following outline may serve as a guide which he encounters in serving as a model for his best medium obtainable for a proper vibration of to live with Vieuxtemps. I well remember the first have a mission. The part they have played in the m all honest and thorough pedagogic work:— pupil. Unquestionably the pupil must 'be taught to Damper—In public performance, the lack of ap¬ the strings. time I played for him in his house. I took from development of violin technics must never he under¬ (а) The correction of mistakes at the right moment. imitate, for through imitation facility is acquired in a plause. Now this very friction, this essential of tone-pro¬ estimated. The peculiar individuality of Spohr, his my case my violin, which I found was badly out of (б) The employment of excellent material for pur¬ great variety of forms. But in imitation lies always Musical characters—Freak' musicians. They us¬ duction, seems insufficient in the “Paganini Tone-Pro¬ great knowledge of the instrument, the great variety poses of illustration. this source of danger, that the gifted pupil may imi¬ tune. I deliberately began to tune it and must have ually have very long hair, and come from abroad. ducer.” The gums of which it is made (or whatever of his technic and all it teaches us, should never be tate so cleverly and persistently as to destroy, in the consumed as much as five minutes before I got (c) The selection of fitting work for technical and Judaism in Music.—The sporting editor of a may be its ingredients) have almost the effect of forgotten by the teacher who is intrusted with the end, his latent powers of individual expression. How it to suit me exactly, for the pegs did not work musical training’. Western paper was sent out to report a wedding. lubricating the hair, with the disagreeable result development of a gifted pupil. But when all is said many teachers are capable of resisting the temp¬ well. I was nervous lest my master would grow im¬ . (d) strengthening of good individual tenden¬ Next morning the musical people of the place were that the degree of resistance which the player should of other masters’ works, we return to Rode and tation of developing all their own characteristics in patient at my tardiness. Not so. He commended cies, without musical or technical sacrifices. astonished to learn that Mendel & Sons’ wedding feel in drawing the bow is not felt. The bow glides find there not the technical features that distin¬ the art of their pupils? How many steadfastly seek me for not attempting to play before my violin was (e) A sincere appreciation of the value of imita- march was played at the ceremony. over the string too freely, in much the same manner guished one man’s style, but the broadest conception to develop their pupils’ characteristics rather than in perfect tune. ‘Don’t hurry,’ said he, ‘take an hour as hair that requires rosining. This effect alone is, of the art of violin-playing and the completest ex¬ their own, utilizing the art of imitation only as a if necessary. The most important thing of all is to Unconscious Humor.—Ait Holyoke an organ re¬ in our estimation, sufficient reason why the “Paga¬ position of violin technics. valuable factor in the demonstration of what is have a correctly tuned violin; otherwise a perfect per¬ cital was given which properly opened with a selec¬ nini Tone-Producer” will not prove acceptable to the ~—‘ ailu wisaom ot directing t formance were impossble.’ That lesson I never have pupils attention to his unappreciated errors in sr good? The few, however, who recognize the dangers tion from Bach. The local critic, without at all in¬ fiddle-playing world. It has no commendable quali¬ Close observers say that the number of violin forgotten. I am always scrupulously exact about manner and at such a time as seems best calculal of imitation, and insist upon individual expression tending to be funny, printed “The program opened ties that we have been able to discover, except that students is increasing every year. to contribute to his knowledge. Some teachers w from the pupil—these are the teachers who ennoble tuning my violin.” with a Back number.” THE ETUDE 31 so THE ETUDE pieces of brass called tangents. These tangents were Rubinstein's playing was remarkable for the ment of his choice is indicated by his statement made correctness and full attention to rules. He also had covered with leather at the pomt where they met breadth of his tone; often on taking his seat at in the Gazette Musicale in 1837. He says:— him analyze and play scores. the string. Now, if the key were held down after the piano he would sound a note in the middle of “My piano is to me what his boat is to the sea¬ In the fall of 1823 Adam Liszt took the young being depressed the tangent would be held up agamst the keyboard, raising the hand with a royal gesture man, what his horse is to the Arab. Nay, more, it virtuoso to Paris, expecting to enter him at the Paris the string, and would hinder its vibrations, and from and meanwhile sustaining the tone of astonishing has been till now my eye, my speech, my life. Its conservatoire. And now we meet the blunder that g this fact arose the fashion of curling power and sonority by means of the pedal as if to strings have vibrated under my passions, and its has caused much discussion. Young Liszt was re¬ The E-tude^ proclaim his identity and his mastery to a listening fused admission to the Conservatoire by Cherubini, the fingers after striking each key. yielding keys have obeyed my every caprice. Perhaps This instrument world. Although Rubinstein produced by habit such the secret tie which holds me so closely to it is a who, great musician although he was, seems to have with brass tan¬ a large tone his touch was not muscular in any had delusion; but I hold the piano very high. In my lacked considerably in judgment. Denied the ad¬ gents was called a sense, and his hands were nedrly always buoyant, view it takes the first place in the hierarchy of in¬ vantages of the conservatoire, Franz studied composi¬ tosic Study Clubs clavichord, and like notwithstanding the fact that he was of heavy build, struments; it is the oftenest used and the widest tion with Ferdinando Paer. Some time later, he the spinet was a somewhat loose-jointed, and noticeably logey in his spread. ... In the circumference of its seven oc¬ studied counterpoint with Anton Reicha, who usually square box with walk. Sometimes at moments of great intensity taves it embraces the whole circumference of an or¬ undemonstrative, became enthusiastic over his tal¬ the keyboard at when his audiences would become wild with enthu¬ chestra ; and a man’s ten fingers are enough to render ented young pupil. In six months Franz conquered Some representations of the ancient harp are in the [The following article so well supplements the Les¬ the side. These in¬ siasm, he would lose his poise and play without his the harmonies which in an orchestra are only brought the mysteries of counterpoint, fugue, and kindred son in History of Music in The Etude for December, form of Fig. 2. struments derived usual control. At such moments, such for instance, out by the combination of hundreds of musicians. problems. Later for the sake of the added short' string the 1904, that the Editor uses it this month instead of their form from as in the celebrated octave passage in Chopin’s . . . We can give broken chords like the harp, long This is the story of Liszt’s student days. His harp assumes the form of Fig. 3. the one prepared in the regular series.] the dulcimer, which Polonaise, Op. 53, representing the trampling of sustained notes like the wind, staccati and a thousand genius for piano virtuosity was so great that it Then, after centuries a front pillar was added to has a long, flat horses’ hoofs, he would emit a “hugh” with each needed only direction to develop with marvelous prevent the extremes from yielding, and to keep the passages which before it seemed only possible to pro¬ THE BEGINNINGS OE THE PIANO. hollow body. The stroke, like a woodchopper, and attack the keys with duce on this or that instrument. . . . The piano rapidity. So, too, he learned from everything with harp in tune. • harpsichord was such might as to break hammers and strings, so that which he came in-contact. His father’s one mistake We have now followed the development of the has on the one side the capacity of assimilation; the similarly made by at times a workman would be kept at hand to re¬ was to ignore all outside the art of music. He did harp far enough to suit our present purpose. We capacity of taking into itself the life of all (instru¬ laying a harp down pair damages; Rubinstein’s large tone was with him not think it necessary for the boy to devote time to will now trace the origin of the idea of a sounding ments) ; on the other, it has its own life, its growth, Fig. 4. flat and fitting the temperamental rather than the result of calculation its individual development. . . . My highest am¬ anything else. Later, Franz learned how great a board. Harp with Front keys and mechan¬ or schooling. Thalberg was another player of ex¬ mistake this was and set himself to correct it. He Mythology tells us that once upon a time the Pillar to Assist Keep- bition is to leave to piano players after me some use¬ These is no musical instrument which in point of ism to it. This ceeding, breadth of tone and style who did not pound entered upon a course of reading and study which god Mercury was wandering upon the banks of the ing in Tune. ful instructions, the footprints of attained advance, universal acceptance and interest can compare with gave the shape of the keys. The late Sir Charles Halle was a notable embraced everything that could possibly increase his the Pianoforte. The organ is, in¬ Ilissus and found there the shell of a tortoise. in fact, a work which some day may provide a the grand piano, which has the keyboard at the end example of the crisp manner of touching the piano. knowledge. And the Liszt of Weimar was a man of deed, a necessity in all church Across this shell were stretched the dried integu¬ worthy witness of the labor and study of my youth.” instead of at the side. The next step in the devel¬ He seemed to use the pedal most sparingly, and to broad culture. To study the life of Liszt, thought¬ services, and in its place is en¬ ments of the dead creature which, on being plucked, How well he satisfied this ambition we now know. give all his thought to producing the utmost clear¬ joyed and admired. gave forth musical sounds. From this hollow shell opment of the piano mechanism was to arrange an Franz Liszt was a youthful prodigy. He was lik¬ fully noting the influence of father, teachers, admir¬ The violin also, and in which the property of resonance was discovered, escapement, so that the hammer would fall away ness of effect. What is known as the Chopin touch ened to Mozart; indeed, he was spoken of as a sec¬ ers, friends, and audiences, observing how sanely the the other stringed in¬ sprang all the different forms of stringed instruments from the string of its own accord. This escape¬ is to produce all effects with the least possible ham¬ ond Mozart; his concerts were attended by enthusi¬ adoration evoked by his virtuosity was received, how- struments, have great which have a hollow, wooden shell, such as the man¬ ment consists of a wooden