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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
11-1-1914 Volume 32, Number 11 (November 1914) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 32, Number 11 (November 1914)." , (1914). https://digitalcommons.gardner-webb.edu/etude/608
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ALL AMERICAN NUMBER Price 15 Cents JoA// yAe/tftJousa THE ETUDE 773
Subscription Price, $1.50 per year in United PRESSER’S States, Alaska, Cuba, Porto Rico, Mexico, The Emerson MUSICAL MAGAZINE Hawaii, Philippines, Panama, Guam, A monthly journal for the musician, the Tutuila, and the City of Shanghai. In Canada, $1.75 per year. In England at.! PLAYER-PIANO music student, and all music lovers. Colonies, 9 Shillings; in France, 11 Francs; THE MOST MODERN AND in Germany, 9 Marks. All other countries, Edited by James Francis Cooke. THOROUGHLY MUSICAL $2.22 per year. PLAYER MADE TO-DAY— BY IT YOU CAN PRODUCE MUSICIAN’S MUSIC ON CONTENTS—NOVEMBER, 1914 atamous instrument INFORMATION INFORMATION Editorial . 7 Violin Department.R. Braine 837 Musical In the Old World.. .A. Bison 7 Department for Children../. s. Watson 840 MANUSCRIPTS.— Manuscripts nte EmersonPiano Music in Canada. 7 Publishers’ Notes . 841 jhould be addressed to The Etude. REMITTANCES should be rt MacDowell as a Teacher of Pianoforte, World of Music. 844 jV A DEMONSTRATION Mrs. E. A. 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Holst 8i Course for teachers—their approval??™ i- d * .Normai Training S f°f thC kSS-nS- Progressive teachers wIlTfind th^ °f-^e hi** these famous artists of much value and very interesting °pmi°ns of A VITAL MOMENT IN AMERICAN MUSIC Read What They Say TN a sense, every issue of The Etude for thirty years has jyjONTHS before there was any suggestion of the great My Dear Mr. She. rwMdd'B°SSOn’- 1 read your woi Si'egel-Myers School of Dresden. Germany. I been an American issue, since nine-tenths of the matter crisis abroad we were hard at work upon this very has been supplied by Americans. This issue, however, is an ne very D0DuiarC.U°Lteachers' k is bound Lesson^s as newand^ri^nif 11” °' Wfn't,en Piano I comprehensive “All American” number of The Etude. 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H A DOZEN AND ONE Successful Concert Songs By American Composers
HEART OF HEARTS High in 0 Medium i By Charles Font. THE ETUDE NOVEMBER, 1914 VOL. XXXII. No. 11. THE HILLS 0’ SKYE WHEN THE HEART IS YOUNG High mF Low in Ob With Violin or ’Cello By Victor Harris
THE EAGLE THE “ALL AMERICAN” ETUDE
COME TO ME Never have we commenced an editorial with more joy than Early America had scant time for musical culture, and we High in E JV this. The “All-American” Etude has been in our hearts for nearly devoted very little space to historical reviews. The histories of By A. Walt two years. We hesitated about issuing it solely because no one Mathews, Elson, Hughes, Ritter and others will afford the reader A WORLD ENCHANTED issue could contain more than a very small part of what we wanted ample opportunity for research. Moreover, we have not attempted (tindale music cabinets 1 High in C Medium in E to see in an American number. As a matter of fact every issue of to make a “Who’s Who,” a kind of “four hundred,” which can only By W. Frank* H.rlL There has never been a m.. The Etude is in a sense an American number. We have been lead to enemy-making omissions. In this time of widespread ing all tLnetVime^eebothSaandt f°r S3V" SERENITY proud of the valued assistance of famous musicians in Europe who musical effort a just “Who’s Who in Musical America” would result searching for misDlarerl l,, - e™barrassment of High in G in a book as big as the London directory. By Marj have written for The Etude occasionally. Music is the universal BEAM FROM YONDER STAR always at your finger’s end when'SeIection is art. To nationalize it is to stultify it. Yet we felt that we must High in Bb Medium in G it. Tindale to WITCH-WOMAN have an All-American number, an intimate issue in which we could High in E Minor Medi. Music Books, Plaver Pi- Df?.r Sheet Mu«ic, By Deems Taylor record some of the steps in American musical progress, with appro¬ Machine Records 1^^ u!" and TaIk^g- priate dignity and spirit. We wanted to “get together” with our in graceful designs and be^ rif ^abo&anT and Oak ---^for examination•mminacion fellow Americans through an Etude that would avoid “provin¬ The musician of foreign birth who has cast his lot with from 317.00 upward d CaT* 7 finisbed- Prices cialism” and “jingoism” and yet represent with pride our national has not been neglected in this issue. These men and women are ... Sold on a "e”ent *«~ —S roR^mcE'Sh^ gg advance in the tone art. We are not foolish enough to imagine that many cases Americans of the highest type. They have given up we have accomplished our whole purpose in this one Etude. That their native lands to work out their ideals in a new world. They points to another American number at some time in the future. have made sacrifices of home and country which in many cases have — DALE CABINET COMPANY OLIVER DITSON^COMpXnTrIT in no means been animated by a desire for money profit. Away ^-1_' 1 "est 34th St.. New V... with the Jingoism which refuses to recognize anything as American except the original cargo of Puritans which the Mayfloivcr brought to Plymouth Rock. With all due respect to our courageous ancestors First it was necessary for us to define, for our own satisfaction who were passengers upon that memorable voyage, it is amusing at least, what an American issue should be. Immediately the word to think just where the musical art of our country would be if the “freedom” arose. America glories in the phrase “the land of the Puritan regard for music prevailed to-day. free.” We owe allegiance to none but ourselves. We desire the Ernestine Schumann-Heink, idolized in Germany, comes welfare of all. No matter how much the imported anarchist may to America and decides to make this country her home. She be¬ sputter about our evils in the so-called money power, our corrupt comes a naturalized American citizen and names one of her boys IN FOUR BOOKS politicians, etc., these very evils exist largely because we have not George Washington. .Surely we could not expect more patriotism exercised our freedom to the fullest extent. If The Etude were than that. Theodore Thomas, Leopold Damrosch, Giuseppe Cam- not a musical journal we would like to take up this whole page with a panari, Emil Liebling and other men of the highest intellectual type ^'-sSfrSSss: plea for a higher appreciation of our supreme birthright, Freedom. have become Americans infinitely more valuable to the nation than Has this freedom shown itself in our music art? Is there some¬ those who have willingly joined the ranks of the expatriated snobs A Method of Permanent Importance thing bold, uplifting and wholly new in our musical productions? \vho-scoff at every star in “Old Glory.” The Life Work of Our Greatest *" Piano Teaching Unfortunately only a very few of our composers have shown any American Piano Teacher PART IH._A suggestion of the vigorous originality of Grieg, the native emotion¬ orSaffi"nnDVhartaCte|,r-0f Dr’ Maso»’® Rhythmic alism of Dvorak, the fire of Liszt, or the iconoclasm of Richard (Passage School).1 * Treated Wagner. Yet we insist that the American people have it within them now to produce composers of epic importance, men and women • ™WE have said at least three times tliat thjs is not a “Who’s Who genius for discover,™ a . a Positive I “•>’**■8. who will grasp the powerful spirit of the hour here in this glorious in Music,” nor is it a “Roll of Honor” or a “Blue Book” in which land of giant achievement. only the elect are mentioned. In the “All American Etude” there was tZht up ie„dUaCaa°tr; ^ MaSOn>h« £K> ^tlsHrr3' •= OF EACH- *>-oo Where shall our composer of to-morrow get his greatest inspira¬ are upwards of eighty portrait illustrations and mention of some phere whig, coPmbined wkh‘4^Com' tion? From the life of the people who surround him every day. six hundred music workers. As we approached the subject we were Among them was the It'd CTSS uI Pupils. I haTe°Canddthis0f t^ers I A merchant builds up a great fortune from five and ten-cent pieces, amazed beyond belief at the vast number of musicians in all branches Richter, Dreyscho^ and SL;s«aTedm d"’ and nothing will satisfy him but that he shall express this by erecting of the profession who have been working in the cause of American M h,W£ t:«Sd°'ta“'i!,sSV ts ,mmense value. 1 a magnificent office structure in New York, an edifice which not only music for years. Many of. these have been trained entirely in ■tarment As a result he pro- :°Uch Technic, so that thevar W°rk’ approaches the Eiffel Tower in height, but which is infinitely more „ siall ,„ch.„teachers andifscrs students of gjLr 9b for£rsxi"*^ teachers to-day “* T • -- ofmETron v7S iaVrStudied with ^11 of the famous musicians Dr■ Mason- y as th ey were when taught beautiful than the great French spire. This spirit of prodigious caught personally by of Europe. Yet in the list given on page 788 we have only skimmed ^7—,FN”P^^iASTICALL\^ENt)0(t2££j MUSICAL wn ’ *" ^ ^ aspiration is innate in every American. We crave big things, and the surface as the reader will note when he finds omitted nanTS it is only of late that we have learned that greatness can be achieved such important publishers as the late Gustave Schirmer, the late r^~~n °TiiuiiND within small limits. With this has come a keener appreciation of Oliver Ditson, the late John Church, the late Col. Pond. the intense genius of Whitman and Poe, long acclaimed as immortal The Etude is proud of its contributors this month If the masters by the great thinkers of Europe. limits of our paper had been adequate we should have been glad to Indeed, proud as we may be of our musical progress to-day, have welcomed many more. Our readers will realize a. „„?“hm the boundless promise of to-morrow in American musical art should h,, ,ssue coma,nsmany articles that deserve permanent preset ioj enkindle a feeling of uncontrollable emotion in the minds and souls n them mus.cal hbranes. It is often tlmt we w J ““ “ of all who are working unselfishly to contribute to the art treasures hke this issue, and it ts gratifying to hear from readers who ha« of the musical world. May. this issue bring new power, new energy, new strength, to all who love the name of America. cZZ Z* lh"r ETUMS f°r X** °» & for 778 THE ETUDE
definite, even if small. History does not state whether MUSIC IN CANADA. THE ETUDE 779 the restaurant people called in the French equivalent Most of us are willing to admit that the American for the bouncer, or whether they crossed his pieces off Eagie screams a little loudly at times, but it was left iMusical Thought and Action! the repertoire. The incident, however, has more than to Li Hung Chang, the Chinese diplomat, to point out a humorous significance. Fair-minded people are be¬ 1 in the Old World. 1 how many inhabitants of the United States use the « By ARTHUR ELSON I ginning to admit that a composer should profit from every public performance of his work that is at all word “American” just as if it did not include Canada connected with profit-making by others. In certain to the north of us and Mexico to the south, as near cases this principle has been brought into practice, but . neighbors, as well as the entire continent of South its use should be made much more general. America. Perhaps, however, this is not “spread-eagle¬ hafbee „Vth,wLm TfS T ‘he chiefEuropean topic ism” so much as convenience, since such expressions as nas been0 the war. 0The suddenness with which the con- the time for bicentenaries. “United Statesman” or “United Statesian” do not nrnic flict began is shown by the musical journals as well as Now that the centenaries of nearly all the great mas¬ o hers Thus the Menestrel for August first remarks very readily to the tongue. So far as music is con¬ ters have been celebrated, the musical world has begun cerned, Canada, as our nearest neighbor, both physically called t,hat.S0me of the Bayreuth musicians were 6^^1 to take up the bicentenaries. The two-hundredth birth¬ and racially, cannot be ignored by any one interested called home by Austria to fight against Servia It calls days of Bach and Handel got past us in 1885 before in “American Music” in its largest and* broadest sense. this incident a curious result of the Austro-Servian we were really in proper training to handle such events. war” not realizing that impending eventswere atTw The next one, that of Gluck, is now upon us; and the Canada has developed enormously in the last few very time leading up to similar^curious"X’ in riter& have accented thp siihiprf years as a musical nation, and in doing so has come nearly every European country. 111 avidity. J under unique influences that bid fair to give her a true national note of a highly individual kind. Naturally ingly" cm ^coTmopoltn"natre ITln soJhfsTy °u thu rJefor™er> like that of the transgres- English influences have been uppermost, and the United atten ion by uard uE‘ther His reforms receive no attention or he has to have a powerful patron to help Mates has also exerted a certain influence. Apart from is cause along. The history of opera shows this these agencies however, is a strong French influence from within, also that of a few capable Germans who S?nrl:d0Uof;e?nd STS t0 indicath. also, tharopera [Editor’s Note : work is being done by his former students. The one ..he, i„ T%£"■ in need of reform about once in so often Gluck’s lhaIL“’5rat^d fr0m. abroad’ and a faint but distinct tintjuished husband, m nmsuautm, 1_ . . what might have been gained from studies of poor marrlafjc. since his death she has worked unnnnyiy m reproach, occasionally made is, that they did not always from the advanced harmonies of France while France musical value,'at the same time laid up repertoire ma¬ foine°tte.(0r the - the splendid cause of makiny the MaoDowell home at Peter¬ get the hard technical training which every one must borough, New Hampshire, a haven where serious students terial for the future. Bach one takes for granted as of music may find opportunity to compose, study, etc. go through in order adequately to play the piano. used in this way. Po’lizGn1''5 the end °f the fifteenth century Angelo Anglo-Saxon and German influences are strongly She has given unsparinyly of her means, time and strenyth This, I think; arose from the fact that with added year's Many a pupil of his by this scheme or system Orfeo^ HeWseemsatfehtiValiPlay Ca!led La Favoladi for this purpose, and deserves a debt of real yratitude from ft, 7 V- . 