jack which pushes up mer sound even at moments of great sonority. astic crowds, he was the protege of the Hungarian all experiences were turned to profit, and how even vogue, and in concerts dolin, zither, violin, guitar, psaltery, and dulcimer. the butt of the hammer, and is returned to its place Methods of instruction vary greatly as to the per¬ nobility. Beethoven, after repeated refusals to see in his failings, his manly nature showed itself, is and festivals the or¬ We can to-day easily trace a resemblance between by a spring when the key is released. This jack and cussion or nonpercussion of the keys. Franklin Tay¬ him when his father called at the master’s house, was well worth the while of every student. His student chestra makes a the body of a mandolin and the shell of a tortoise. its adjusting spring may well be regarded as an evo¬ lor directs that the fingers must touch the key with persuaded to attend the boy’s second concert in days extended to old age. Material for study will strong and successful The hollow bodies of the guitar, lution from the quills and tangents of the spinet and a tapping sound and most systems of instruction, Vienna, and was so delighted with his talent that he be found in de Beaufort’s “Life of Liszt”; “Life of appeal for popular violin, psaltery, and dulcimer are clavichord, which in later years were fitted with such as the Leipzig, the Stuttgart, and the Les- repeatedly kissed him amid the applause of the audi¬ Liszt,” by Nohl; “Music Study in Germany,” by Amy favor; but the piano but modified forms of springs to return them to position after plucking the chetizky method all begin with a forceful touch, as ence. Franz at this time was 11 years old. Carl Fay; Century Magazine for February, 1903; and is found in the home this hollow, resounding string. After and since the invention of this es¬ if loudness was the first thing to be learned, best Czerny was his piano teacher, and Antonio Salieri, “Frederic Chopin,” by Franz Liszt. as well as the concert capement with its hammer and jack, the curling ac¬ for the muscles as well as for the musical taste and his teacher of theory and composition. hall, and is ready to tion of the fingers became no longer necessary. judgment. The fact is that the piano action of the He was fortunate in being directed and cared for The Keyboard. HIDDEN COMPOSERS. hand at morning, at Phenomena of Sound. present day can be so adjusted as to respond ap¬ by a sensible father whose sole business was to make noon, and at night We now come to the propriately to any sort of touch, sharp and snap¬ him a worthy musician rather than to reap profit The question is sometimes asked whether the whenever we may consideration of the pish, or dull and flexible, hammered or pressed, held from his success as a child pianist. So far was his BY EBEDERIC S. LAW. piano is an instrument of percussion. This ques¬ 1 wish to study, to com- origin of the keyboard lightly or sustained firmly. This point is a good father from any endeavor to force his advancement Harp De- poae or to enjoy and its mechanism. tion has two sides and each side has its supporters, test of the merits of an individual instrument. If a that when the 6 year old boy begged to be allowed In each of the following paragraphs the name of from Bow. mus;c_ The origin of the idea piano being tested will not respond to any touch but to begin piano lessons, he waited until certain that a composer is concealed. It is found by joining of a keyboard is de¬ It is remarkable what an influence upon our emo¬ a blow and will not yield a tone without a thud, the desire arose from a real bent toward music and the parts, and sometimes the whole, of two or more rived from the set of tions is exerted by the trembling string. People will when the hammer meets the string, then it is not re¬ not from a mere childish whim. The father himself words occurring in. such a succession as to spell out levers used in playing listen entranced to the strains of an iEolian harp; sponsive enough to meet the demands of musical was quite an accomplished musician. His love for it the name in question. The letters italicized in the although there is in its sound no development of any a chime of bells. These expression, and should be discarded, or perhaps regu¬ had long inclined him to make it his lifework, but .first example will make this explanation cleai. musical idea, it is peculiarly the property of the levers were hinged at lated so as to be more sympathetic in effect. The realizing the futility of trying to support his family The paragraph itself contains some information, vibrating strings to enchain the attention and charm the back and were actions of various makes of pianos differ so greatly on what he might earn as a musician, he sacrificed historical or critical, about the composer, which is the ear. There are three parts of the piano which Fig. 3. struck by the hand or that it is often only after a long search that a his inclination. He enjoyed the friendship and in¬ designed to afford a clue to the discovery of his challenge human inquiry as to their origin and de¬ Harp Modified fist and had a dip of piano can be found whose tone is steady and perfect, struction of Haydn and Hummel, and was so good a to Add Short Strings. name, and to serve as a test of its correctness w-hen velopment. These three principles embodied in the about a foot. The first and whose mechanism will transmit to the waiting performer that he took part as an instrumentalist in piano are (1) the vibratory element, represented by organ keyboard was exactly like these levers, and string the impulse which shall cause it to vibrate Haydn’s orchestra. He was steward for Prince Ester- The principal work of this modem composer, which the strings; (2) the resonating or reinforcing or re¬ so we read of the ancient organ belonging to the with shadings and accents; responsive to every phase hazy, who was also Haydn’s master. What Adam is but a few years old, is an oratorio composed on flecting element, represented by the sounding board; Bishop of Winchester which had ten such keys and of emotion, and the infinite expressions demanded Liszt would not do for himself, he did do for his son the lines of the music drama, and has been as suc¬ (3) the actuating element represented by the key¬ forty pipes to each key. At first the levers repre¬ by the ideals of melody. when the boy’s talent indicated the direction his board and its connected mechanism. Let us briefly senting the naturals were on a level, and the sharps future studies should take. When Franz was 9 his cessful in foreign countries as in his own. The sub¬ trace the origin and development of these three parts were distinguished by being lower or higher than father, recognizing the greatness of his talent, decided ject is taken from a poem by a well-known prelate, of the piano: the vibratory, the resonant, and the the naturals. In the ancient organ at HalberstadL THE MASTERS AS STUDENTS. to give up his position as steward and go to Vienna and represents a dreamer face to face with the mechanical. these levers had assumed the form of a keyboard, in order that his son might have the instruction of great realities of life and death. In his vision he The first idea of string with flat upper and lower keys wide enough to be BY ARTHUR L. MANCHESTER. proper teachers. He was encouraged in this decision sees an angel garbed in heavenly raiment, who shows vibration was noted in struck by the fist. by the subscription of several Hungarian noblemen him the fate of evildoers and finally conducts him the bow, as used in an¬ When these levers were applied to stringed instru¬ Franz Liszt. of the stim of six hundred Austrian gulden yearly for to the place of departed spirits, where he leaves him. ments it was no longer necessary to have the keys id played cient warfare. The When Frederic Chopin was 19 years old his princi¬ six years to the support of Adam and the child while The most popular opera of this composer, in spite twang of a bowstring pro¬ so wide and heavy; so the keys were narrowed pal rival as a piano virtuoso was Franz Liszt, who pursuing his studies. of its hackneyed story of child abduction and a duces a musical note. If down sufficiently to make them playable with the but the fact is that, while there are hammers in was two years his junior. Both were destined to link Franz’s early studies were carried on by his fatheT, libretto curiously lacking in verbal felicity, has by the bowstring is not taut fingers instead of with the clenched fist. They would the piano, the tones of the piano can be brought out their names inseparably with the piano. Chopin cre¬ the village priest providing instruction in reading, reason of its taking, if commonplace, melodies been enough, it will show when also thus permit the octave to come within the span without striking the keys. Thalberg, one of the best ated for it a new style of composition, unapproached writing, and arithmetic. The precocious talent of a universal favorite during the fifty years since it you twang it, and the tighter of the hand. authorities upon piano touch, maintained that the and unapproachable. Liszt originated a technic which the boy enabled him to make rapid progress under was first produced. And this in the face of leading you draw it the higher the Now, as to the mechanism or internal machinery piano keys should never be struck. The best part his father’s teaching. And he was greatly impressed critics, who declared at the time that it would not pitch of its sound. So in of the piano. The ancient stringed instruments, was to give to piano playing a new meaning. The of a piano tone is the lingering part after the key is two were to become close friends in Paris, under¬ by the music of the Hungarian gipsies, to whom he hold the stage more than a year or two. ancient Egypt and Phoeni¬ such as the harp, the psaltery, and the lyre, were depressed, and the tone is sustained by the finger or Early French dramatic music felt the impulse cia men made a bow with standing and appreciating each other, one writing a would listen as though speUbound. He was also fa¬ played by plucking the strings \vi[b the fingers, by the pedal. There is a great difference among in¬ given it by this composer. It had fallen into a dull many strings and called it while the zither, lute, and similar instruments were life of the other. One was to endure a short life of miliar with the music of Beethoven. His first experi¬ dividual placers with regard to the amount of tone routine and failed to advance, but with the advent Kitara, a narp. Such harps played, as are the mandolin, and zither of to-day. suffering, accomplishing his work in a few short ences under the teaching of Czerny were like those of his works on the stage this temporary lull yielded. are seen on the most an¬ with a piece of shell called the plectrum. The dul¬ years, and dying a pathetic death; the other was of many students of to-day. His notable success had Their brisker movement and spirited action worked cient Egyptian sculptures cimer, as in the Hungarian bands of to-day, was to enjoy a long life of triumph and material com¬ brought him to think that he was already an artist, a great change for the better among his musical con¬ and monuments. These played by a couple of hammers covered with soft fort. In this number of The Etude, devoted to and the strict course of finger training to which temporaries. harps, as used in Egypt material, with long, flexible handles, one such ham¬ the master whose life, although short, was pregnant Czerny subjected him was not to his liking. The and Assyria,had no front mer in each hand of the performer. with influence on the piano and its literature, it is etudes were monotonous, the Clementi sonatas were His melodious waltzes have been sung by the great pillar. There was noth¬ The earliest stringed instruments with a keyboard timely to consider the student life of Liszt, who was too easy,—how familiar this sounds,—and he rebelled. singers of almost two generations. Hard it is to ing to prevent the yield- t0 ImPro' had a piece of crow-quill fastened to the farther the greatest pianist the world has known. Here the father’s sound sense accomplished a cure. A realize that their composer’s active hand is now ing of the bow to the tension of the strings. One end of each key, so that when the key was de¬ It is not necessary to use space in giving details talk with Czerny resulted in the judicious rumoring stilled forever. eminent Greek writer says that if a harp player pressed the quill would rise against the string, and Fig. 6.—Dulcimer. concerning the influence of Liszt on the piano; my of the boy’s tastes, without lessening the strictness He asserted that his most noted composition was should live fifty years, he would have spent thirty thus imitate the plucking of the strings by a plec¬ which they elicit from the piano in playing, and also readers know that he was the creator of modern of the legitimate finger training. Peace was restored, inspired by the devil in a dream. Waking, he hur¬ of those years in tuning his harp. The earliest trum, or by the fingers. This instrument was called in regard to the amount of hammer effect attending piano playing. His technical innovations, his com¬ and no harm was done. His work with Salieri was riedly wrote it down, but, though he put his best harp was of this form, a modified bow with several a spinet, from the word spine, which means a quill their tones. Some players aim at fulness of tone plete subjugation of the seven octaves of the key¬ more to his liking. He wrote exercises in harmony, art in it, he declared that it was far inferior to strings. See Eig. 1. or a thorn. Later these quills were replaced by and others at crispness. board, are matters of common knowledge among stu¬ usually consisting of short pieces of sacred music- that which the devil had played for him in his dents of the piano. His attitude toward the instru- composed by the boy. Salieri was strict, requiring dream. THE ETUDE 33 32 THE etude could be selected. The advance price for the work Get for us during the year 1905 at least one new it was, that Chopin lived! He knew not, although —NOTICE— — will he 50 cents, postpaid. There is at least $10.00 subscriber. One of our subscribers during the pres¬ he may have prevision, what a valued heritage he A NEW SIGHT-SINGING MANUAL worth of music in the volume. The work will be ent week wrote us for agents’ rates. She had ob¬ was to leave to the followers of his beloved art. The fiutchings=Votey ready for delivery in January. tained at that time 18 subscriptions in her immedi¬ Death is not always sad. Measured by achievement, ate neighborhood so easily that she felt that her Organ Company “PROGRESSIVE his was a long life, though when years are considered Methodical Sight Singing, Book II, by Frederic it seems to have been short. Hence his death should time could not be better or more profitably occupied. wish to announce that they have: secured new W Boot is on the press and copies will be ready Remember, we give free sample copies to assist you. factory quarters, have resumed work, and expect not be viewed other than as a noble end to a great for delivery within a few days. Although the special career. In his work there was no anticlimax. The Sometimes the mere leaving of a copy over night in a short time to be running at full capacity SIGHT-SINGING offer has been withdrawn, we will be pleased to send with increased facilities and under most favor¬ features of the picture explain themselves, the sor¬ means a subscription. We have given a great num¬ this volume on selection to those having open ac¬ able conditions. rowing friends, the hero comforting them while his ber of music cabinets and ladies’ desks as premiums. EXERCISES ” counts. A careful examination of this work will We have never received one complaint. In almost The Company is in a position to give esti¬ gaze passes out beyond and above the things of mates and accept new contracts. Any jobbing We think this is the proper time and place to convince any musician of its superior excellence. It every instance the value of the premium was a great press our appreciation of the generous support earth, a scene of triumph, not of defeat. The pic¬ orders will receive prompt attention. is a continuation of the course of sight singing so surprise to the recipient. -- B Y --- corded us by the musical public and to convey ture-—-— is fine in finish,- perfect* , in detail,, and when Office, Room 3, Pierce Building, Copley Square - - . - - inter- ably begun in Book I. The two books, taken to¬ thanks to all our friends, wishing them each and all properly mounted and framed will make gether form a complete course, logically planned and BOSTON, MASS. as prosperous and satisfactory a year in 1905 as we esting addition to the studio walls, of practical utility. Book I has been received with have enjoyed in 1904. much favor. Book II should prove no less welcome. W. Rhys-Herbert With the present year The Etude begins its SPECI£fe^> Those interested in sight singing should not fail to ( Mus. Doc. Trinity University, Toronto) Trr*lllE increaselllliea.se inme our business during. 1904 is due twenty-third_1-fnllrvnrod volume. The policy laid down and make a careful examination of the two volumes. >r-growing appreciation of our methods first number has been faithfully followed, and to-day the central thought of the management is to give Musical Calendar A Complete Method, to Be Used our customers know that we can he depended on The third volume of Mr. H. W. Greene’s great to the readers of The Etude a journal that believes as Such, or io Connection with for prompt, intelligent, and accurate service when¬ work, “The Standard Graded Course of Singing,” is Noticeotices Price ten cents, postpaid to any address. the interests of the teacher of music and of the Any Other System of Teaching. ever any musical want is to be supplied; thousands expected to be ready for delivery by the time this An attractive and convenient memoran¬ student as well to be the first and foremost consid- of teachers, schools, and colleges depend issue appears. The advance offer on this work is dum daily pad calendar, with musical their needs in music, studies, instruction, and text- eration; their needs are to be studied and supplied; Contains two-hundred melodious therefore withdrawn with this issue, and it can only 4. TEACHER OF TWELVE YEARS’ EXPERIENCE DE- quotation for each day, mounted on exercises, arranged progressively, their hands are to be upheld by the most practical es position as instructor in vocal, piano, or organ, in books. Mere distance has proved to be no bar be purchased at the regular rate. ■ metal stand. from the simplest form, built upon whatever, and customers in remote places are ne- suggestions that can be secured; their hours of dis¬ me good locality or college. Address Box 414, Plainview, Those who wish a reliable course of graded studies Minn C, E, G, to examples of modula¬ quently surprised at the short time consumed in couragement are to be lightened, and their field of for the voice, will do well to take up Mr. Greene’s FOR SALE—2-MANUAL HOOK ORGAN, 26 STOPS, 1201 Address the Publishers, tion; also a supplement consist¬ receiving goods ordered from us by mail. The ex¬ work is to be extended. pipes, present use, fine condition, $1200. C. H. Lewis, Abi¬ ing of twenty-five exercises on We promise that The Etude for 1905 will surpass eourse. being rapidly adopted by teachers and planation is simplicity itself: we have a complete conservatories throughout the country. lene, Texas. _ _ _ MASON & HAMLIN CO. “Time and Rests.” :: :: stock, we have competent employees, and we attend in every respect all previous volumes. We have in THE NATIONAL CONSERVATORY ” OF MUSIC OB 492 Boylston Street ... BOSTON preparation a series of articles by leading American America, whose advertisement will be found on anothei to all orders as soon as received; these facts by them¬ A few years ago we published an anthem book page, was founded by Mrs. Jeannette Thurbi r in 1885. Sev- selves would guarantee the success of our business; writers which will make a general survey of the con¬ eral of the Free Scholarships are now vac; mt and will be PRICE, 50 CENTS ditions of music teaching in the United States. We entitled “Model Anthems.” We are now about to is¬ open for competition during the coming wi iter. This will hut we have still other inducements in our liberal sue the second volume. This work will contain ma¬ no doubt be of considerable interest to man; \ For particu- discounts to the profession and in our “On ^Sale” shall also have some articles on the subject as pe¬ lars see their advertisement in this issue. culiar to England, France, and Germany. We shall terial along the same lines as the first volume and plan. Would you like to be informed xl ’ about the same number of pages. The price will also BARGAINS IN BOTH NEW AND USED PIANOS. Six¬ A Nerve Food If so, write for our catalogues and terms. You may have some of Mr. William Armstrong’ lseful talks teen mahogany uprights warranted ten years, $125 each. Specimen Pages Free on Application be the same. Unrivaled at the price. Others including almqst any depend on a prompt response. By the way, we are with great‘ artists and teachers, several articles on Volume I has been exceptionally successful as an maker $100 upwards. Squares like new, $50 up. Influence just about to issue a “Thematic Catalogue,” embrac¬ the education of the great masters by Henry T. of teachers solicited. Low freight rates. Wm. Scherzer, Horsford’s Acid Phosphate anthem book. We have yet to find a single dissatis¬ Published by ing our best teaching material for pianos in grades Finck. These, with some other shorter papers, will 927 Spring Garden Street, Philadelphia, Pa._ fied customer. We predict for the second volume an Invigorates and strengthens the system, one (I) to five (Y); we want each of our patrons to make the 1905 volume one of unusual value to edu¬ ^INCREASE YOUR INCOME—WE PAY SEVEN DOLLARS even more successful career. for each set sold. You can easily sell “Famous -- relieves nervousness and headache, and have this, and will send a copy to any address on re¬ cators in music. Our correspondence shows that There were several features in Volume One that and their Music” by talking about it to your creates a good appetite. quest. It will prove of great assistance to any many of our readers note how each volume becomes pupils. Two dollars monthly. Sent on approval proved somewhat objectional. These will be rectified pense. Representatives wanted; devote all or W.J.DYER&BRO. teacher. a little more