10 have been one of the first to use all American art lovers.] of experience Mr. MacDowell was appalled by the mastered serious difficulties and not at the expense of amount of time devoted to unmusical studies and his or her musical development. In the face of the many brilliant articles that have exercises, and instead of making use of such material However, almost as a contradiction to what I have been writen about Edward MacDowell and his teach¬ for technical development he took difficult passages, said, Mr. MacDowell maintained that the stiff technical ing, one from me would seem superfluous were it as they were met in studying the best literature, and at*** s training he had had, first under Carreno, who was a ■ written solely on the strength of my personal relations fine teacher; though a young girl when she taught him; sssss-siaii with him. then the cruelly hard discipline at the Paris .Con¬ Three sketches stand out clearly in my mind: one servatory, followed by two years’ work with Carl Hey- by Miss Jo-Shipley Watson, telling of her personal man, whose short career was one of dazzling virtuosity, 4 r,PXT;r r-tr'T," whic; pISs;fHf.ps experience of Mr. MacDowell’s Columbia lectures; one had been of inestimable value; but one must not forget by Prof. Shirley, of Winston-Salem College, of great The International Musical Society arranged to hav= that this was the training of a virtuoso, where •i&ISSKML'SS .?;t E,wing is°fl“ « interest; and another by Mr. T. P. Currier, who de¬ practically unlimited time was given for the acquire¬ lin.^erS^irwa^too3"^—1"68® meeting in Be>‘- Music,” F. H Torrimffon r •„ ^ of Canadian scribed so vividly his piano lessons with Mr. Mac¬ ment of pianistic technique. But different conditions Dowell, naturally colored by the close friendship which , offensive strength of the a£ “ estiraatinS the P^et4r, e^fS^S^X nUtuT'c°ctave' confront the ordinary man or woman who has, .perhaps, had existed between the two men. and Frederick Ernest Gagnon Othe U -d States)> but two years in which to be helped in every direction mu COMPOSERS AND ROYALTIES. in the musical life of Canada prominent men It is to be hoped that more of his students will give musically, after perhaps years of plodding through end¬ artists as Dr. Char’es Harrl! ^!ude sucb excellent just such articles to the world, while their memories less studies. are fresh and keen. Considering myself as one of Herbert Sanders, Luigi von Kunftz^e^S There were a few technical points Mr. MacDowell 2£. 2s these students I hope also to speak intelligently of always emphasized. One, for instance, is considered Mr. MacDowell as a teacher, for the twenty years of old-fashioned at this moment, and yet-'when I hear the musical companionship spent with him was antedated curiously pearly lightness in the playing of runs, so ; rrM' •» by three years of serious and hard work under his are quite a numhcr r De stated here that there often to be found among MacDowell students, I can¬ ! direction. This was in Frankfort-on-the-Main in ^ sss not believe that there -is not great value in strengthen¬ Germany, where, isolated from all interruptions, it was from civilization and the security of Rrdf’ The chanse ing to the last degree the ends of the fingers. For mandy to the dangerous and n ° ?reta&ne and Nor- possible for me to compress into this tittle an enormous this Mr. MacDowell had two exercises, a very short amount of work. Undoubtedly, with the enthusiasm of the North America^ forestsTad inffeXiStenCe 'ed staccato touch where the finger was but slightly lifted, minstrelsy of the French ill. effef uP°n the youth, Mr. MacDowell tried out many theories on me, not be very high, after all. * ^ Capt*a figUre wil1 the other much the same quality of touch, but there S7p7,r.“ .““b ”f'i » STS some of them never repeated on future students. All music a sombreness and wanlof ll th® co,onial was a slight drawing in of the ends of the fingers this, however, was a preparation for a fairly intel¬ cra?eorPseems%bUSineSS ?°eS not make him apluto- similar to that of the mother Co^tl ” AnoS^ d‘V towards the palm of the hand. Dovertv- i^ c u , re«ember that Beethoven lived in influence is noticeable in the kin • fAnoth^r French ligent-understanding of his work as a teacher. Particularly French opera which hi in °pera> Though I did no teaching myself until within the DEALING WITH THE SMALL HAND. of recent years. ’ h h has mamfested itself last eight years, I was in close touch with Mr. Certain , theories of his applied peculiarly to small Among the eminent artists hnm • r MacDowell’s own work. I saw many of his theories come into existence, some of them to last, others to be hands, as, for instance, in the matter of octaves. The the earlier works of Gluck hiSf whTr^ “ mentioned Mme. Albani til 111 Canada may be moment a small hand attempts much wrist work there higher a composer’s ideals arc tt, i S7 ,part’ t le soprano, and Miss Mary Kathfel p?f& a"d oratorio discarded; and, perhaps, my most vivid-impression of tem formal librettos of Metastasio LaTer wh* *r' 1 violinist. y Kathleen Parlow, the eminent the result of his experience with hundreds of students is the constant danger of straining the upper- tendons niary reward. ’ the lower 18 his Pecu- b.gi gave him better words, he was readvtn sb X of hand, wrist and arm. Mr. MacDowell would make music, too, could add ,-f . aay t0 snow that was his firm belief that no cut-and-dried method could be adopted in the teaching of piano. - That certain a pupil begin not with the stretch of an octave, but of°hisColhn p?eceshpS°atr’ PaUl Henri°n’ heard °™ with a sixth, lifting the hand as little as possible, mak¬ dining. Inasmuch a./th h * restaurant where he was general rules and laws always remain more or less the have a way of asslciltllgSthellsli0n t0.many Pieces treated them as studies and exercises. “It was well ing the fingers do the work. He would tell a pupil to with some fervor^ he dtXdriT appJ?uded ‘he piece same, but the fact that every individual possessed a enough,” he said, “for the boy or girl of fifteen or Up the sub,'em , oecided then and there to bring only. There are many Lalgos thl ? ^ °nC piece hand curiously different from the rest of the world, place the thumb on C natural, the little-finger on A a symphony or sonata is often ’so ^ll l' movernent of sixteen, seriously settling down for years of hard work, natural: with practically no motion save what came seemed to demand a different so-called method for each to go through the immense amount of material de¬ the word indicates the tempo at th beCause person. from the ends of the fingers and a very slight wrist fects, such as the barking nf r u™ lnstrum™tal ef- Played. Yet to most peooTe thf hlCh U should be manded in various conservatories like the one in Paris, action, a scale in sixths was played very slowtv. draw¬ student that Gluck foreshadowfd moT’ W‘“ ,Sb°W the to Handel’s piece. Therl are nrrefer only PRACTICE MATERIAL IN STUDY-PIECES. but for those students with a limited amount of time, ing the finger tips, not lifting them, from one key to SJEt SLTSSLSi *£, V~” ” true genius. The composershouldnX”.'Sm with Cavatinas, though Raff’s comnl PtrobabIy hundreds of getting their technique through, studies- alone/ largely the other, then the thumb and the fourth finger were refused to pay for his dinner n M,ore than that, he eral; too many objective “effects” •?/ bec°me too lit- In traveling over the United States I meet so many meant the exclusion of a broad musical repertoire.” dosely identified with the^ word li",‘‘f °”e most of Mr. MacDowell’s students who are .now teaching. placed in the same position, and the scale in sixth was forthcoming. Forced bv^b i”^ financial return He must always strive to paint SP°d the broth- I could give endless examples—for instance, for Humorcske seems to have elboweH Dvorak’s Some of them still hold on to the electric training repeated. Part. Strauss "has ZehTlL^Tr^ ** ™St pieces of the same name Schum m l fieId many strengthening the fourth and fifth fingers of the right After a certain degree of rapidity was gained the realistic; and while this is the peratlc scores too ’6 they had had, others, however, treat all hands alike the title for his Op. 20 and Op. g T h,as, “>Ployed hand, Schumann’s Arabeske, Op. 13. He used to say same exercise was taken with a seventh. It was °f the Rossini school t s Sl, ?05^6 err°r frora tha,t 8 and speaking of using the MacDowell method; thus piano solo and the latter for Dian’ •' ?: tbe former the Variations Scrieuses of Mendelssohn included astonishing to see how much strength and flexibility passing on some peculiar way of hand training which nearly every kind of finger exercises. The Chopin Heller and Grieg have alsl f ’ Vlolm and ’cello Mr. MacDowell may have found necessary in an in¬ had been mastered when the actual octave work was Etudes, which, of course, are not studies in the and Rubinstein entitles his Dol°nP°Sed Humo^skes, dividual case. I imagine this is the fate of every taken up. Of course this kind of work he considered ordinary sense of the word, could- not always be played ,n "hi'h great teacher. It is astonishing how much splendid . unnecessary with large, strong hands, but- invaluable by his students, but they got technically out of them for those with a small stretch and little strength 780 THE ETUDE THE ETUDE 781 autograph manuscript of macdowell. WAITING FOR INSPIRATION. Q The Joy of Autumn. Copyright by A. 1*. Schmidt.) BY JO-SHlPLEy WATSON.
Inspiration seldom comes by waiting; we must force her, compel her to come in and work with us. When you behold this shy muse a* your door do not let her escape, seize upon her without delay and say, “Empty your treasure store here, every ounce, even to the last item in the bottom of the sack!” Now for our own help and benefit let us see how 1 some of our composers have handled this wary Muse. |[ It is a well known fact that many composers have favorite hours for working and every one has his (.Owing to the wealth of good things which have come to us for this All American issue our shace has been peculiar manner of doing it. unexpectedly limited and it will be necessary to print in the next issue the contributions to this symposium HOW THE COMPOSERS WORKED. from such well known men as Arthur L. Manchester, Albert Lockwood, LeRoy B. Campbell and others.—Editor Haydn (composer of the Creation) never worked except in full dress. He shaved himself carefully, t David Bispham powdered himself, placed a certain valued ring upon proud. Therefore our chief need is to cast off com¬ his finger and shut himself up in a quiet room for five ! (Mr. David Bispham holds a unique place in the affec¬ pletely the trammels of over-sea opinions—rely with or six hours at a time. tions of the American public. We have confidence of our own judgment, and thus strengthen no more distinguished baritone.) the hands of those who have done so much to advance Beethoven (composer of Fidelio and the nine sym- -f t the art in America. phonies) was untidy, clumsy and restless, inspiration I America’s greatest musical need is thoroughness of came to him while walking in all sorts of weather. study in all branches of the art, especially among I remember distinctly two or three hopelessly small singers. In most other fields of endeavor hordes of Hollis F. Dann and said, Of course you must be able to play those Wet or fair, in heat or cold, he could be seen trudg- ' hands that had been stretched and strengthened by people, driven by necessity, go to work at something— runs clearly, absolutely so, but they must not sound ing along the solitary roadways near Vienna, ab¬ (Mr. Hollis F. Dann is head of the Department of working with the fingers almost flat, for weeks at a anything, in an unskilled way—in any way, to make a like scales, but like a sweep of color, such as a painter sorbed in deepest thought. His ideas came siowlv Music at Cornell University, where he has time. One of the great advantages of this treatment, and laboriously; his manuscripts were worked over ill I WALTER R. SPALDING I bare living, while those better prepared succeed better accomplished remarkable work.) ARTHUR FOOTE there seemed to be little risk of strain; whereas, as we might make with his brush.” I think it is easy to see in the fierce struggle for existence. Music sounds so many times, even his simplest themes were retouched if Every year thousands of pianoforte students in all know, any attempt to stretch the hand, which in- h!,mean‘-/r!le runs sho«Id not be obscure and lovely, looks so easy to do, so many persons are gifted several times before he gave them a definite form 1 America begin their study of music by mechanically volves the wrist, often leads to hopeless trouble. Mr. cloudy through faulty technique, but from intention. with a certain amount of it, and it seems to offer so Wagner (composer of Tannhduscr and Lohengrin) I matching the keyboard with the notes on the staff. MacDowell was an advocate for pianissimo slow But after all, the thing that made Edward Mac- pleasant a life, laden with such rich rewards, that with wrote while standing at a desk not unlike an account- |! Long continued repetition of this, deadening process practicing. I have heard him go through hours of jJowell a great teacher was not methods or theories. siren voice it lures the world to its feet. ants desk. His scores are so clean and faultless that leads the musically gifted student to get definite musi¬ work in a curiously, monotonous low tone, every chord it was the infinite patience, the undivided interest and The time has now come, however, when the avenues cal ideas from the representation. A large proportion . limp, with no effort entailing any stiffening of the Hie untiring enthusiasm he brought to each student, of approach to this enchanted region should be closed copyist!