useful and helpful; the good work is to Write Lyman & Co., 8 East Sixteenth Street, N v York. go on. This is the time when teachers can help their in Volume Two. For a church choir of average ability, we cannot GRADUATE WANTS POSITION IN SCHOOL. CAN PRESERVE YOUR COPIES SAINT PAUL, MINN. s fitting ii “Chopin number,” five pages of n work and the interests of music among their teach piano, harmony, and history of music. Addrer-- TJ— Music in This Issue are given up to pieces by this pupils and friends by recommending The Etude to offer anything better than this new volume. At 61, Windsor, Broome Co., N. Y. OF THE ETUDE composer. These pieces consist of the “Grande Valse an whom they know to be interested in music. W least it will pay you to send for a sample copy, EXPERIENCED PIANO TEACHER DESIRES POSITION. References. Miss E. J. M„ 185 Rawson Street, Atlanta, Ga. Using a Kegrize Fountain Pen is a Brill'ante,” in E-flat, Op. 18, and “Three Favorite have a plan whereby we can help you in this effort. which we offer in advance of publication at an un¬ Preludes,” from Op. 28. The waltz, although it is Write to The Etude Subscription Department for usually low price, 20 cents apiece, postage paid. This The Etude Binder an easy work, is still a prime favorite, never hav¬ Premium List and other interesting leaflets. is less than 1 cent for each anthem contained in the It is simple but complete, cheap but durable, and PLEASURE ing been supplanted by the later numbers of the volume. set. It is brilliant, full of life and go, and contains “Mekry_ Songs fob Little Folks,” which ap- beautiful in appearance. many striking effects characteristic of the idealized peared on the market during the last month, We have numerous requests for bound volumes of ALVAH GLOVER SALMON, OF BOSTON, PIANIST, It has a solid wooden back, which always keeps it dance-form. The three preludes represent Chopin at phenomenal success. It is without doubt the past years’ issues of The Etude. Some we can fur¬ Lecture Recitals, Russian music (now on tout of New Eng¬ in shape, and it does not mutilate the contents. nish, and some, being out of print, we cannot. To land States). Forty concerts booked for present season. his very best; although miniatures, they are artistic- handsomely gotten out Children’s Song Book For terms and dates address C. W. Thompson & Co., 13 The copies are instantly but securely bound by tbe thin ally perfect. The little A Major Prelude shows what issued. There is nothing on the market that ap¬ any who are anxious to complete their files of The slats which run the length of the periodical, and yet can (Guaranteed Etude, or who desire a volume that will furnish can be done with a simple melody daintily treated; proaches it. Its illustrations are appropriate and VIOLINISTS—IMPROVE YOUR TONE BY USING be removed at pleasure. them with an abundant amount of good music and “Solo” and “Orchestra” Rosins, prepared after old German Ink will not drop from Pen while writing. the C Minor Prelude, with its clanging chords, repre¬ artistic. Besides this the music is of more than us¬ formula. Neat, handy case. By mail, 15 cents, or 10 cents Each Binder holds twelve copies, or a full year’s sub¬ sents Chopin in a sterner mood; the B Minor Pre¬ ual interest. hundreds of pages of valuable and interesting read¬ Manufactured by the ing Company, Station A, Muneie, Ind. scription, of The Etude. lude serves to display his fondness for the violoncello The book is bound to be adopted by the up-to-date ing matter on all subjects pertaining to music, this KEGRIZE PEN CO., Philadelphia, Pa. and his success in imitating the effect of that instru¬ Kindergarten Schools; at the same time the music is surely an opportunity. CONSERVATORY FOR SALE—VERY ADVANTAGE^ PRICE, POSTPAID, $1.00 We have 25 hound volumes which we will dispose ously located for sixteen years in a large inland city. Our ment on the piano. is by no means childish. Children of an older books will show receipts for last year to have been over THEO. PRESSER, 1712 Chestnut St., Plfiladelphia Price, S2.00—Registered mall, 8c. extra The remainder of the music is in rather lighter growth can find plenty of enjoyment in it, as the of for $2.10 each, sent by express. The volumes cover $9000.00. The building, on which there is a long lease, 13 handsomely equipped for hoarding pupils and local patron¬ well composed and interesting throughout. The composer,. Mr. Gottschalk.' ' i musician of wide the following years: 1889, 1890, 1893, 1894, 1895, 1896, age. The equipment, which includes seven first-class —- four-hand number is a new and effective arrangement reputation and whatever he does has the touch of 1898, 1899, 1901, 1902, and 1903. You see, there are pianos and the furnishment of 21 rooms, invoices, £ moderate estimate, at $3000.00. The conservatory has been of the celebrated march movement in Verdi’s “Alda.” the mature artist. The verses are at once attrac¬ only a few volumes of each, and they are subject liberally advertised, is well known, has a first-class repu¬ A BOOK OF UNIQUE CHILDREN’S SONGS A. L. Brown’s “Love’s Dream” is a drawing-room tive and suitable for children. to prior sale. tation, and enjoys a liberal patronage, which by effect'-" management can be greatly increased. This is the oppor¬ For the HOME-SCHOOL-KINDERGARTEN piece of the better sort by a popular American com¬ We predict for this book a wide circulation. If tunity of a lifetime for an energetic, thoroughly trained poser. It can be made very effective in the hand of you have dealings in any way with children, we The editor in another note under this head will -musician to take up a first-class position in a large music give our subscribers some idea of the plans that we center. The present owner and musical director Wishes to a player of even moderate attainments. Schneider’s would strongly advise you to make them happy by retire. The conservatory will be sold for the amount of in¬ “At Daybreak” is another drawing-room piece of to¬ giving them a copy of this new volume. have for the issues of 1905. The present issue is a voice given above, and a reasonable sum for good will. Par¬ tally different character. It will please the many The advance price of the work is withdrawn with representative number. On page 44 of this issue will ties wishing information must enclose references as to MERRY SONGS FOR LITTLE FOLKS musicianship and financial ability. Address Conservatory ' ‘ $1.50. be found almost our complete premium list. We players who are fond of a good flowing left hand this issue. The regular price Sale, care of The Etude. Words by WM. H. GARDNER Illustrations by JEROME P. UHL Music by LOUIS F. GOTTSCHALK melody with arpeggiated accompaniment. C. W. should be pleased to send our complete premium list E. T. PAULL MUSIC CO. HAVE A NUMBER OF THE Kern’s “Slumber Song” is a recent number by an¬ We have in preparation a “Liszt Album.” It will to all who are interested. On the third cover page best teaching pieces on the market. In their half eoli Including Actions and Tableaux, Price $1.50 “ad.” which will be found in one of the front pages of_ other popular composer. Kern always has something contain the most admired and generally popular additional offers will be found to aid in obtaining new issue of The Etude, they give the names and description to say, and displays his usual melodic vein on this works of this master, both original compositions and subscriptions. By the judicious use of these offers of several of their best publications. They make special offers to readers of The Etude, which everyone should HE most elaborate work ever issued by this house. The illustrations are by an artist of piece. In easy pieces of lighter character Rathbun transcriptions. The original compositions will in- all of our subscribers can. readily.. obtain.. new sub-. take advantage of that is interested in instrumental ttr T has attained a degree of success granted to but a elude some of his best-known pieces, both large and scribers from their pupils whom they know would be national reputation. Every page is illumined in three colors, the work of perhaps the finest art printers in America. few. His Spanish Dance is one of his later composi¬ small, and the transcriptions will include some greatly benefited in their studies by The Etude, The authors as well as the illustrator are ardent lovers of children. Every verse, every tions. It is a dainty, melodious waltz movement. famous operatic and song arrangements. The volume from their friends that are musical, and from all to melody, every illustration is bright, original, and attractive; the humor is by turns quaint, nonsen¬ The two songs are particularly good. Carl So- will be gotten up in handsome style, printed from whom The Etude would furnish considerable recre- sical, and attractive. The work is considered by all who have examined it to be the superior of beski’s “Forever and a Day” a fine recital song, large plates, and will be similar in size and general ation and inspiration. By giving the sample copies any book of Children’s Songs yet on the market. the work of a well known mi and singer. Pon- make-up to our very popular volume of “Master which we shall gladly furnish, it will not he found The songs are in the style of nonsense verses with catchy rhythms and jingling rhymes. The tius’ “Crossing the Bar” is one of the best settings Pieces.” The works of Liszt are growing in public difficult to obtain the valuable premiums which we music is melodious and aptly fits the words, not at all difficult, and within the compass of the of Tennyson’s well known words, and is much in de- favor, and are widely used, especially his original give to those getting subscribers for us. Thousands child voice. The piano accompaniments are effective and characteristic. compositions. It is most convenient to have the of our subscribers have earned these premiums, and Numerous directions are given for the use of the various numbers as Action Songs, and for favorite numbers all under one cover. The selection almost our entire list has been made up by the indi- the arrangement of appropriate Tableaux. Oub Picture Supplement.—We have no data at has been made with our usual care and discrimina- vidual effort toward the general increase of musical THOMPSON REPORTING CO There are in the book 22 songs suitable for all the various purposes to which a book of tion, and will include a splendid lot of well-edited culture in your community. Children’s Songs could be put. For the home and school the songs can be sung with or without hand to give in regard to the celebrated picture Boston, Mass., No. io Tremont St. actions or tableaux; for kindergarten or exhibition purposes the actions or tableaux, or both may “Death of Chopin,” a reproduction of which forms the pieces, a number of which have been especially pre- Our premiums are as liberal as it is possible for us be carried out most effectively. ’ J picture supplement to the present issue of The pared and engraved for this work. For a musical to give, and are based on the actual cost of manu- PUBLISHERS Etude. What a glorious life for music, short though fiiend or advanced pupil no better holidav gift facture in almost every case. THEO. PRESSER, 1712 Chestnut Street, Philadelphia We Collect Claims in the Uni 35 THE ETUDE 34 TflE ETUDE THE VALUE OF ENCOURAGEMENT.

BY DOUGLAS BOSS. J. FISCHER &BR0. 7 and II, Bible House, • New York

New Songs

pertorzaeK.Dt ^ Mr. Alberto Randegger recently celebrated tbe fif¬ tieth anniversary of his professional activity in England. The new edition of the English hymnal "Hymns Ancient and Modern” is the first revision during the past thirty

SSSaSa?-

A TIMELY AND SUGGESTIVE BOOK ABOUT MUSIC Saint-SAbns is spoken of for the directorship of the French school in Rome where prize winners go to finish their studies in music, painting, and sculpture. An English exchange is authority for the statement that the name of the composer, Edward German, was formerly PHASES OF MODERN MUSIC Jones. He changed it on the advice of his teacher. Sir George Maefarren. ,J.wo American singers, George Hamlin, tenor, and Gwilym By LAWRENCE GILMAN , Miles, baritone, sang the solo parts In Haydn’s “Creation” with the celebrated oratorio society, “Musikakademie,” at Hanover, Germany, November 16th. An English dancer named Isadora Duncan has taken up In this book, Mr. Gilman, who has been musical critic of Harper’s Weekly since 1901, writes “e Problem of reproducing Greek dances. Recently she JJJW®4 ‘“Munich in a representation of Gluck’s “Ipht- with vividness, sympathy, and insight of such musical topics of present and vital interest as gema in Aulis, with great success. “Parsifal” and its Significance; Richard Strauss, the most important and widely dis¬ trvin? £rSS"a °f t*?e May Festival in Cincinnati are cussed of living composers; Edward Mac Dowell, America’s foremost music-maker ; the Sp? T6./T?,Etord Elgar, the English com- nf Shf« SLSSPlfL*0 United States in 1906 and conduct some fascinating Norwegian Edvard Grieg ; Wagner and his great contempory Verdi ; Women as of his great choraltP eworks at the Festival. Composers ; Realism in Music ; the interesting Englishman Sir Edward Elgar, and other A contemporary says that three well known organists subjects of timely appeal. HallU pf5sV.«1i»ReratIonifor^fe post of organist at Carnegie Fred w2 nb,vnamely, Charles Galloway, St. Louis; j. Fred. Wolle, Bethlehem; Gaston Dethier, New York. 16 mo, Ornamented Cloth, Uncut Edges, Gilt Top, $1.25 net. DmnoRe1??^^8 -been formed in Versailles, France, for the and nf ■ the music of the seventeenth century ft was oPomnn=Ld8 T pubIic on the instruments for which composed, viol, theorbo, gamba, lyre, clavecin, etc. HARPER & BROTHERS, PUBLISHERS, FRANKLIN SQUARE, NEW YORK th.f conducted by a Swiss paper to find cmlras The ~ °Vts reaaers as to the five most popular toon,” 179^^“ “ “to™ - >n.” 1256. 37