^1 imaglnC thCm Wntten by U ProlV«i°"a' I of these students, however, never really read music at muscles; the idea being, that one learned a composi¬ the one °f, comparatively speaking, small talent was to all but those ready fitted to tread its hallowed Massenet (composer of Thais) composed only in 1 all. Reading is getting definite thought from symbols, tion in this way with no fear of overstrain, and the for the time being just as important as the most bril¬ ground, for its precincts are being overrun by multi¬ and is possible only when the reader knows that which strengthening process was remarkable. This applied liant This sometimes did harm—a student, not realiz¬ al a *a°u- VC Unti' nine- He workcd always tudes with but a superficial knowledge of their trade. the symbol represents. peculiarly to tightly knit hands. For this same reason ing he was no exception to the general rule in receiv¬ A. M b ’ and hlS WOrking day was finished at nine ;$ Fifty years ago the spinning jenny turned hand labor The method of which" the pianoforte student is the this dread of straining the muscles, he advocated much ing this infinite care, assumed he must be of unusull from the looms just as to-day moving pictures, phono¬ Mendelssohn (composer of Elijah and Songs With- I victim is prevalent in American music teaching in gen¬ study away from the piano, memorizing, phrasing etc ^hlch Ied ‘o disappointment. More often, how- graphs and pianolas are cutting deep into the earning out Words) was fond of improvising, but in wrhinw I eral. We are continually violating an elementary prin¬ He would have been the last to claim that he had r, tnere was a keen appreciation of the great power of actors, singers and instrumentalists, but no opportunity presented. g he always used a piano writing ■ ciple of teaching which bids us teach “the thing before made any new discoveries in teaching; I am simply mechanism can ever really take the place of living per¬ the sign.” We are attempting to build the superstruc¬ telling certain things that he had worked out very One may sum up this estimate of Edward Mac- formers; nothing can do that but better performers. ture without a foundation. carefully and, I think, scientifically. yetlhorou ah.teacher: was free from pedantic rules, The more talented the individual, then the more neces¬ Edward MacDowell once said, concerning a class in problemTon//rfCa‘Ca! u W°rking out individually the sary is it for him to be thorough in everything that THE IMPORTANCE OF RHYTHM. pertains to his art, or he may experience the discom¬ harmony which he was teaching in a certain institution— self unsparingly,un^Lr- and thereCaCh were pUpiL few whoHe gavestudied of him¬with I am sure no one who studied for anV length of time fiture of the hare in the faille, who thought he could ‘Egyptian darkness is like the sun at mid-day com¬ 1 pared with the musical density of these students.” He with Mr. MacDowell can fail to remember the in«s- wWWRhH 1"d n°i fed that music was on'y a part of Of his method cY work ’"tawting account 1 beat the tortoise in the race, but the slow tortoise sant emphasis he laid on rhythm and the art of ex- was trying to teach the construction of a language to Macdowell anled ” their leSSOns ^ith Edward DAVID BISPHAM preferred to work while the hare slept. pressing musical feeling by means of color, rather than in good humor and given i i feel dispo^d- 1 those who could neither think, read, nor write it. when I am alone and have » L mySelf. aItogether, I EMMA THURSBY incessant change of tempo and the abuse of the Rubato f6el ‘,hat 7hat 1 haye said has much value, Music is a tone language, appealing to the ear and He detested the chopping into pieces, one might say tuv i\r rec°rd of another personal impression of as, for instance, when I am travY,ang inaaSfiedYlind' Dr. Hugh A. Clarke learned only through the sense of hearing. The ele¬ Mr. MacDowell as a teacher-and it is in that spirit nage, or taking a stroll after a good 1 g°°d car' mentary subject-matter is not difficult, is intelligible * C°mp°sition’- °f ^ort rather than long phrases I have written it pmt (Dr Clarke has been Professor of Music at the when the latter was so obviously demanded. More at night without being asleep then Y ’ ?r ,n bed and intensely interesting, alike to the child and to the come to me and throng Yy Y’ind Th 1S ehat ideas University of Pennsylvania since 1875. Among than once I heard him say impatiently how he wished his pupils was William Wallace Gilchrist) adult. Ability to hear what is seen and to see what he^ might efface the lines between bars, that they were The art of improvising seems to be lost in these me I retain, and even hum; at lu** P!ease is heard should be a prerequisite to all other music told me. It seems impossible to °thers llav« I have an ever-growing conviction that, the principal Zif f 3 ’ for convenience in composing, but this caYed hnees\rtSi like Mo- forms of composition, and have received the suffrages with n$re * t0i hlS music> he immediately cuts in of an ever increasing musical public. (The splendid attainments of Mr. Arthur Foote as composer, teacher and performer, shows that thilE'onem th£ mUSiC iS S° ern°ti°nal—I We have been too diffident to approve of any mani¬ think one may use the expression “pictorial”--that the and so en0a“ £„Z:!liLelo people' atYlinYmeYs' he practices what he preaches.) festation of art that has not had the stamp of European player with the laudable desire to express vividly what bluff running against each other.” approval, but we are growing out of our nonage, have, What we need in the United States is to learn that he thinks Mr. MacDowell wished to say in hiYmusic things musical should be done with the same thorough¬ in fact, reached our majority, and are quite able to oftem avlrv “'Y* a distorted> exaggerated and judge for ourselves. ness that we put into, for instance, engineering. While often a very ugly interpretation. Added to this, as there are individuals whose standard of performance Europe has t history reaching back for many is right, as a people we are behind. Accurate and ex¬ The MarD if Cornposers’ the expression marks in »y°ot"e,oto” his generations; our art history, in music, is hardly two M n u muslc are often misleading Mr generations old, but it has blossomed wonderfully of act music is not, for that reason alone, necessarily With the great immortals why^^av' J* ^ W&S 80 artistic; but inaccurate music cannot be artistic. It excufe0WA ter Vd ^ VMy frankIy’ making this fortunes? By all means y y we not try our late, producing work of which any country might feel excuse. After writing a composition there always came may contain the possibilities of art, but nothing further and at that tfme appear frYsh anT?1 iOT m^ ‘rA™" 1period of me"tal exhaustion, and he hated not only the work but the effort of' trying to you sit down to practice I ean' Sm'le when pin down to expression marks just how he wantfd a the keys. D0 „ot feelYhat yoU aY Y’" aWay from Piano for an hour. Think nfte ? ^messed to the Payf' HC USUalIy put off, most of to sit before this piece oYmeclYnYm^'YY’’1^^ il is of reproducing, through your S ^ *S capaWc piano, crescendo and diminuendo markings. .To further thoughts of the immortals TUt aJnd, hngers- ‘he and Inspiration, that shy stra^eY ' th‘nk °f this- way to your house. a ger> ls sure to find the g rPemSeSmhniSth °01, ^ “ playing -d composing l' remember hearing him criticize a student who had brought him the Tragica Sonata. On the thTrd paS £57^‘foSd^Yatu**' idThethat °-r present relaS„:PPr[{ speaking "^‘scaf passages ‘hat, technically speaking, are scales. He turned to the boy impatiently any means stamp the laws of"? •them’ does n«t by MACDOWEWs WMBSTOreaA? H is only the consequence of t”atural laws; musical culture.—Han slick * h mfin,te extent of Dr. HUGH A. CLARKE 782 THE ETUDE
Rupert Hughes but these are so befuddled with verbiage and advertise¬ by intellect and not intellect tinged with emotion. THE ETUDE 783 {Mr. Rupert Hughes won high distinction as critic ments as to become unintelligible to the average man. What takes us captive in listening to the best works , comPoser and music teacher before his plays and ’ Why not, at a recital, have a few prefatory words of Continental composers is the red hot emotion, the novels made him even more famous.) spoken by the performer or an assistant, drawing at¬ unrestrained abandon which sends the thrills up an(] WANTED: A MAN. tention to salient points in the music to be given? down our back bones and lifts us from our seats, so The greatest musical need of America, to my think- At a summer school which I have recently conducted, that we float on air and entirely forget the concrete S5S{“ .a VelJ .g*eat “mP°ser or two. We have this practice was invariably observed, with the result world of men and events. Every human being js brilliant men doing noble work; but there is no com that the audiences listened with interest and pleasure equipped with certain emotional and imaginative pow¬ msmding personality with a tremendous idea. to programs involving complex modern works. De ers and these are just as basic and important parts there shoidd be some composer with a message that Pachmann’s success is largely due, I venture to say, of our make-up as our muscles, lungs or assimilative The Romance of Stephen Collins Foster would throw part of the people into rhapsodies of to his enlisting the sympathies of his hearers by com¬ machinery. The American attitude too often seems enthusiasm and another part into raptures of disgust; ments which though somewhat eccentric, are neverthe¬ to be that to have emotions at all is suspicious and to By GEORGE P. UPTON somebody who would be reviled and caricatured and less always illuminating. Similarly, by his appreciative display them quite shocking. But in music, in dis¬ bitterly opposed. We have nobody doing anything remarks, Mr. Arnold Dolmetsch succeeded in exciting tinction from literature which writes about things, and big enough new enough, or personal enough to excite a wave of popular enthusiasm over music that would the concrete arts of painting, sculpture and archi¬ anybody s alarm. A great man must alarm somebody. ordinarily be regarded as hopelessly tiresome. tecture, the emotional impulse is the whole thing. For This doesnt mean at all that we have need for any Wiry should not every performance of instrumental music comes from inside out and to live and to eccentrics who simply break rules to hear them crackle music, at least, be introduced by some explanation awaken the hearer must be born of inner fire. Before [Editor's Note: Mr. George Putnam Upton was born easy going and easily persuaded. Worse than all else, FOSTER’S COMPOSITIONS. We have dozens of these. We need somebody who which will give a clue for the auditor to follow? We we succeed in founding a living school of American just eighty years ago (Oct. 25, 183/,) at Boston, Mass. He “ «olng somewhere with all his might and trampling need to get rid of the formality and aloofness of graduated from Brown University in X85j, and entered the he had become dissipated and his habits and weakened Foster’s first composition was the Tioga Waltz, writ¬ composition far more serious attention, it seems to journalistic--- field* *“ in Chicano"**-J h- We do not possess a down what gets in his way. p ng ■ ■ powers of resistance easily made him the victim of ten for four flutes, his first song, Open Thy Lattice, our concerts, in which the performer poses as a being me, must be paid to our emotions and imaginations. more spirited or -’ - When we ridicule the Richard Strausses, Max apart from the common crowd. Let him come into half Mr. Upton’s tge, who look upon Mm as the Dean of sharp dealers. In the very height of his success he Love, written in 1842. One hundred and seveny-five They must be recognized as the elemental forces in Music Critics of ot r country.] Regers, Arnold Schonbergs, Debussys and d’lndys close touch with his audience and share with them often found himself forced to part'"with a song for songs are credited to him which number probably does all artistic expression, must be cultivated and stimu¬ the thought of the composer he is interpreting, and Fifty years have come and gone since Stephen Col¬ the trivial sum offered him. Under such circumstances not include those he wrote in boyhood. The best ImnhW geUmg themselves hfssed and stirring up lated. Our conservatories and music departments are pamphlet wars, we must pay them the tribute of being his music will speak not simply to the elect few, but, lins Foster wrote his last song, Beautiful Dream, and it is natural that he should seek consolation in con¬ known of these are Nellie Was a Lady, Louisiana of little avail unless what is said, the content, is con¬ as it should, to the heart of every auditor. If each then passed into the dreamless sleep. Let us hope viviality. His lodging place was a cheap hotel in the Belle, Old Uncle £Ied, O, Susanne, My Old Kentucky aIfabH«°nwtleS W'th qUf',ities and the defects of their sidered of far greater import than how it is said. In qualities. We may not like them, but we can’t ignore musician should consider himself a missionary to that when he awoke in the Better Land, beautiful Bowery, his principal resort a grocery store, in the Home, Old Dog Tray, Massa’s in the Cold, Cold life, in nature and in art, love, emotion and sympathy spread the gospel of his art, our people would soon re¬ dreams which were never realized in his sad lifetime backroom of which he wrote many a song upon wrap¬ Ground, Gentle Annie, Willie, We Have Missed You, are the all in all, and the coincidence is not meaning¬ I think the foundation is being built. We have a cover from their bewilderment and music would as¬ came true at last. It is fitting that this anniversary ping paper furnished him by the proprietor, who had I Would Not Die in Springtime, Come Where My Love few men who are training up the audiences for such sume its rightful place, as a necessary factor in their less between the saying of the boy on the street, “tis should be recognized, for Foster was essentially and become interested in him. It is a pitiable story. Lov¬ Lies Dreaming, I See Her Still in my Dreams, Old Black genuises to work on. We have a few symphonies a love that makes the world go round” and those sublime distinctively an American composer, whose work was ing music, he heard none. With a loving nature he Joe, Laura Lee, Old Folks at Home, 0, Boys Carry Me words “God is love.” Music and deeds without the woTJT ’ 3 W SUit6S’ °f Very high value, which Harold Randolph original. He wrote out of himself, without the edu¬ Long, Nellie Bly, Nancy Till, Maggie by my Side and would honor any composer that ever lived. But the warmth of love are in very truth mere tinkling cymbals. cation of the conservatories and entirely free from Ellen Bayne. The melody of the last named was used (Mr. Harold Randolph, as head of the splendid Peabody dominating domineering, damnationing personality is European influence. His songs are the individual ex¬ later for John Brown’s Body. His last song, written not yet audible. J Conservatory, Baltimore, is among the most Emma Cecelia Thursby pression of his temperament, mood and feeling—naive in the year he died, was Beautiful Dreams, as already eminent of American musical educators.) Tn1” ;^ngS We -have ‘wo or three world-travelers. (Mme. Emma Thursby is one of the greatest sopranos and original utterances, unlike those of any other stated. It is not generally known that during the Civil Please accept my apologies for delay in answering America has yet produced, and is a American song writer. weo hellTS1CTWe,haVe h3d J°hn Philip Sousa' who War period Foster wrote four war songs: We’re a Mil¬ your communication which I found awaiting me on my distinguished teacher.) Stephen Collins Foster was born at Lawrenceburg, lion in the Field, Stand by the Flag, For the Dear Old f ' /" dance muslc and rausic hall ballads return to the office. It is, of course, too late now" Whatever “America’s greatest musical need” may Pa., amid the ringing of bells and booming of cannon, Flag I’d Die and Was’My Brother in the Battle. That Wend of l a , W ?T1Se4 0f Iow,y ambitions. A comply With your request, but if I had time to friend of mine heard the English soldiers marching be, America is prepared to meet it. The “Melting Pot” on July 4, 1826. He was of Irish descent. His father they were not better known at the time and since have press myself as to “America’s greatest musical need” away from Havre singing Waiting for the Robert E is also a music box. was a merchant and an amateur violinist. His mother, been forgotten is probably due to the fact on the one it would certainly be to the effect that what she chiefly L*ee. uur ragtime composers are absolutely