36 THE etude The Booklovers Magazine AND HOWOPHONIC VOCABULARY, CONTAINING MORE THAN TWO THOUSAND WORDS HAV¬ ING A LIKE SOUND AND LIKE SIGNIFICA¬ A Tabard Inn “Exchangeable” Book TION IN TEN LANGUAGES: ENGLISH, FRENCH, SPANISH, PORTUGUESE, ITALIAN, A rare combination offer for $1.50 GERMAN, DUTCH, DANISH-NORWEGIAN, SWEDISH, AND RUSSIAN. Compiled by Charles B. Waite, A.M. Sold by A. C. MeClurg & Co. FOR $1.50 you can have The BOOKLOVERS Magazine for six months and in Price, $2.00, net. addition any new book listed below. Every book is a $i. 50 copyrighted book* The value of such a book to musicians, at a time The book will be delivered to you in a “Tabard Inn” cloth case. It will be when composers put titles in many different lan¬ exchangeable at any “Tabard Inn” library in America whenever you like and as guages is easily apparent. It is also a great help to often as you like at a cost of only five cents for each exchange. The BOOKLOVERS the student of modern languages. Magazine sells for 25 cents a copy or Three Dollars a year. Look it up on your MENTAL TRAINING FOR MUSICIANS. By At- news stand. You will find hereunder a list of books. Select any one of them and use the order blank, putting an X opposite the title you select.

THE BOOKLOVERS MAGAZINE

The Booklovers Magazine, 1323 Walnut St., I "■ •' "• sejra.’sasi sr ~ * r~ *4

zabel brothers Music Printers CoX.mM. Av.. J RyJ-.K AND ENGRAVER'S childtSS°!LDays Composed, Compiled and Arranged especially for Class and Private Instruction SISSSISSniontown, Pa.