unafraid Are Amman5 growing more musical? a Maryland lady of culture, was a lover of music and hand, that in the North war lyrics were as thick as consequently they succeed brilliantly. offSSm ,herself and the ^age to throw Well, America is growing more musical. The amal¬ fond of writing poetry. In 1840 young Foster attended “the leaves in Vallombrosia,” and on the other that But we have no fearless, tireless, shameless genius XJf gIuld,sh dependence upon Europe, and that she gamation which has made this country so greaHn an academy at Athens, Pa., and in 1841 entered Jeffer- ' his four lyrics were songs of occasion and were over¬ in the upper fields of music. Now that Europe8 is at develop her own national spirit. Perhaps the . son College at Cannonsburg, Pa., and during his stu¬ shadowed by his individual songs. horrible war may force her to stand upon her own terr, h;iaff!,cted *strongiy - nSeS war and composers and executants of all sorts are America is destined to become the musical center of dent days evinced a predilection for the languages, This much for the life career of Stephen Collins being disabled and audiences destroyed, American com¬ Morm °ng en0“sh t0 convmce her that she can walk the world. Our national characteristic-to have the especially French and German, and was possessed of Foster and the products of his talent. What of him as posers have as good an opportunity to seize the market considerable skill as a draughtsman and painter. His musician and man? as American commercial genuises. But where is the Walter R. Spalding love of music revealed itself at an early age, for at «■ waiting for him with bouquets and (MHnrWafnR: Spalding is Professor of Harmony at seven he learned to play the flageolet by himself. After FOSTER AND THE NEGRO FOLK-SONG. his graduation he became a bookkeeper for his brother, “t be""" Harvard University, and has done much to raise Foster has sometimes been called the American folk¬ the standard of music in our schools.) nppreciation^fSour ^an^iagT6 but his leisure time was spent in writing little songs song writer, and is usually designated as a writer of Peter Christian Lutkin . “ any useful suggestions are to be made at the kind and piano pieces, in which pleasant tasks he was negro melodies. Neither of these designations seem to (Mr. Lutkin is Dean of the School of Music at invitation of The Etude on the subject “What is greatly encouraged by Henry Kleber, a Pittsburg mu- * me correct. The only American folk-song singers have Northwestern University, Evanston, III.) America s greatest musical need ?” I feel that we must sician, who recognized the boy’s talent. His songs been the negroes themselves when they were in a state ■ rhe great need of this country, musically speaking go slowly. _ Superlatives are proverbially dangerous, were at first written for a little group of young friends of servitude. Old Dan Tucker, the words of which are Italian, to the French or Italian - Fre"ch or who met at his brother’s home once a week and spent is intelligent listeners. We have on the one hand a direct-inC f’ al|hou,gh uin its essence simple and familiar, is a genuine sample of the negro folk-song rapidly increasing number of capable professionals, direct in fact a natural phenomenon, like the ocean cans a splendid lesson when he sang ”n English "r" many a cosy evening singing them. One day a minstrel as well as the old sacred slave song, Swing Low, Sweet many of whom never have opportunity for public ap- or the sunrise—in other aspects is the most indefinite h.s superb method he lifted the language to £ r.Vhtf T troupe came to the town and after going to the enter¬ Chariot. The negro folk-song had a flavor all its own pearance due to the lack of appreciative listeners. On dignity. One of the best singers ofEnglish tevt T htf“ tainment Foster resolved to write a song and offer it as witness this drinking song: del™6 °f the 8Tt\ Very few p-ple have any clear conception as to the real nature of music, its heard was a German, who gave our Wua J ft, eVer to them, little dreaming it would be accepted. The heir inrsihTd’ a flar.g" mai°rity of our population find painstaking care he gave French or M ,sJame De ladies in de parlor, iW nf wants fully satisfied with the cheap offer- relationship to the inner and outer world of ideals ?8 song was O, Susanna. It was not only accepted but made an instant success, and in a short time was sung Hey, come a rollin’ down— Lth® vaudevllle and moving-picture shows. The fn tlrn W. n°r f ° th7 realize the part !t has taken A drinking tea and coffee; y . pe for betterment of these discouraging condi- n the history of civilization and what a permanent all over the country. No more bookkeeping for Foster. Good morning, ladies all', influence it should have in their own daily lives Ob- He decided to he a musician and devote his talent to ^ public schools- Hence every effort De gemmen in de kitchen, should be made to cultivate the musical taste of the viously the two great musical needs of America are ^song-writing. As New York offered him the most wandered the Bowery and saw no face he knew. mat our national vigor, ideality and optimism shall promising opportunities for his work, he went there After producing songs, the royalties of which should Hey come a rollin’ down— aninthrou^ehratf0n tH?Ugh g°°d instrucli°n, and above A drinking brandy toddy: find adequate expression in the works of native-born and began writing most industriously. have brought him thousands of dollars, he was in music g qUe opportunities of hearing good Good morning, ladies all. composers, so that America may stand for inspired FOSTER'S LACK OF BUSINESS ABILITY. comparative destitution. No wonder that he became symphonies, operas, chamber music, etc. and further¬ more and more dissipated. But still he worked on and Or this peculiar lyric: Clarence G. Hamilton His fame had now increased so rapidly that there more that the whole people shall insist upon bavin- not, J, ^‘.Tnc'/hSl,"'“w’l "n8ing ^ the pittance he got for each new song kept him alive. (Mr. Clarence G. Hamilton, who is a professor nf was a demand for every song he produced. Under "Cow boy on middle e’ island— • p enty of music as an indispensable necessity for their But one day when ill he stumbled in his room and Ho! meleety, ho! ordinary circumstances he should have accumulated fell, from the results of which and his fever he died. deaIs a"d aspirations, just as they have food for a handsome competence, for his songs sold by thou¬ Cow boy on middle e’ island— their bodies and boots for their feet. Every one is His death occurred in 1864, and he was buried in Pitts¬ Ho! meleety, ho! sands. Over half a million copies of Old Folks At aware of what an encouraging advance has been made burg. Thus lived and worked and died this song¬ Home alone were purchased by the eager public, but Missis eat de green persimmon, during the past 2S years in the universal demand for writer whose career reminds one in many ways of Foster realized very little from the sale of this or any Ho! meleety, ho! [Repeat] co"po,e'1 that of Edgar Allan Poe. The originality and indi¬ SJ z d, W0"hJ “ °>S”' t Zati0" and satisfaction of this of his songs. He even sold to George Christy, the Mouf all drawld up in a pucker, J 3 whole’ have arrived only and singing halls would not In i V are the feet, viduality of his untutored work are a sufficient proof at the stage where they realize that music is an im in ou/’nnhb-r 7 if °Ur pubIlc sch°o1 music, manager of the Christy Minstrels, the right to use Ho!' meleety, ho! [Repeat] in our public parks and music settlements; and most question of suitable clothes l * l”vcdve the troublesome that if he had_had the advantage of study and his life his,name as author and composer, on the first edition Staid so lite she went to supper, SVto c“4“'hc”d POn‘"”gl)’ °< ** jf free, or almost free singing ban '6 °pinio11 tbat had been happier, he could have produced much greater ™ l7t?Tnl° !■’ 'Vhe mUS‘C of the home circle. As for $400. There were several reasons why Foster be- Ho! meleety, ho! [Repeat] to the satisfaction, however, of the first ne#vL#hat for lonely folk, who now go^to W"e,opcne(1. where work. And yet, several of "his songs, though written some encouragement in the fact that this i easy mark for the greed of certain publishers, original and inspired composers, it see™.**. Jm,A. tv fop i„ and help sT„rtJeirUnfa0Sa places’ ~uld over half a century ago, are still cherished by the The negro folk-songs are characterized by frequent need is becoming recognized by the courses in apore- He had n-o ideas of business whatever. He was gentle, repeated idiomatic expresses, utter negligence with ^ bave n°} yet f"^o ^e bottom ■fcJJch hunger would be satisfied thl Songs- a real people and retained in concert repertoires. But'dieJe “rItiPlying 1” °Ur Sch°0ls and of our work has begun at the wronsr enHR c derful factors, and m^vel^'^!" would be won- regard to rhyme, and a generous disregard of metre as W a-a *1 h C0Urses- reach only a comparatively we have had already a number of llHfegh ’a"d,te gr^at.maJ°rity of those who attend con¬ c°me of it. The peopl^nf I m ^ 3m SUre' wou,d certs still have their ears assailed by a complex mass posers faultless in workmanship and style, lfKLahrn’ of the game; looking on andfS” Wam to be part too often leave us cold and perfectly sfcMRr k ness. A great need is that th^T"8/* & lonely busi- outT[hemy *Ieamn*1“* sounds- which artists throw out at them often with a smile of contempt at the seats ; they lack fire, passion, fancy* tSJHF £5 couraged to be as musical a?APe0p c Shou,d be en- popular ignorance of their message stanlr °f u C°Te,ling inspiration. more musical by trying to mat they -Can’ and to grow . Mu,sjc is tbe most subtle of all the arts; yet there standing such academic definitions as “Mulic 17lhl much for the result of discinlinIr|US'C' If We wait to° is seldom any attempt at the enlightenment of the the colossal contribution of the LU^°n We lose listeners as to its significance. Occasionally as 'at genuine mS-lo^ knot’s ThaTtheT^ “nd 6Very be really musical, the masses are TT If we are tp m music is human emcTn some symphony concerts, there are annotated programs; The specially gifted can always the.firi? consideration, creed that music is the language' oftSto loZoS ordinary people, with ordinaltheir way- The singing halls nary V0lces. would patronize 784 THE ETUDE THE ETUDE 785 we. as the constant iteration of the refrain, qualities ing on the downward way, but still working to keep but through them all runs a vein of tender and refined which are not to be found in any of Foster’s songs, body and soul togetneritogether! And/mu theni.,w» the.—- end, alone and sentiment, reflex of an inner serenity that could not these songs disappeared with the slavery system and sudden! The comedy• finished!I IT wnn/terwonder what this be disturbed by outward misfortune, or physical weak- were followed by W. Dan Rice songs like Jump, Jim sensitive and refined creature thought as he penned Cfow, Dandy Jim and others. They had their day his last song, Beautiful Dreams. Were they the dreams until O, Susanne appeared, which left the field to t boyhood? The dreams when he made his first suc- Foster. His songs seem to me sentimental ballads, cess? Dr were they dreams of something beautiful THREE PRINCIPLES OF MUSICAL having the negro life and habits for their subject to co he felt his end drawing near, when he The Etude Master Study Page rather than negro melodies. Foster is said to. have must say good night: MEMORIZING. visited camp meetings and picked up some melodies The head must bow and the back mil have to bend. which he adapted, but most of his melodies are his Wherever the darky may go. BY WILBUR FOLLETT UNGER. own and the words also except in one or two instances. A few more days and the trouble all will end At the same time they were different from any songs On the field where the sugar canes grow. In a recent issue of one of the New York dailies, which had appeared before ever their vogue was uni- A few more days for to tote the weary load I read an interesting article by that gifted writer, Ella versal. They even crossed the water and were trans- No matter, ‘twill never be light. Wheeler Wilcox, in which she expounded the three European and Asiatic languages. It may be DR. MASON’S PERIOD. LA> added that nothing like them has appeared ’ A few more days ’till we totter on the road, principles of human development,—the physical, the death, in this respect they are unique Then my old Kentucky home, good night. mental and the spiritual. And in her own beautiful Looking over the great sea of history one views ( ( 7 Merest in the talented boy and suggested that he language, she explained that it is only by an interminable expanse of waves. Waves of IV \ 1 I ded'5ate a recen This is not a “Who’s Who in Music." The sole ob¬ To-Morrow in American Music P Dibble, Chatles Denee, Theodora Dutton, Henry N, G. Sonneck, Alvah Glover Salmon, Charles S. Skilton, ject in presenting this list of five hundred and more Dunham, Mane’ W. Daniels, Earl R. Drake. Arthur Shattuck, W. H. Santelmann, E. Schenk, H. An Interview with Our Internationally Famous names is that of indicating to our readers what an Clarence Eddy, Myrtle Elvyn, Rav Edwards, Her- J. Storer, Ernest Schelling. JOHN PHILIP SOUSA immense amount of splendid effort has gone forth for wegh von Ende, J. Lawrence Erb, F. L. Eyer, Effa A. W. Thayer, Everett E. Truette, Campbell Tipton. musical work in our country in recent years. This list Ellis, Henry P. Eames, Will Earhart, M. I. Epstc «. H. Tourjee, G. L. Tracy, Yvonne de Treville, Jean¬ Secured Expressly for The Etude does not include the names of men and women men¬ W. Arms Fisher, Arthur Farwell, W. H. Fry, nette Thurber, F. H. Tubbs, Henry Gordon Thunder, tioned in other places in this journal. Nor does it George Ferguson, Carl Fique, J. H. Francis, I V. Bertha Fiering Tapper, Fannie Edgar Thomas, Abram' comprise more than a mere fraction of those who are Flagler, Mary Chappell Fisher, J. F. Frysinger, Adolph Ray Tyler, A. L. Tubbs. equally entitled to representation in such a list. There Frey, Henry S. Fry, W. Julius Falk, F. E. Farrar, Mrs. Marie vcn Unschuld, W. F. Unger. (Editor's Note.