£££.I- “ assarasAassr. ssh

Pu. 39 38 T E ETUDE THE ETUDE tirely without references or credentials of any sort is willing to. When a teacher has many pupils for THE TEACHERS’ ROUND TABLE. that of music teaeher. The tradesman must demon¬ years and none of them ever passes the bounds of strate his personal ability, if not his character. But mediocrity, it is pretty safe to conclude that the LEARN PIANO TUNING men and women who play or sing execrably upon We have just been passing through the Christmas teacher, as a teacher, is distinctly mediocre, too. the instrument they profess to be able to teach others HERE’S A RICH FIELD season, the time when we are supposed to become im¬ When, on the other hand, a goodly proportion become to master, without testimonials as to preparation for bued with the spirit of “Peace on earth, good-will to more or less distinguished it is equally safe to con¬ Be Independent &.nd Your Own Employer the work, or as to character, or even as to previous men”—indeed, so surcharged with it that our entire clude that the teacher, as a teaeher, has not a mis¬ standing, can go into any town or village in these life will contain nothing but thoughts of kindliness taken vocation. The only thing that justifies teach¬ United States of ours and secure pupils; these same for our fellow-beings. We are not even permitted ing is fitness for it; and that fitness, while dependent to forget this, for does not the Christinas reminder pupils being the children of respectable parents of to a certain extent upon what we know and what average intelligence, and really desirous of their chil¬ of it return every year to keep us faithful to our we can do, consists pre-eminently in so imparting dren’s well-being. what we know that it will enable others to do what Just as I was beginning to feel something of There is something pitiable in the spectacle of a we can do, and even more than we can do, as their the fullness of this spirit in the atmosphere, I re¬ man who has laboriously achieved a position where own powers transcend ours. ceived a letter from one of our Round Table read¬ he can give his children opportunities he himself was Again and again you hear of some incompetent ers which contained a query that might on the face unable to secure, paying out hardly earned money teacher who either does not help people at all or who of it seem at variance with the Christmas mood. in the endeavor to refine or educate a child in music teaches them to do things altogether improperly. The writer of this letter seems to have always tried to someone who has absolutely no claim to confidence “Well, music is the only thing they know,—and they to put this Christmas admonition into practice, and and no ability whatever. must have bread and butter!” I prefer for my own steadfastly refrain from uncomplimentary remarks We are an intelligent people, as a people. We gen¬ part that they should steal it! It is much less injuri¬ in regard to her co-workers in the profession. To do erally investigate matters with some degree of thor¬ ous to the community at large in the long run to have this in this day of jealous backbiting is a matter oughness. We ask references and guarantees from them take a small portion of other people’s property, NILES BRYANT SCHOOL OF PIANO TUNING of no small credit. But she feels that she is begin¬ those who serve us and those whom we serve. But whereby to satisfy an innocent and natural craving, 203 Muslo Hall Battle Creek. Mich. ning to arrive at that period when patience ceases we seem to say farewell to common sense, to pru¬ than to take from them or to cripple them in the use to be a virtue, and when it is getting to be more dence, and to the actual evidences of our five of an immortal gift. A misused voice, an ill formed and more difficult to contemplate with complacency senses when we enter that specific domain of art hand, a repressed and stultified intelligence, shall we the charlatan methods of fake teachers, and the hig.i called music. You will find a father intrusting a have these pay the penalty of the most pressing need Keep yotzr Music esteem the incompetent seem to be able to attain child with a voice which anyone can hear to be of the unfit? There is no excuse for any human be¬ with the public, through their assumption of superi¬ strong and sweet to some teaeher (now, God save the ing’s not knowing at least how to do one thing well; 'Bound ority, and cleverness in trading on the ignorance of mark!) who sings off the pitch in a cracked falsetto. and still less excuse for doing anything one cannot this same public. Now the troublesome question she This is a fact which has come under my own do loell. Pity for the incompetent teacher has an wishes answered is, whether she should continue her observation. This same man would not make any angelic guise, perhaps, but when we realize the whole¬ policy of quietly ignoring all this, meanwhile meas¬ kindred mistake. He would not send his son to study sale sacrifice of time, talent, and energy it implies uring her own life by her own ideals, or shall she grammar with a man who knocked the king's English on the part of an entire class of pupils, then we actively fight for what she thinks is right even at into a cocked hat. But no question of fitness seems see this apparently lovely commiseration is really the risk of being misunderstood? to be raised in many minds as to this particular pro¬ Satan disguised as an angel of light. When a man mr SOMETHING NEW “©a It is not always easy to decide what it is best to fession. tries to do other things and proves his unfitness, he YOVR MVSIC IS TORN !! do in face of these difficulties, which confront us all I have instanced the vocalist, because the pretense fails; but, wonder and sad paradox! In music, he FINE VIOLINS {boughtCseo!0d?',rkCen on is so much greater than among instrumentalists. The in like manner. We have constantly impressed upon succeeds! Let us be up and doing, in the endeavor to It will take one minute to repair it by using our consciousness the fact that there is a right and a temptation is manifest, especially at this day. The impress upon the public the necessity for caution, as wrong side to everything. Much of the pleasure that standard of the player has rapidly advanced ani to musical ability, power to impart, and—character! Multum In Parvo Binding Tape. 5 yards we might otherwise take in life is marred by this people are beginning to understand that it requires The danger of sending young and impressionable FOR ANYTHING { roll of white linen or 10 yards roll of paper— lurking consciousness that there is a wrong side, a years of conscientious effort to attain eminence upon pupils, intent upon emotional expression, into the Pine Old Violins. Violas 25 cents each, postpaid. If your music dealer THE KIMSEy MXZS'IC ‘BIJVT>E'R side from which all the beauty of texture is gone and any instrument. The voice, on the contrary, still re¬ care of unprincipled persons, is apparently taken into does not carry it send to THEO. PRESSER, nothing shows but a tangled confusion of threads. mains comparatively unchallenged upon artistic lines, MUSIC GIVEN FREE rot account scarcely at all by those who should most Philadelphia, or MULTUM IN PARVO In textile fabrics it is possible to turn this wrong in America. A ballad fairly well sung still satisfies gravely consider it. T h eNewYorkV i oMnExch a n g BINDER CO., 624 Arch St., Philadelphia, Pa. side from the sight, and without the knowledge of the general demand, and it does not seem a difficult We wish it distinctly understood that none of the its existence even giving us offense. But not always thing to a very ordinary musician to undertake to foregoing strictures apply to the young teaeher who so with the fabric of life. It is impossible to turn teach this. If you tell them that long years of study, has been well taught and can tell the how and the it from the sight, for someone is constantly turning experience, and scientific experiment,—and intimate why to pupils as far as a brief education has gone. it back with all its disagreeable reality. Then be¬ knowledge of physiology,—a keen observation of It refers only to the empirical many who are old DO YOVWANT Original, Characteristic, Easy-to-Play MUSIC BINDER at your music store; or, we will send cause of the interrelationship of people and their in¬ character and temperament,—are merely the primary enough to know much and who really know very :M ARCHES?: terests, there seems to be a tacit agreement to cover essentials of a good vocal teacher, they will not even little and that little of no real value to the earnest Heavy Paper Cover, 25 cts. Extra Heavy Paper Cover, 35 cts. If so, look carefully over this list of a44 round dozen ” of Cloth Cover, 50 cts. up these disagreeable facts, to gloss them over, lest understand you. To have played accompaniments for gifted student. We have written with a thought of someone be injured. But to those who believe in the a really good teacher for a short time constitutes the worthy workers so often crowded out by mere¬ the best MARCHES and TWO-STEPS ever written. WM. SC A. TCHA.'RD, J'R. supremacy and perpetuity of right, there is a tendency 500 Odd Fellates Temple. PHIL A DEL PHI A one man’s equipment. To have sung a little, al¬ tricious charlatans, of the people misled by ignorance. We have selected from our large catalogue what we believe to be our very best Marches. to embitter the mind in this permitting of so much most entirely without training, another’s. To have It is hut an echo of the hells that so soon will ring sham to pass unresented. Through it the disillusion¬ studied six months or a year, another’s; while I know out again upon a waiting world,—the bells that OUR SPECIAL OFFER to readers of THE ETUDE: We will send any 3 for ment in regard to the actual conditions of life be¬ of one instance where the grocery business was dis¬ are to “ring out the false, ring in the true!” 60 cents, 6 for $1.00, or the whole dozen for $1.90, postpaid. comes greater and greater every day. There is so carded for a vocal studio. It is a solemn fact that As a conclusion to the Round Table for this A Better Location much of it that one’s faith in the much vaunted the last named teacher used to counsel the use of month two letters containing helpful suggestions to THE BORDERLAND, by Raphael MARCELLE. PATROL FRANCAISE. power of right grows less and less. When falsehood onions by his students to strengthen the tone. When young teachers are appended. F assett.60c. by Eustasio Resales . . . 60c. and sham flourish like a green bay tree, and all the we realize that the delicate instrument, unseen, di¬ or picturesque scenes of life on the plains, mysterious An irresistible march patrol of that delicious quality than Yours rewards seem to be for the unjust, it does make one vinely fashioned, plnyed upon by the breath, as the Concerning Corrections. sounds of night, cowboy yells and dances, galloping requisite in a spirited march. The title page is by far inclined to question whether it is really worth while ponies—all are vividly brought out. While essentially a “ most expensive ever issued. Attached to it is the ASolian harp is by the passing breeze, is at the I suppose most music teachers have had their to struggle so earnestly and valiantly for the at¬ characteristic, it is admirably suited and so arranged exquisite picture—Marcelle—in colors, which goes free would be in the hand of Manatee, in Vir¬ mercy of these Goths and Vandals, we cannot won¬ nerves racked and many a pupil’s progress retarded that it can be used either for the concert or dance with each piece of music. ginia, the Carolinas, Georgia or Florida tainment of a standard that seems absolutely un¬ der at the seeming rarity of good voices or the speedy because they will not heed the corrections that are necessary. There is scarcely a man, whatever his PARADE OF THE DOLLS, by decay of others. made at each lesson. I am sorry to say that I have PRINCESS POCAHONTAS, by trade or profession, who has not been confronted by Emil E. Hansen .... 50c. It is no less lamentable that so many have their had to make the same corrections many times with Richmond Hoyt .... 50c. the subtle temptation to follow the easy methods of Teachers will find in this composition a nerve¬ AND WE CAN PROVE IT confidence abused who study piano, organ, violin, etc. the same pupil, and in cases where once ought to Endorsed by the Press and Public as one of the resting swing of rhythm and melody and suggestive of those who slip by all the difficult questions of right most attractive compositions of the day. Wherever you A superficial equipment and a slovenly technic some¬ have been sufficient. I always have a feeling, too, the great Mendelssohn. and wrong, and the strenuous upholding of basic prin¬ times stultifies what might have been a good and go you hear it; wherever you hear it, it goes. In ;*' as if it must he due to a failure on my part, because elaborate three-colored cover it sells better than evi JOLLY MASQUERS, by Harry ciples, making a profit anywhere and anyhow. Com¬ even a great talent. When we are drawn to begin petition is keen,—men stand shoulder to shoulder; a of not having impressed it strongly enough upon the It’s the kind that does not wear out. Mincer.50c. RITE for a copy of the special South¬ doing a thing because we love to do it, that alone little reaching forward, if it does break the rank’— pupil’s mind. But I have devised a little plan which INTERNATIONAL BUCK DANCE, A jolly 2-4 time march and two-step, highly sug¬ ern edition of the Seaboard Air Line argues a certain amount, if not a fitness, of ability gestive of carnival times, the kind that keeps the feet what will it matter, if it makes one a leader? No by Hugo O. Ma.rks . . . 50c. to achieve. For the first step in learning is to con¬ has resulted very successfully in my work, and which Magazine, which is superbly - illus¬ one who has ever resisted an evil impulse will speak A mingling of melodies of all nations, written in centrate, and we never concentrate so well as when may also be new to some of my fellow-teachers. lightly of its power. And in many eases the evil is march time distinctly marked. The airs are so skilfully TOWONA, by Thurlow Lieurance 50c. trated and contains hundreds ol we do it con amore. I write in pencil on the margin of the music, as arranged by Mr. Marks that it is one of the most A characteristic Indian piece by the eminent French scarcely recognized by the guilty one. It is probably specific opportunities for profitable It is really of very little use even to recognize concisely as possible, whatever the thing is for which attractive medleys of its kind. composer, Thurlow Lieurance. You will like it. true that even the greatest criminal justifies him¬ the existence of certain conditions unless one can at MORALBA. by E. Rosales investment in the South, and points self, more or less, to his own conscience. This is the pupil is to work. If a wrong finger has been VIRGINIA TWO-STEP, by H.Mincer 50c. least suggest a partial remedy. In the case we are A Moorish Intermezzo descriptive of oriental life. possibly the reason why he appears so hardened and used, or a wrong note struck, I draw a line around Lovers of music will surely like “Virginia.” Mr. out a desirable location for you, it matters not what Mincer has very skilfully introduced a cake walk that indifferent. considering, a few suggestions may be of value. In the right one. Although there is nothing remarkable TEKOA, by E. R_osa.Ies . . 50c. your occupation. A list of orange groves, banana the first place, a teacher should be required to fur¬ An original Japanese march and two-step. adds much to its effectiveness. We have not, in this article, to deal with the gross about this, yet it is simple and practicable. As this plantations, truck and fruit farms for sale, will also or usual catalogue of wrongdoing, but only to sneak nish certificates, or references as to ability, attain¬ PROPOSAL MARCH AND TWO- THE GUNNER'S MATE, by Chas. defaces the music considerably, and as I like to see a STEP, by Ha.rry Mincer . . 50c. be forwarded if desired. a word of condemnation, which is really merelv ments, etc.; and the parent or guardian or would-be B. Brown.50c. student should be urged to insist upon them, and to clean page of music, as do my pupils also, as fast An unusually attractive march. As a dance number War marches are always in demand and we do not it is unexcelled. rdrnireSVbfeth0l%Wh0 the ”ai Profession' examine them. So much for what we may term as these faulty places are corrected I erase the pencil think you will be disappointed in this one. J. WHITE and are the real foes of the cause of art. Scattered w. superficial capacity. The real capacity of the teacher, marks. I make it a game with the pupil to secure a General Industrial Agent over the length and breadth of this country of ours Our Thematic Catalogue mailed free o: as a teacher, is tested only by the attainments of pm clean page, and I find that with children it works PORTSMOUTH, VA. f,re a,nd women who “teach” music. Now even the little district school teacher must have some sua pils, not by some who mav be especially gifted and wonders in this manner. Neither is it beneath the WINDSOR. MUSIC COMPANY almost a law unto themselves, hut a fair proportion Seaboard Air Line Railway antee of fitness for his or her fitness. It almost mentality of adults also. Every mind needs some¬ 266-8 Wabash Ave., Chicago 41 West 28th St., New York seems that the only line in life open to people en¬ of a class. By the character and quality of the aver¬ thing definite to work for.—Jane M. Waterman. age work done, they should stand or fall, and be 41 40 THE etude THE ETUDE Founded by J. H HAHN, 1874 FRANCIS L. YORK, M.A. - Harmony »>«i Counterpoint CHICAGO The Oldest, Largest, and Detroit Best Equipped Conservatory TAUGHT BY MAIL The Oberlin Conservatory Che faculty in Michigan NEWELL L. WILBUR Includes such, noted Artists and Instructors as Francis L. York, Conservatory Oil BUTLER EXCHAHaC. PROVIDENCE. R. |. of Music Wm'.'vunck"VtoUn; Ma’^fctcbcr Norton, Voice; and a corps of ^o expert instructors, unsurpassed - Prospectus Free on Application Hugh A. Clarke 223 of jVIueic mus. doc. south 38th street 240 Woodward Hvenue, Detroit, Mkb. JAMES «• BELL’ Se"etary LESSONS Philadelphia FREE ADVANTAGES : Ensemble Playing ; Composition ; Concerts ; Harmony; Orchestra Playing; BY M A I L|W HARMONY, counterpoint, and Musical History and Lectures. COMPOSITION Onrty-first Year begins Monday, Sept, \2, 1904_ CAN HARMONY BE TAUGHT BY MAIL? Do y< d Arrange Music Northwestern University, Evanston, Ill. id 2-cent stamp for trial lesson. Nothing to pay untiIt so. have had 3 trial lessons. If these lessons do not convince vou that you will succeed-then they are free. Don't write unless A Higher Music School you have a thorough knowledge of the rudiments of music, and School of Music with University mean business c w, WILCOX (Harmonist), Privileges fend Aims Mention The Etude. 2485 Broadway, New York City. COURSES IN MUSIC PREPARATORYpARTMENT Leading to a Degree. For Beginners. PERCY GOETSCHIUS, Mus, Doc, LITERARY-MUSICAL P. C. LUTKIN, Dean Author of COURSES Music Hall, University Place and Sherman Avenue “Material,” “Tone-Relations,” “ Melody Writing,” With Studies in College of Liberal Arta " Hsmophonic Forms," “Applied Counterpoint," eto. and Academy. Send for Catalogue TlON^COUhlT^LPOlNT BY MAIL CLARK CONSERVATORY OF MUSIC, SAN AWr0NI<>' TEXAS HORACE CLARK, Jr„ Director Affiliated with N. E. Coiutrvatory of Music, Boston, and Virgil Piano School, New York experienced Teachers in all branches of Music, Elocution, t TEACHING TEACHERS Organized Institution. Teachers who can Teach. Pupils wh HOW TO TEACH PIANO CATALOQUE ON APPLICATION ur musil; oners unusual advantages for is in Modern Idea