—Singular as It may seem the engines are men in this record who have conducted some of R. R. Forman, Frank La Forge, Charles H. Farns- or war now being used in Europe are largely of American those channels, we are seeking the flowery fields of for a symphony simply because it is a symphony, or Mary Venables, A. K. Virgil, Mrs. A. M. Virgil, invention. The machine gun, the monitor, the submarine, artistic endeavor. the finest of our symphony orchestras, others are re¬ the aeroplane, are all products of American genius—and for a march simply because it is a march; they ask Kate Vannah, Nicholas de Vore. it i= r.ot surprising to learn from refugees that troops Composers are springing up everywhere in our coun¬ markably fine composers, others are teachers of wide Lawrence Gilman, Frederick Grant Gleason, Percy in all c for the especial symphony or march that meets their R. H. Warren, Oscar Weil, Arthur B. Whiting. Mi¬ >untries have been seen marching toward the battle- try, not writing for the “dollar,” but because they are favor. renown, others have won reputations as writers per¬ Goetschms, Rubin Goldmark, Wallace Goodrich, George ron Whitney, Harrison M. Wild, Helen Ware, G. D. —™ w the tune of Sousa marches. Mr. Sousa is in a Coleman Gow, E. Grasse, H. W. Greene, Mary Gar¬ sense an anti-militarist. Ills famous band is not even a impelled by .their higher nature to compose for the formers, singers, etc. Many are quite as important as Wilson, David D. Wood, Howard Wells, S. B. Whit¬ THE AMERICAN COMPOSER TO-MORROW. den, Jessie L. Gaynor, W. F. Gates, Weston Gales. rUhilt?ry 1)and' so, we can not blame him for writing music sheer love of the art. This is one of the most con¬ those whose portraits are presented in this issue ' ney, Fullerton Waldo, Arthur Woodruff, Edyth which may now be escorting thousands to slaughter The Francis Grierson, Henry Gilbert, Dr. J. C. Griggs Sousa marches. The Washington Post, Hiyh School Cadets. spicuous signs of our musical advancement, and we are That composers of immortal significance will arise There are at least twenty thousand finely trained music Walker, Harriette Ware, Edith L. Winn. Lorna Walsh. El Capitan. The Liberty Bell, and even the Stars and Adam Geibel, L. F. Gottschalk, Glenn Dillard Gunn’ beginning to realize a standard of appreciation. We here in America seems to me very evident; we have workers now actively engaged in America offering Mabel Wagnalls, Benjamin Whelplev. S. B. Whitney, Stripes Forever have been heard daily all over Europe Harvey B Gaul, Carl W. Grimm, Tod B. Galloway, ever since they first became popular years ago. They are are learning not to say that a piece of music is good such men as Edward MacDowell, Dudley Buck, John opportunities for music study unexcelled in the world F. A. Williams, J. Frederick Wolle, Hervey T. Wilk- just as much a permanent part of the regular repertoires because it is a symphony or sonata, or the piece is bad Knowles Paine, George Chadwick, Arthur Foote, Henry Can any American look at such a record, and think rJ- Goodricb’ A- J- ('antvoort, of European bands as Old Hundred is of a Methodist con¬ Heinrich Gebhard, George F. Cranberry, E. W. Grabill i-n,s> f F' ,)V?lcott* R W- Wodell. T. Cari Whitmer. gregation. Indeed, unless we except Stephen. Foster, there because it is a ballad or march. We do not say it is Hadley, Horatio Parker, Mrs. Beach and others. These of the legion of others equally entitled to he on such Charles Washburn, Mortimer Wilson, Mrs. F. S. good because it was written by Beethoven or bad be¬ H G Hanchett, Victor Harris, Arthur Hartmann, commenced is extensive ai composers are innovators and not imitators, and I a list, without a thrill of patriotic pride ? Note that we A. J. Hattstaedt, J. W. Hill, Allan Hinckley, G H Wardwell, Mrs. Stacey Williams, Ella Mav Smith. cause it was written by Smith. would like to say to the younger composers, pick out have included the names of many men and women of yJbeodore van Yorx, Francis L. York. Gaylord We are going to judge music by its own worth; we your own path and do not copy Richard Strauss, Claude Howard, Mrs_ Fanny Hughey, Louis G. Heinzie, v, " *'“1 v 8Tr i, 7 tue suuo_. foreign birth. The foreign born musician who elects ms arrival and hailed his oncoming like a conquering hero. are getting the courage to say that the symphony can Debussy or d’lndy, but write as the above men have to come to America, bring up his family here, become H T rr"d’ W‘ R' Hedden- Alexander Ca;ni,'e Zwkwer. Max Zach, Dr. F. Ziegfield, Marie In England the hand is quite as popular as in America. be most uninteresting and a march electrifying. We are written—by the aid of their inspirational nature. Henneman, J. B. Herbert, William E. Haesche, Hub- fi, st2''-v ,s ,to1? of sl,r Alexander Mackenzie, director of an American citizen, give his life to our musical ideals, bard Harris Ellis Clark Hammann, E. E. Hipsher, Ed- van Zandt, Marie Kunkel Zimmerman. tile Royal Academy of Music of London. Sir Alexander beginning to understand that quality is of a greater . The young composer should observe that the high Vs -iving a concert at Queen's Hall on the afternoon value than quantity. becomes an American in every sense of the word. All S- “ u V1’ 0ctavia Hudson, Mrs. Celeste D FOREIGN-BORN AMERICAN MUSICIANS. of a day when the Sousa Band was scheduled for an in art in no way depends on great complexity. One hail to them 1 They bear an entirely different relation evening performance. Mr. Sousa attended Sir Alexander’s We used to hear of the wonderful critical ability of can take the nursery phrase, “The mouse ran up the to our country from that of the touring artist who SJe/ piCVE- Whn’ C J- Huerter- Harleton ar^^JT^-150™ American musicians of note concert and the famous Scotch musician whispered in his continental audiences, but I can tell you that the boy clock, and make it read, “A small quadruped, mus Samuel “g ^ Hel“ Hood’ Ruth Heymann, hnw fare Tre pe°p'e standing in line outside to who drives a reaper and a binder on a Dakota wheat comes clears up a fortune, and then returns home to F v ‘ Herrmann’ Sldney Homer, N. Irving Hyatt, sh'f X A xr’i°Sef and Timothee Adamow- buy tickets for your concert to-night than there nro in musculus of the rodent family, ascended a perpendicular spend his earnings. ™ my whole audience.” a e l farm to-day has opportunities to become acquainted Frank Seymour Hastings, Charles Heinroth, W H Mr. Sousa has not come by his great reputation by any¬ horological contrivance,” but that surely does not make It would require an Etude five or six times the size thing but the unique merit of his work His anneal is with the best in musical art, which Europe of yester¬ great art. Or we could take the same phrase and of this one to do justice to all. The list might be bard,SrT'l J. W.WG Hall,W°uH LauraT°rnberger V. ’Hull, R D E.' van Hoose.A- I Hub-' Carl Baermann Carl Bergmann, Bernardus Boekel- broadly human. Swinging melodies, simple yet distinctive day never had. Furthermore, that boy finds the whole spell it with the letters all turned around, “Eht esuom mann Gmseppe Buonamici, William Berwald Carl extended interminably. For instance, Alberto Jonas b. P. Jackson, Clayton Johns, Herbert Johnson univl?saS]IynSli'ked entati°n’ barbaric fire- have made his music thing new to him and he steps from the sound-repro¬ nar pu eht kcolk,” but that does not make originality. Antonin Dvorak, Leopold Godowski, Alexander von Mr Sousa was bom at Washington. D. C. November ducing machine and the musical magazine to a strong Let us hope that our young composers may have the SgjJ"" Br°°n°e’ Anh"' s“*> »’ n»v»ri»iIl8uatl|,r wa,s Portuguese and his mother was bielitz, Ferrucio Busoni, Xavier Scharwenka have all Jud?on° ’ IeS JarYiS’ Per'ee V- Jeryis, Arthur Members of his family were among the very ambition to know more and more of music, and per¬ divine_ insight which will reveal to them the essentials Giuseppe Campanari, Arthur n- first settlers of the new world, several branches coming haps to express some of the great ideas that have come spent years in America which have been of great im- ^rs- Hermann Kotzschmar, Arthur Kraft, Georgina m their art—not the shell. C^solo Giuseppe Crea’tore, I ampanTri ’ to America and South America long before the settlement to him all day long from the infinity of the glorious re°tlanCH TTOUr C0Untry' These raen’ h°wever, have Koher, Mrs. C. W. Krogmann, Walter Kramer, Clara- °n I;’ym?ath; M,r; Sousa is enthusiastically American in returned to Europe to continue their work. Louise Kellogg, Grace P. Karr, Caroline V. Kerr tom Damr°SCh’ Frank Damrosch, Sidney Dal- hi sF ^iiseaISUK waa educated in Washington, where blue above him. It is this which gives all serious think¬ A NATIONAL SCHOOL. a wltt John Esputa and George Felix Benkert. ers promise of great things in the music of America Cahxa Lavallee, Frederick S. Law, Harvey Worth x rom ine age of seventeen ne was oontinuouslv encacpfi What could be more foolish than the idea that in AMERICAN-BORN MUSIC WORKERS. *o band® ®nd orchestras, playing violin in the famous to-morrnw. H- Ezerman, Offenbach Orchestra of 1877. In 1880 he berame le™de? order to be great we must have a national American Among noted American composers, writers, teachers of the IT. S Marine Corps Band, remaining with ?hrt school? Strictly speaking, there is no such thing as a low T • A‘ Lang’TCarl Lachmund, C. W. Landon, Thur- organization for tweive years. Then he organized his own HIGH STANDARDS OF MUSICAL TASTE. 4aru SUCh *We musicians as Richard FormesFFaeCfx0FnvierO F,°nd'a' Rud°Jph Friml, Karl national school in any country. There is national Aldrich, W. F. Apthorp, Perley Dunn Aldrich. Frank !°lL7?nCC; Le°nard Lieb,ina E™1 Liebling, Frank famous hand which has played continuously since then Following the deduction of my own observation I iuies Felix Lamond, V. Lichtenstein, E. S. Lorenz achieving the reputation of being the finest' band of the imitation. That is, where ninety-nine writers imitate P. Atherton, E E. Ayres, Paul Ambrose. N. H. Allen Mrs. Florence French' ATU?USt Fraemke, have never been impressed with the superiority of C F m acDougall, W. C. MacFarlane, J. C. Macy the h'estMkiiownU o8f whiclTls^B s<:VP,.'a, Successful operas the efforts of one original composer. Some composers Cectle Ayres E. L. Ashford, Mark Andrews, Warren Robert Goldbeck, Patrick Gikofp°in C. Freund. Germany or Italy as the fountainhead of musical cul¬ gaged upon a new score Cfor\he frixh*DranMn. ^HisTuItes have woven the imitative folk songs of a country into L. Galbraith, Arthur de Guichard a’ /f-0 ,Glorza’ J- nave been very much in demand. Some years ago he pub- ture While both these countries have given to the them music but that does not make a national school. A nM 6 Abell,Ah n MiltonMSt°" Rand A "Sargentdrews’ Aborn.Mrs- Crosby Adaras> lished under 'governmenT soUOtation,.in. National Pa/WoM. world a wealth of musical literature, I believe that in John Denis Mehan, Francis MacMillen Auhertine and Typical Airs of All Countries. I know a clever English composer who wrote a planta¬ b. A Baldwin, Arthur Bird, Lillian Blauvelt, Theo¬ T experience in this and other countries the the Italian’s heart he loves music when it is combined ,0 tion piece which made a great success. Its title was dore Baker O B. Boise, F. H. Brackett, J. Hyatt with some great emotion aided by stage-craft, and, J.7°W W. Metcd°fMetcalfe,0ere EEvaRUS HigginsH? King MiI,erMarsh,’ EugeneC. L MarksMorse > rd0vPaeno0ed.MeSna^k'aVWOrtko *Z£ ^on^^^to^o^w”^ Down South, but I am sure that if he were asked m F- Bnst°w. Howard A. Brockwav, Fred- therefore, Verdi, Rossini, Donizetti, Bellini, Puccini, th^readersT^Etude vei^gr/atlylV"11 Sh°U,d where Down South” was he might say, “Whv ud enck Field Bullard G. A. Burdett, F. R. Burton, Eben son ^dmu 7 rMT’ V- •VIartin' E-derickMMax: etc hold a warmer place in the heart of Italy than round about Boston, isn’t it?” H: Bailey, L. A Bugbee-Davis, W. J. Baltzell, Fred¬ Loll,"£Lr„thWFrjnkKS,IrF V" I alestrina, Sgambati and others who wrote music from OUR MUSICAL ADVANCE. If you insist on having a national school, please tell erick Burton, Clara Bauer, Victor Benham, Siegfried only the musical standpoint. In Germany, while they Maitland, Hugo Mansfeldt, C. E. Le Massena’ / me what is the national school of France? Is it Behrens, A. E. Borst, Thuel Burnham, Harriette There ean be no question that the appreciation of have a love of the opera and love of the symphony, Mtersch, A. Metzger, E. Mollenhauer, Blanche D Mat' the best in music is continually increasing; Beethoven, Gounod or Debussy? It would be difficult to think of Brower, Emily Baur, Eben H. Bailey, Walter L they combine the symphony or the opera with a sort thews, Charleton Murphy. Bach, Palestrina and the other great innovators are anything music further apart than Debussy and Gounod of picnic in which wine, beer and the gastronomic de¬ Badev’ 5an B!°°rabe,d; H' T- Burleigh, Lillian G B. Nevin, Arthur Kevin, Homer A. Norris W H more strongly intrenched as standards than ever be¬ What is the national school of Germany? Is it reore' lights are in evidence, and thus you have their highest W;ii,ROI?er Bartlett, Katherine Burrowes, Neidhnger, Gordon Balch Nevin ’ W' H' sented by Abt, or Wagner, or Bach or Schoenberg? William Benbow, Thaleon Blake, J. W. Bischoff, W fore. We Americans are truly the most optimistic of appreciation. George L. Osgood, L. E. Orth all people. We are a nation without a defeat, and for borne of the European nations have a well-nigh limit- L. Blumenschetn Cora S. Briggs, F. L. Bristow w' Louis Lombard. ’ 1 kevy’ G- Loveland, I am constrained to believe that the most devout that reason optimism is otr most distinguishing trait K. Bassford, Edward Shippen Barnes, J. Lewis lovers of music, pure and simple, are to be found in less_ treasury of characteristic folk melodies. Russia Certain European nations call us “dollar hunters,” but Spain, Hungary, Bohemia, Norway-all are bountifully Mi‘hr" .A BMMm, 1QiSmMM'dd VCtlUl"' H“rrl=ot, England, and it is not difficult to discover the reason. ThlT >R f Vi Ba‘dwin’ Kenneth M. Bradley, Ar'hj&S-SRur rjj,:.,. StSOZ'&iZE*,. E, P,„E H; w Pe« e ’wK supplied with tunes which are sung by the people But ^!.are "° more “dollar hunters” than they are “mark,” I hey^ the English, have been nursed and cradled with fhBonrf ap epeV H' R Baker’ Anna G- Bryant, Carrie Em“u 41“and'1'’ M.tlhew, EaSrt0rMMl,Ur<:'' N' shilling or franc hunters,” or, in other words, we because a composer happens to be born in Norway does p , ‘“S’ ,VarrynHaIe Pike> Edwin H. Pierce C S the Oratorio, Cantata and the Fugue, and have imbibed H.H BeckBeck, MarcM E- Blumenberg.BrSt°l E1Ia B‘ Behr- Max Bendix, J. X,“rae0'la"do A- “ “■Tali possess the convenient hustle that is up to every peo¬ not imply that he must perforce be confined to imitat¬ ple who do things. We always hope for the best and a °f mUS,c in its highest and purest form. ing Norwegian tunes. When we find, as we do in England, and are now wC,pB,rFady’ Jo^T Spencer Camp, William C. Carl, expect the best which somehow seems to come to us Oe’;,";!e0b“h°II'!r- Arne OUbe,s. Lo.i, finding in America, communities that endorse and en¬ I heard a story in Europe a few years since which - HCloU?harant,VW-TH\Clarke’ Mrs- Frances Clarke As the youngest of the great powers, we do not judge H. Clough-Leighter, L. A. Coerne, S. W Cole F S courage a Symphony Orchestra or String Quartet a may or may not be true. A certain very great Ger¬ art by as severe standard as the older countries do, Converse Gilbert Raynolds Combs, J. H. Cornell E LI aS gS*” *«*. E.g.„e Pappenheim. form of music absolutely devoid of spectacular effects man composer, while traveling in Italy, heard a popular A. M. EicWi”11- Wheel., Ro„. Put, as we take on age our judgment will be just as ,C°*'eS’ BenJamin Cutter, Julia Crane, Kate S. Chit- we may truly say that‘country has its great music song, and was so much impressed with it that he wrote exacting as that of the best in Europe. America, lovers. Here in America we support with enthusiasm a fine orchestral fantasy on its theme. But, “horror of WndV rVaUra T? ter and tears marked the progress of the program from beginning to end. After the opening prayer by Dr. Herman L. Duhring, Mr. Theodore Presser read the Inaugural Address, which follows: Foreign Musical Influence in America “The Home we dedicate to-day is only one of the results Inaugural Ceremonies of the Home of that broad spirit of philanthropy which has been sweep¬ ing over our land for many years. This altruistic movement By HENRY E. KREHBIEL shows itself in our whole body politic. The Federal Govern¬ for Retired Music Teachers ment at Washington is becoming more and more paternal Musical Critic of the New York -Tribune,” author of -How lo Listen to Music," ',°'r '*• --over 15,000.000 yearly In Its home “Chapters of Opera,” etc. encourages Mothers' Day; it spends millions in its fatherly care of the Indians and the natives of those countries we have taken under our wing. After the War of the Rebellion our country was filled with homes for soldiers’ orphans, and we still contribute to the support of the men who fought The readers of The Etude are entitled to an account tutions, whether hospitals, infirmaries or homes. Bless in our great war. - -. been asked by the Editor of The Etude to - “0ut State government engages even more dlrectlv in of the very impressive inaugural ceremonies of the all those who by their charities, labors and gifts help discuss in any way which I might think best the "For¬ e\ en Pergolesi and Paisiello. All these things, of course, humanitarian work. There are no less than 88 institutions and Graupner-might occupy our attention Tor a space Home for Retired Music Teachers in Germantown if forward this Christ-like work, and grant that all who now under the care of the Commonwealth of Pennsylvania. eign Musical Influence in America.” Some twenty-five m their English manifestations, for throughout the cen- Our hospitals, asylums, etc., receive large appropriations if circumstances allowed, for to the first and last Boston for no other reason than that of their long and valued labor faithfully therein may at length receive the re¬ years ago, in writing a survey of music in America I tury American culture was of the English sort. The j",tuf State Treasury at each session of the legislature. owes the pre-eminence which it enjoyed for so long jn loyalty to this journal and its founder, Theodore ward of faithful service, through Jesus Christ our J„ ,tne last session of the legislature the amount appropri¬ utch and Swedish colonies were too short-lived to ated reached the enormous sum of $20,000,000. suggested that its history was wholly a foreignTffair choral music while Tuckey laid the foundation of Presser, who thereby has been enabled to make this Lord. Amen. exert an influence, unless of the restrictive kind; and Aor is this governmental support limited to our own that it was wholly the story of a foreign art amon- artistic church music in New York and made it possible gift to the profession. Accordingly we are drawing After which the Lord’s prayer was said, the Benedic¬ In many of the European lands, old age entitles the veil of false modesty and in this intimate report those m need to a pension. It would seem as though the fromFthnC1 a"d Spanish settlements were too remote for Americans to hear Handel’s Messiah while it was tion was pronounced and “America” was sung. worid were recognizing the great truth that Fortune dis- dom!cildeOPnSrWh0 T fr°m time t0 time become attoning in a measure for the fact that distance and domicded in hat part of the North American continent activiti«-Centrer !n5m Whlch Culture radiated. French still a sealed book in Germany. I have chosen the In the stone were deposited the following articles: tnbutes its favors very unevenly and it often happens that ,» were felt after the Revolution drove refu¬ space made it impossible to have all of The Etude The first Issue of The Etdde (1883). very deserving people find themselves in old age without the k MlT A T Vn'ted States' PerhaPs ^at is what names at random simply to show that America was comforts and necessities to which we all should be entitled gees to the American shores, but they were not lasting family present upon an occasion that will long be Copy of the present issue. during our declining years. believe nnt fLr fi lnstancebut I am inclined to attractive to the itinerant musician 150 vears ago Copy of Jubilee issue (Jan., 1913), giving a historv of The awful uprising of the blacks in San Domingo S remembered by those present as one of the most in¬ ,.ln3l!e «ity- (be spirit of charity that touches more • .row.that there was a more distinctively Ameri- of^Mr ’presser'* th6 The°' Pressei' Co,> deluding a biography and to make the contention that it was thus attractive spiring and imposing they had ever experienced. closely the individual citizen. Only a short time ago such hnnrt H IZatl°n f°r foreign influence to work upon one because of its English culture. Report of the Home. handle h 5-,blic bath bouse was unknown. Our municipal A story of the Home and its band, which discourses sweet music in our public squares, is we are ,eearS ^ there is to-da7’ that as a people Practically all of them came from their native lands organization has been given in pre¬ Father Penn’s method of bringing music we are less amalgamated and in more of a ferment to his home. Our wonderful system of and consequently that there is less nationalism" by way of London-like Graupner, a Hanoverian obAst vious issues of The Etude (January, P^i*ks, which costs Philadelphia over 1913, page 18, and December, 1913, $1,000,000 a year, is Father Penn's play¬ b j d,ere was durins the period of stress Oth0A P ayCd U"dCr Haydn in.the Salomon concerts ground for his children. winch made and preserved us a nation. page 862). The biography of Mr. “The individual, more than all, spreads This being so it is a fair, possibly profitable and cer- a livelihood6 ^Teaching iheAnsTruhTems affected"^ Presser has also appeared (January, his bounty broadcast: he may not be his 1908, page 62) and it is only neces¬ brothers keeper, but his brother's wel¬ for meintVhtlnghfihId T?" tlle EdEor has marked out fare concerns him. No man lives for for me, though it is still a little difficult to define In srs G~ sary here to recount a few details. himself alone. Take up the book of anv benevolent institution, turn to the list indicated^- °/„ ^ C°nCertS «ave hasT'An Thirty-three years ago, after an ex¬ contributors, and you will be aston- cultuTnow TnTlX Htt'e differTence between musical t the n and more nrc L T yea!!s ag0' In some of the higher tensive experience in musical edu¬ and more practical manifestations of the art we are as amateurs,’just 'as theTfffes ' *7 We” assistcd b-v cational work here and abroad, the Vienna- down ,o ,h. h founder of The Etude started in as werentth°n T ?ndc!' the sway of European peoples charities that are remembered^at*Christ- business with a borrowed capital of mas or some other time. Philanthropy the^itize^s 0f t°heStS JUSt bfv°re the devolution and AMERICAN AMATEURS. is the mainstay of these established in fart The neW repubhc Just after. More so, $250.00, a well defined plan for his benevolent institutions. Our hospitals) future, and a desire to do everything homes, asylums and all charities are L rh difference ,n musical culture during the dependent on philanthropy, which, like ast three-quarters of the eighteenth century between the sTgnfficance'of11he*fartsAhat AAme°' Cnlarge UPO" in his power to help his confreres in choir of 230 voices aA A l'an Amencan amateurs’ 2ulAatedV ’ 8 0UW be fosteI'^ and the profession of music teaching. In “When the man of laree means talists (among'them seven wt had 1893 he appeared before the conven¬ at the Handel CommemoraHnn. ■ r j the band tion of the Music Teachers’ National fPSrdheWlif„VTaf| i“t„0fknSl before) gave a concert of orat •" London two years rhia, in May ’1786 that o^ono music in Philadel- Association, of which he was also & « ff ?e£Xr& formedA the founder, and suggested the need community trust or foundation, into Cecilia) founded—1762As stilMn8' (the St which the surplus of the well-to-do can ton, S. C„ that Glee Clubs A existence in Charles- for a home for music teachers who be deposited so that it might be wisely cans were S' ”1\ u nineteenth century the Ameri- found themselves traveling a very cared for. So successful was the Cambridge and New Haven-1789*1 d° ,C7^iege Iife in rough road as they approached the that in three months there were FF srassra New York had its Anacreontic Qub and ^ ‘hat journey’s end. $25 000,000.PaPerS eXecuted bequeathing Massachusetts or suppresed by the hardships of pioneer Gardens as well as London, long before A ® ?3nelagh The Verdi home in Milan (La “Corporations and firms are alive to century began. Such- was thP 8 j the n,neteenth Casa di Riposa per Musicisti) was the welfare of their workers. They maiiks of m remember with .^at surprise some re¬ developed by English inflAn gr°Und which had been opened in 1899. Mr. Presser visited tionshipttonim TIbetweene aD<1 employer more tb0 and close employee, reIa4 the great immTgSdon movement?fit0 the ^ when music teachers slratogaTthink^t wasTI^h“h°T the Verdi home and the conviction iney are adopting ail kinds of beneficial stamped. a German character upon thf” A have measures, such as pension for years of "omeonhen^rd1 CU’tUre and ,ove of beauty wffich ties of some of the lar^t / upon the musical activi- of the need to establish such a home offn6’ p™flt-sharing, subsidized life in- in America was strengthened. Ac¬ snrance, sick benefits, savings banks, pro¬ from theh^homes tT^^dThatf^^ H. E. Krehbiel. Up to 1820 the influx of 7m”n’tleS in the c°untry. cordingly, as fortune favored him, viding amusements, recreations, etc. One States was comparatively negligibifa? the Un!ted snrnnratlrn~-tj?e MetroPolitan Life In¬ he made plans to open a temporary surance Co.—has a hospital for its em- St f Ch0ral by an opera company to Charleston where its not trace any appreciable effect of’if „ 7 A6 1 can uiusical life. it aggregated 250000 , P°n American home. This was done in 1907. The tosiff W ° art> affl‘eted With tubercu- success of the first steps pointed the .. “It must appear evident to us all that need for a larger building and the the Home we open to-day is not the hobby of an individual, but the product JS30 io lino, home was moved to a residence in of the spirit of the times y t ence but thlth it 1 maln‘fins a precarious exist- from 1850 to 1860, 2,600 000 Th J?50’ 1>700>°00, and Germantown which stood on the site “The year of jubilee comes to everv of the present new building. Left to right, top row—John Braun, man when he can return what he has of 1848 sent many besides pealants f A revolption Mme. Anna Ziegler, Henri Scott, Mrs. Kali accumulated to the original owner The The new building was completed Mrs. Ralph1CKfn°dner P' H°bS°n’ J°hn C Freund- KaJPb Edmunds, possible to see that not one of my assertions huA upon the musical life of the country. nfluence to our shores,-.but even these hA d **y laborers Second row—James Francis ~ ' building of this Home was made possihle extravagant Then it 7 assertlons had been social life and-art. I have t A an lnfluence upon this autumn. On September 25th a Charles Heber Clark. Cooke, Mrs. Cooke, W. E. Hetzell, Maud Powell, Wassiii Leps, through the commercial support of mus e small party of ladies and gentlemen, ... Bottom row—Perley Dunn Aldrich, Theodore teachers during a period cohering n“arto -** u.ai auiJSUriUlK session" oafdAinAtiVe,y EngHsh CuIture had t^en pos¬ myself that the German singiA sodA aMe, to co«vince Kinder. This photograph was taken for Musical rica. MrS' Presser’ Mrs- R- p- Hobson, Ralph fifty years. The day has now nMril / session of the American people it was nrnmnwi u because of German immigflfonA e? which grew up including Mr. and Mrs. Theodore return to the music teachers in a measure, what originally belonged to ffifAtTamic^oaUstC(New York HiUadelt^ R 1?*°* Presser the directors ofthe Home,The present residents Copy of the Inaugural Program. £2:i£i of the Home Mr Paul A. Davis, 3rd, architect of the Home, and Mr. Henry E. Baton, builder of the Home rertInforhHmHe0?oe,coff There win “Arr",Ad a haVm .,SiF;r“RliT ? ;.nVing„ assrsf complete lepirt A&'Jref-- if the event ... and the Superintendent of the Home, Mrs. L. B Pierce’ aa "small"small Affpffvillage b 6 .Iff e,Ywb0.has ^bored faithfully3 -Jimtains is. welcome he an careers in Charleston and ended them in the north four clergymen and Mr. John C. Freund, editor of Record). tbrilA toouXdsto aAffrt Aoma'An'stonT ern cities. Notable among them are the vl v u Musical America and Music Trades who had come from Record of Der Won...... equality in these halls. AU stand Bispham (Columbia Record) t, sung by Mr. David New York one day in advance especially for the occa¬ Record of Confvtatis Maledictui Verdi, sung by Henri h»3A“°“!.has been established some eight ye These sion, met at the Home and the simple but moving exer¬ Scott (Columbia Record). out whether thereOf wa experiment. Our purpose v ar1. G'™*» ts was suggested to Theodore TbJH ?ncinnati festival Welt^Mignon records^of Mrs. Fannie Bloomfield Zeisler. There are at present very rffaeed tor such an institution! cises of laying the cornerstone were conducted by Dr Gifted playing of th jfj]jtary March, and the INFLUENCE of THE ENGLISH Paderewski's playing of persons. The actors have Herman L. Duhring and Mr. Theodore ■ Presser, after aPd also the Forrest Horn muf hn"!C - —o, Mechanics’ Home at Bala m the Delaware. The Hayes’ ;■:SeTfLdl",n> ,h' «Hod in question which addresses were made by Dr. Lee, Dr. Arndt' AN AUSPICIOUS OPENING. doing a noble work in caring ■&'ST;1°f h»d«L So and Dr. Jenkins. In laying the stone Dr. Duhring altlsaaa- Tbe time*Is* not’ far’dlsta! repeated, s . °" th^ following day, September 26th, at two-thirty shall liomes ^for^ali classes of workers. dians which came to the citA h' dompanies of come- m the afternoon, the opening ceremonies were held in Sterchff^ttSa-ff-- sueb as there was of leisure And A/h contaiued all that Pelissier; the Grtmans Oiarie? Th ^ Vict°r the Home the spacious dining-room being used as the in the latter hal 0f the eAATA^ °f dvi,ization (1733 and afterward, ’ a« S A PaScbelbeI Jnthe Name of the Father and of the Son and of assembly hall for this purpose. At least three hun¬ the Holy Ghost. Amen. profession need the help this instltrtfffnm the-*muslcaI with them the singers and th^'n i Cent,Ury’ br°»gbt enck Grundzweig (1755) r 6 C0,ast^ Fred- dred guests were present, many coming hundreds of Boston) and Gottlieb Graupnfr ArsAinAhirV?181 in p T ?eiiCate- this buildin i 796 THE ETUDE THE ETUDE 797 with something that can readily be understood and ap¬ Musical Criticism in America preciated. But once the musical sense has been awak¬ By FRANCIS LINCOLN to you, as well as be a smart boy, and because you are ened in those whose nature