Grand Conservatory of Music JOHN ORTH, 146 Boylston St., Boston, Mass. Mr. Perley Dunn Aldrich 68 West 83d Street (jUSTAV L, BECKER. ass Charles W. Morrison, Director, Oberlin, Ohio.

The Leschetkky Method New Of Value to Kindergarten Burrowes F. E. HATHORNE All e,nd Teaching Teachers. Primary. Course Chicago Piano College F. E. HATHORNE Pieces for Beginners. of Music Study ? Wallace St., Philadelphia, Pa. DR. E. EBER.HAR.D By KATHARINE BURROWES. By KATHARINE BURROWES. Crane Normal Institute of These melodious little pieces are especially Protected by three patents and 27 copyrights. F R EDERIC KMAXS O N au&pted to the hands and' minds of child- beginners and will be a welcome addition to A method of teaching music to beginners the very limited supply of music for the by means of— very first grade of piano work. Broad St. Conservatory of Music (Postpaid in tubes, 3 one-cent stamps.) GAMES, Forty Reading Studies for the Piano, $1.00. SONGS, EXERCISES, Short Pisses for Small Hands. APPLIANCES, Jack, be Nimble. .1 nr etc., THE PENNSYLVANIA MUSIC, DR.AMATIC ART ;; ;}.25 which overcomes all obstacles, breaks down MODERN LANGUAGES all difficulties and makes hard study a PIANO TUNING Rock-a-Bye.1 «r A Study Piece- delightful recreation. RESIDENCE DEPARTMENT COLLEGE OF MUSIC FOR YOUNG LADIES All Teachers are urged t 1 GIRARD AVE. 1-25 investigate this method. The Kroeger School of Music The ^11 Rings Send for Booklet. « typography in all its J E. R. KROEGER, Direct Complete, . . .75 UrneHcfr~|

No. 10 South Rtehs Stmt, Philadelphia ( Market above Fifteenth ) MRS. HUGHEY’S (CORRECTION OF MUSIC MSS. Home and Day School of Music SHERWOOD*ALL ■2*K2“^;aHT ^ A SPECIALTY WIRTZ PIANO SCHOOt 5096 McPherson Ave., St. Louis, Mo. Fine Arts Building, Chicago, III. Chi Hr»„kra£ch';f. and Instruments. Fletcher Method for V ALBERT W. BORST .chooL eoB,2s°o^erM^‘h8^rv^oYORK t-midren.1 Certificates and Diploma.. Best Literary and Art Odd Fellows' Temple, Philadelphia, Pa. = —■— -';y Schools. Travel m 43 42 the etude THE ETUDE

Fundamental Fletcher Music Method » » KINDERGARTENSIMPLEX AND Principles of The Leschelizky Method This system has made more great artists than ^ W F P T = normal THE MODERN PIANIST any other: PADEREWSKI ° JUt training By MARIE PRENTNER ESSIPOFF A Graduate ot, and the ablest Assistant lor many years to HAMBOURG GABRILOWITSCH WHITNEY school THEO. LESCHETIZKY BLOOMFIELD-ZEISLER PRENTBER Issued with his unqualified endorsement. SLIVIBSKI IN MUSICAL KINDERGARTEN. Illustrated with twenty plates, drawn from nature by celebrated European artists You can come to us and enter the English and German Text throughout. Price, $1.50 regular training school or take our The Leschetizky system of Piano Technique and Execution, of which this Complete Correspondence Course of sixty lessons = - - - • - The Aim of the Fletcher Method This course is the most perfect in application and execution of any course of its kind ever offered. Any music teacher can take this course by correspondence |§§|ik^ss-ss ^ and teach it at once. Our method has never failed to give immediate results to the many who have taken it. The value of the kindergarten work is beyond Yours very truly, KATE S. CHITTENDEN, lSm^asily Jove’ their* classes'8^ d‘°l t ^th™’ wh° Dr. William Mason says- New York question ; it is no longer a theory but an accepted fact that its training is essential to the perfect development of the human mind. With the Correspondence Course we furnish materials and most minute instructions for n°* wlhinghslTandbennan sixty lessons. Write at once for our free illustrated it is being translated into the Polish, French booklet. May 29, 1902 Russian languages; we point with no little pride to Fratilein Prentner the fact that the original edition of such an import¬ "You being my pupil of ant work as this should appear from —n American many years’ standing and most valuable assistant, it publishing house. SWEET=WHITNEY CO. e. a. FLETCHER-copp, || .as. {1%Th°,rnn:R™s.vr' **’ || SEND FOR ILLUSTRATED C without saying that „. _ are thoroughly quali¬ 999 The Gilbert, Grand Rapids, Michigan fied to write and publish a m connection the teachers, the || teac£ Music school alter my principles and system of teaching.” THEO. PRESSER, PUBLISHER “ if. Theo. Leschetizky. Tl^"^ I Fhtcher^Music PHILADELPHIA, PA.

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1W ven inHis Study, orMozart Directing His Maelzel Metronome, Lid Attached,' Bell 7 50

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