is otherwise already more making his lessons very short. With a boy of this refined, they will of their own inclination discriminate Impossible as it would be to — ,justice - in a short and then (since^ 1907) editor of The duced historical and biographical works which have sort two lessons a week are almost a necessity, as more and more in favor of the music expressing the article to all of the many excellent critics in musical the greater share of his progress in the early stage been given a high estimate in the educational world. best and most noble that is in their souls. Those, of work in our country, it is interesting to note some¬ will be made while he is with you. Frequent atten¬ His best known book is his History of Music. E. M. course, whose nature is crude and vulgar will still thing of this wonderful phase of our culture. Starting tion is imperative. He will get entirely out of the Bowman did much in the way of writing that was very prefer music of their own kind, unless through a with John Sullivan Dwight, we find a peculiar type of spirit of the whole thing, which you may have aroused helpful, and his Master Lessons in Piano Playing is an longer and serious study of the best in music they American writer, who brought both the dignity of the in him, by the time a week has passed. If you are exceedingly practical work. Anna Alice Chapin has become more refined. It takes long indeed, with con¬ antiquarian and the substance of the philosopher into unable to make any progress with him after a reason¬ tinuous impression of artistic influences, before the produced useful books for children, some of which, DOUBLE FLATS AND musical criticism. Dwight had his predecessors in our able trial, there will be nothing left but to have a1 public taste at large can be cultivated to a considerably like Letters from Great Masters, were written with national school of writers upon music, but none came SHARPS. talk with his parents and get excused from the task. higher level! Merely hearing good music, except in up to the standard he set. Dwight was born in 1813, A. Crawford. “Why are double It may be that he is so deficient in the musical sense the case of young, growing minds, exerts only a small and graduated from Harvard in 1832, becoming a Among the widest read writers upon music at the flats and sharps that it is useless to keep him at the work. There permanent effect; therefore much of the supposedly used ? Why not minister in 1836, His interest in music drew him away present time must be reckoned Mr. Louis C. Elson and are many in this class. Or it may be that he is simply cultivating influences are wasted. Would-be public write the note C, from the pulpit, and in 1852 he founded the Journal his son, Arthur Elson. It is difficult to say just which Instead ol D overflowing with animal spirits with a certain amount “musical benefactors,” instead of giving so many free double flat? Is It of Music, which continued until 1881, doing an one of the score of necessary books by these writers of natural ugliness coupled with it. If so your task concerts of complicated classical or “high-brow” mod¬ merely a matter of enormous missionary work for music in America. has been the most useful. The name of Elson upon a choice, < is by no means an enviable one, although you may ern music, should make at least half of the programs Among the contributors to Dwight’s Journal was work insures both interest and inspiration.. Mr. Louis obey th consist' of well written compositions of simple form Although this represents hll the tones, yet you can be able to solve the problem along lines similar to Alexander Wheelock Thayer, who was born four years C. Elson’s History of American Music is the most and texture, yet beautiful and noble in content; and readily perceive that it must be orthographically in¬ those I have indicated. One thing will suggest an¬ after Dwight and was also a Harvard graduate. comprehensive work upon our national progress in the Your remark about the other. with these performances, have some capable, musically correct, as it only contains three letters. Correct spell¬ Thayer spent forty years in Austria in the diplomatic tonal art.' Mr. Arthur Elson’s Critical History of rules sounds as if you enthusiastic lecturer give an illuminative analysis of at ing and grammar exists in connection with music as service of the United States, and during this time he Opera, Woman’s Work in Music and Music Club Pro¬ might be a socialist or TO BEGIN WITH. least one of the compositions, so that the audiences Well as language. was enabled to gather facts regarding the life of anarchist. The elemen¬ v much ground should the average child of may in time desire to attend concerts, not merely to grams have been widely admired. Follow your circle of fifths farther, C major, G Beethoven. These formed the basis of a four-volume tary conception of rule If ten cover in nine months, with one lesson be amused or to relax their nerves, or because they No American book has been more widely read in the major, D, A, E, B, F sharp. At this last key, F sharp and forty-five to sixty minutes a dav for work, three of the volumes only being printed. This musical field than Amy Fay’s Music Study in Germany. or law is,—something major, if you have not yet carried your study of e? Perhaps I worno,J oetter ask what should1 are expected to attend, but in order to learn something, was written in English and then published in German. and what the second? I to enrich both mind and soul with new and inspiring Her interesting lessons with Tausig, Liszt, Deppe and that is a menace to per¬ theory very far, you will say the sharp keys end, rk^ compare favorably No work comparable with it upon the same subject h that of city teachers.”—JG. impressions. others make splendid reading, even though written sonal liberty. A more changing enharmonically to G flat major, and passing has yet appeared. Th.e foremost biographer of the advanced understanding learns that law is a fair ad¬ Important services have been done in this direction many years ago. Alice C. Fletcher is another American down through the flats until C major is reached again. This will depend entirely upon the natural ability greatest of German tone-poets was, first and foremost, justment of the relations of man with man. With ad¬ Theoretically, however, the sharps may continue, F in New York by Dr. Damrosch with his Symphonv an American. woman who has added to our national reputation for and application of the child. Forty-five minutes is not research by doing much to preserve the music of the vancing civilization these relations change and broaden sharp major, C sharp, G sharp, D sharp, A sharp, E Concerts for Young People; also by Mr. F. X. Arens Among the regular contributors to The Etude in a long practice period, and yet a bright, energetic Indian tribes of our great west. A similar service, no requiring a corresponding re-adjustrient of laws. Simi¬ sharp and B sharp, which although representing the with his People’s Concerts; and all over this country, the past and the present have been American critical lar conditions prevail in art. Rules are not made just child will accomplish more in that time than an by David Bispham, with -a record of over a thousand less important, has been performed by another Ameri¬ same sounds as C major, yet has twelve sharps in its writers, whose works have had a great formative to confuse the understanding of musicians, if music apathetic one in two hours. Few learn how much can lecture-recitals. can woman, Frances Densmore, whose works have been signature. These keys written on paper would be ex¬ effect upon the advance of music. Mr. George Putnam be the subject in question. They make for a simpler be accomplished by close and steady application for We are making some progress then, when we realize published by. the Government. tremely confusing to the eye, with their enormous a limited time, and how the work drags when one Upton, who this month celebrates his eightieth birth¬ adjustment of the relations between the various ele¬ number of sharps and double sharps. Hence the sub¬ that the influence of music depends not so much upon day, is still in the front rank of American musical In the theoretical field we have had many worthy dawdles. The number of dawdlers at the keyboard ments that go to make up the art. Without rules, or stitution of flats, whereby the second half of the circle the quantity bestowed upon the listener, as upon how writers. His Standard Operas. Standard Symphonies. men who have given invaluable assistance to students is legion. In the first year, however, Presser’s Begin¬ of harmony, interpretation, etc., among them Stephen principles, only chaotic conditions could result, and of fifths becomes as simple as the first. Meanwhile, much of it can be assimilated! Standard Cantatas, Standard Concert Guides, etc., are ner’s Book and supplementary pieces should be there would be no systematized art that anyone could in composition, a temporary excursion into another Though admitting that we have misdirected much all of them extremely useful works and have’had sales Emery, Arthur Foote, Percy Goetschius, A. J. Good¬ ■ finished, and a start may be made in the first book comprehend or write. key may cause a passing modulation, so brief that effort, and have too lavishly spent our money on highly reaching far up in the thousands. Mr. Henry T. rich, Dr. Hugh A. Clarke, W. R. Spaulding, Thomas of the Standard Course. By the end of the second Apply this to your question. The degrees of the to change the entire signature of the passage would he expensive orchestral concerts of the exalted symphonic Firick has a long series of valuable musical books to Tapper, Hollis F. Dann, Charles F. Farnsworth, Dr. year the student may have finished the second book staff are used to represent musical sounds, and to out of the question. The required note, therefore, character, on grand opera stars at several thousand his credit, to say nothing of his books on non-musical Henry K. Hanchett, N. J. Corey, Clarence Hamilton, of the Standard Course, and made a good start in make them intelligible to the understanding notes are will have to be a double flat or sharp, as the case dollars a performance each, and in other directions, subjects. His Life of Wagner, in two volumes, Hamilton MacDougall, G. W. Chadwick, ” ~ ' Czerny-Liebling, first book, perhaps finished it, besides used, the letters - of the alphabet being employed to may be. Otherwise, as indicated above, the same letter we yet, through force of other influences, that do not of the best biographies of that composer. Mr H E £ A R &}.m^e!1’ ^ S’ B' Mathews, Louis Coerne, taking a number of supplementary pieces, and work¬ individualize them. The musical alphabet consists of would occur twice in the diatonic scale of the given as a rule receive the credit due them, may account Krehbiel, long the music critic of the New York Tribune m/' uni -Ge°' C,f/:™anr>Gow’ A- E- Heacox, Carl ing on scales and arpeggios. It is a matter of regret for the evident advancement. seven letters, which are duplicated for each octave. chord. When you have taken a course in harmony has written a large number of interesting musical’ w ,r ’ R Glcklnso"; W. S' Rratt* Dr' William Mason, The diatonic scale is a family of tones whose relations that two hours cannot be made available, for all and works, the best known of which is unquestionably How WllI,am Horatl° Clarke, and many others. you will have no difficulty in fully understanding the (The second section of Mr. Becker’s article will are fixed by rules or principles, representing a key, or point at issue. more than this could then be accomplished in one appear in a later issue-) to Understand Music, which has gone through many - ®ne our un’clue American writers upon music is tonality. The eight tones of the scale are each repre¬ year. Do not assume that the work of all city teach¬ editions. Mr. W. J. Henderson, although self-taught in RuPert Hughes, .whose Contemporary American Cow- sented by a single letter, the eighth being a duplica- AN INCORRIGIBLE. ers is good, merely because they live in a large center. music, has written successful operettas and is the P°sers and Musical Encyclopedia have been very suc- Many of the poorest teachers I have ever known have RICHARD STRAUSS AND HIS NOTE-BOOK. tion of the first. The tonal system is divided into _ha7e a ten year old boy as a stndent whose author of numerous books which have met with wide S?ssfu1' At the same time the large fortune which Mr twelve sounds to the octave, known as half-steps, or, mother has absolutely no control over him. Ili« been in large cities, and many of the very finest have Strauss can himself play nearly every one of the appreciation. His How Music Developed The Or¬ Hughes is said to have earned is not due to his musical mother obliges him to come for a lesson but he lived and worked in 'very small places. if you wish to go still deeper into theory, seventeen J.® ai7ua,PtanS1I/nd ,v.ery naughty. I have found orchestral instruments. The complexity of his works chestra and Orchestral Music, as well as a treatise upon works but rather to the royalties upon his exception¬ sounds, as theoretically there is a difference between ?*? fuMue him. Were it not for the voice study, have been widely read. ally successful plays and novels. friendship between his family and mine I should leaves even Wagner behind. He has conducted them in C sharp and D flat, and so on. A staff of twelve COUNTING WITH F,OOT. William Foster Apthorp for many years rendered discontinue the lessons. What can I do?”—W. K. all the capitals of Europe, and has often quite ex¬ Of all American ' critics probably only one has at¬ lines and twelve corresponding letters would result in ive a pupil who came to me wit splendid service for the cause of American music by hausted his players in his powerful upbuilding of cli¬ tained a reputation as a critic of drama and art as inextricable confusion to the eye and understanding; You ought never to accept any pupil who will stultify habit of tvuuiiugcounting withw his foot. He has d< writing descriptive notes for the Boston Symphonv much, that when I maxes. Some interesting things have been recorded well. That one is Janies Huneker, whose books have hence the seven letters, and the alteration signs, such your own independence of action in your work. Such ible counting. It Is about his methods of composing. He is very fond programs. Part of these were published in book form a large sale in Europe as well as in America. Mr as sharps, flats and naturals. a course invariably leads to disagreeable consequences. later, and remain as a permanent record of this able Huneker has a literary style all of his own He is Have you tried to appeal to the boy’s sense of jus¬ of playing ball at his Bavarian home, and a friend who Seven letters are used in writing the scales, as C, This is simply a case in which your pupil has not writer’s genius. Apthorp, like.Finck and other fine cosmopolitan in his views and his name has won a tice? The spirit of fairness is generally pretty strong has often enjoyed that pastime with him'reveals the D, E, F, G, A, B. You doubtless understand the yet learned how to count. This being the case you American musical critics, was a pupil of J K Paine at in boys, if approached in the right way. Can you fact that themes for his Rosenkavalier frequently oc¬ place among the foremost critical writers of all times circle of fifths,” or the order in which the scales cannot expect him to at once begin audible counting Harvard. not talk to him, and ask him if he thinks it quite curred to him during the game. Every now and then {ames Gffibons^ Huneker was born in Philadelphia! follow one another. Next following C is G. In this with difficult music, that is, music that is difficult for he would stop suddenly, let the ball fall to the ground, At least two of our musical writers have also been January 31, 1860. ... fair for him to vent his feelings on you? That you In his native city he studied with you have F sharp substituted for F, not necessarily him. He must have individual practice in counting, lawyers. Philip Hale, of Boston, after leaving Yale Michael Cross, and are not to. blame for his being obliged to take lessons, take out his note-book and jot down an idea. Several Paris with Theodore Ritter because F is raised a half step, but because F sharp taking first pieces that he knows thoroughly for the of the prettiest melodies of the opera came to him in practiced law for a time and then took up music as and Doutreleau. For ; and practice the piano, and that it is hardly fair is the name of the seventh sound in the kev of G sake of practice in counting. Then try him on very this way. This authority added that in working out his life work, studying with Buck, Haupt Faisst therefore, to take it out on you. You may be able with Joseffy as an assistant8in New York’, thereafter Much confusion will be avoided as soon as students simple new pieces. Also let him practice counting his ideas later at the piano the composer is very to bring him to feel this, and out of it develop a Rheinberger and Guilmant. Since 1902 he has written can learn to think of sharps and flats as not represent¬ aloud while you do the playing. You can only treat thorough, often copying or correcting a part half a Life of Chopin L Hi. iking for you. Once get him to like you and you *e..noteTsTof *he Boston Symphony Orchestra programs. Ot the most penetrative and ing some other sound that has been altered, but that this defect in exactly the same manner that you would dozen times; occasionally, indeed, remodelling practi¬ sympathetic of all biographies" Philip H. Goepp, after studying in Germany and each tone is itself an entity in the tonal conception, have an opening wedge. Be sure you take an interest a shortcoming in finger technic, namely, start at the cally the entire composition four or five times. graduating from Harvard, became a member of the in all his affairs and sports, by discussing them with simplest point and gradually work, up until the same seHUffirouSbbfshaS ^ a Uniql,e Potion for him- with the name F sharp, G flat, or other degree of the vu?ei.himSelf says: “Wherever I am I compose. Pennsylvania bar. His program notes for the Phila¬ staff as the case may be. him, and making him feel that you think they are just Whether in my quiet country home or in the noisiest as important as he does. Get enthusiastic with him- menJ * feached he possesses in other depart- delphia Symphony Concerts have been widely read and It would be as reasonable, theoretically, for you to international hotel, in the solitude of my own garden be a good sport with him. He will soon begin to his three volumes upon the Symphonies and Their ask why G flat is not written as the seventh tone in or in a railway train, my note-book is always at hand. feel that you are not so bad after all. Make his piano next in order. the ”°St ,mP°rtant works of their kind. as TSSZ ”rk!'th'b- ” the scale of G, as to ask your question in regard As soon as a suitable motive for the theme which is work as easy as possible, letting the piece idea pre¬ “Will you please tell me what s Dr. Theodore Baker won a significant place among T,homas. ,TaPPer has a large to double flats. In such case you would have the occupying my mind occurs to me it is at once entrusted books to his credit i number of excellent dominate. Don’t try to keep his attention occupied Utt, OpifSalie7?t^eKThen ^ h3S to my faithful companion, my musical note-book.” This fcZrnT- 7n-TS>- °n mUSic through his excellent many different lines of musical letter y represented twice in the same scale, as for Biographical Dictionary of Musicians, in which his example, G, A B, C, D, E, G flat, G, in which the too long on his work, but interrupt the lesson hour reminds one of Beethoven and his sketch-books, which with frequent incursions into his affairs, returning to You will find the first book of Czerny-Liebling most judgment of the relative importance of those about letter F would not appear at all. This idea may be lie always carried about with him.—Cuthbert Hadden the lesson with a fresh interest thereby. Have a good excellent, omitting, perhaps, some of the first easy in Modern Musicians. whom he has written is most excellent. W. J Balt- carried to a ludicrous extreme, and you can represent we ,S. ,i ' W' this subject the m< time with him at every lesson and make him feel that numbers. The second book of the Standard Course ze ' for many years managing editor of The Etude, later issue. 6 necess,ty for lts continued discussion it the entire scale of C major with three letters, as may also be taken up. If Gurlitt is a favorite with follows: he is having a good time, only insisting' that he ought to do his practice well because he wants to be fair you, try his School of Velocity for Beginners, Opus 798 THE ETUDE THE ETUDE 799 Dancing Girl is one of a set of three teaching pieces VOICE OF THE ’CELLO-H. WEIL. recently accepted for publication. It should be played Voice of the ’Cello appeals to us as a very appropri¬ ate title for a piece of drawing-room music in the with snap and vigor. Grade III. singing style, since the ’cello of all instruments is sup¬ EAST INDIAN DANCING GIRL posed to approach more nearly to the quality and ex¬ NOCTURNE—CHOPIN-HARTHAN. pressiveness of the human voice. This dreamy noc¬ There are many of the standard classics which, by BA JADE RE. turne must be played throughout with taste and poetic a careful rearrangement, may be rendered available Allegro con spirito m.m.J WALTER WALLACE SMITH expression, all the ornamental passages being taken for young players. When such rearrangement is ac¬ very lightly and delicately. Grade IV. complished without doing artistic violence to the original it is very desirable. Young students cannot MAZURKA ARABESQUE—GEORGE D. MARTIN. too early become familiar with the gems from the SCOTTISH TONE Mr. George D. Martin is a contemporary American larger classics. Mr. Hans Harthan in his rearrange¬ PICTURE-E. A. composer of promise, who has been represented fre¬ ments from the classics has been singularly happy MAC DOWELL. quently in our Etude pages in the past. Mazurka and successful. In particular his arrangement of the Any number of The Arabesque is one of his recent works. This is a showy Chopin Nocturne, Op. 9, No. 2. is very satisfactory. Etude devoted to Amer¬ drawing-room piece, which should be played in a dash¬ This will make a splendid study'piece. Grade III. ican music would be in¬ ing manner, with strong rhythmic swing. Special at¬ complete without an ex¬ tention should be paid to the execution of the arpeggi- LA SERENA—RULOF ROGER. ample of the work of ated passages in sixteenth notes, in order that they may La Serena is intended to be used for one of the most Edward A. MacDowell. come out clearly. Grade IV. popular dances of the present day, the Ma.ri.re. There Scottish Tone Picture is is nothing about this dance, by the way, which requires one of a set of Six FESTIVE HOURS—J. F. FRYSINGER. music in any of the syncopated rhythms; in fact, danc¬ Poems After Heine, Op. Mr. J. F. Frysinger is known extensively through ing masters tell us that a steady movement in moderate 31. While these pieces his many popular pieces for the pipe organ. He also double time with strong accentuation is preferable. show something of the writes charming piano pieces; Festive Hours is an ex¬ The Spanish-American color, however, may be obtained influence of Schumann cellent example. This is an idealized waltz movement, by appropriate melodic and harmonic devices, such as and other composers of which should be played in rather rapid time in order P. W. Orem. romant'c school, they to gain the best effect. It will prove useful as a are, nevertheless, highly original and characteristic. Each of the pieces has as" recital piece and it will serve also as a study in rapid MY LESSON TO-DAY—GEO. L. SPAULDING. finger work. Grade IV. its motto an appropriate verse from Heine. Mr. Geo. L. Spaulding is an American composer The Scottish Tone Picture is perhaps the most suc¬ who, in addition to his many popular successes, has cessful of the set. In studying this piece the player ALLEGRO From SONATA IN E-FLAT— to his credit many admirable teaching pieces, especially should read the verse over a number of times and F. J. HAYDN. those of easy grade. My Lesson To-day is a treble become thoroughly imbued with the spirit of it before In each issue of the Etude we aim to present a se¬ clef number which might actually be used as a very attempting to play the music. It is a very realistic lection from the classics. In the case of sonatas and first piece for a beginner. Grade I. piece of tone painting. Grade V. other works in lengthy form, it is not always possible or desirable to give the complete composition. In the THE FOUR-HAND NUMBERS. BABBLING BROOK—WILSON G. SMITH. classic sonatas there are many gems which should Columbia’s Pride is a decided novelty. Some years Mr. Wilson G. Smith is a representative American be rendered available for the player of average at¬ ago Mr. John Philip Sousa, the famous American com¬ composer, pianist and teacher of high attainments. tainments who may not always care to study the com¬ poser and band master, whose marches are played the Babbling Brook is a very playable teaching piece in plete piece. It is just like extracting a favorite verse world over, wrote a patriotic song entitled Nail the characteristic vein. Pieces of this type should be from a lengthy poem. The Allegro from Haydn’s Flag to the Mast. With the approval of the composer played with almost automatic precision, and to accom¬ Sonata m E-flat gives the two themes of the first we have rearranged this music in the form of a march. plish this end will require diligent practice, since all movement complete, together with the connecting It makes a very lively, stirring four-hand piece. the finger work must be executed with the utmost groups and coda, but omits the “working-out section,” Danse Bizarre by L. J. O. Fontaine is a vigorous exactitude at a brisk rate of speed. Grade III. known as the exposition. Grade IV. and somewhat capricious movement with some original features. The syncopated effect in the trio is very Schumannesque. OLD MOTHER HUBBARD—J. H. ROGERS. CRUSADERS' MARCH— Mr. James H. Rogers, one of our leading American WALTER SCHARWENKA. composers, has the happy faculty of being able to The composer, Walter Scharwenka, is a son of the KAMAZUR (Violin and Piano)—W. E. HAESCHE. write in all forms. His first grade teaching pieces well-known composer Philip Scharwenka and a nephew This is a splendid concert Mazurka by a successful are equally as successful as his larger vocal and in¬ of Xavier Scharwenka. The Crusaders’ March is a American composer and teacher. Some few of the strumental works. Old Mother Hubbard is taken from dignified composition in the grand march style It is passages, especially the “double-stops,” mav appear of ,Pieces recently composed, based upon familiar refreshing in these days, to find one of the younger difficult at first, but a little close study will conquer Mother Goose rhymes. Young students cannot fail to composers still adhering to classic models and accom¬ them. This composition must be played in broad and enjoy this piece. Grade I. plishing original effects while preserving a purity and vigorous style with large tone. The piano accompani¬ elegance of harmonic diction. In the latter part of ment is exceptionally effective and is almost as interest¬ ing as the solo part. DANCE OF THE MIDGETS—C. W. CADMAN. this march the well known German chorale “Jesu Mr. Charles Wakefield Cadman is a voung American Meine Freude” is introducted very happily. Grade V. composer who has been coming to the fore very rapid¬ MOONLIGHT SERENADE (Pipe Organ)— ly during recent years.. His Dance of the Midgets is EGLANTINE-E. F. CHRISTIANI. GORDON B. NEVIN ' an exceptionally attractive teaching piece; it is very This is a very graceful and piquant bit of writing, Mr. Gordon Balch Nevin is the youngest of the piquant in rhythm and harmony. In pieces of this type by an experienced contemporary composer. It should American composers bearing the name of Nevin His the linger work should not be taken too legato. Crisp¬ not be taken too rapidly, but careful attention must be Moonhght Serenade is a very charming number which ness of effect is desirable, and this demands an almost given to the phrasing and to all dynamic markings. will prove suitable for a variety of purposes. It would non-legato touch. Grade III. Grade IV. s > uPP:°Pnate for a soft voluntary in church a ‘d t should prove effective at weddings or for certain LA TANDA—E. HOLST. CROWNED WITH ROSES-H. A. FARNS¬ scenes in “moving pictures.” Certam The name Holst is a popular one in American draw¬ WORTH. ing room music. Edvard Holst was born in Copen- Crowned With Roses is a fascinating dance move¬ mti i * t? v NUMBERS. hagen in 1843 and died in New York 1899. He set¬ ment with a variety of catchy rhythms. The first tled in New York in 1874 and was in turn an actor theme is a sort of mazurka movement and the second stage dancer, dancing master and playwright. During theme is more in the Spanish style. This will make a this time he was an industrious composer, writing very good intermediate grade recital piece. Grade III. many songs and pianoforte pieces of lighter character. La l anda is a representative work, written in his best EAST INDIAN DANCING GIRD-W, W. SMITH ve.”?' *s. brilliant and characteristic throughout, This bright and characteristic little movement intro¬ without making inordinate technical demands. Grade duces an American composer who is new to our Etudf readers, Mr. Walter Wallace Smith. East Indian 800 THE ETUDE THE ETIDE 801 To Mr. Walter L. Rohrbach FESTIVE HOURS VALSE j. FRANK FRYSINGER, Op. 104 On the rockbound coast of Scotland, Fern an schottischer Felsenkiiste, An old gray castle looks down Wo das graue Schlosslein Mnausragt On the wildly dashing breakers. Ueber die brandende See, At a high and vaulted window Fort, am. hochgewolbten Fenster, A woman’s face is seen, Steht eine schone, kranke Frau, With pallid cheek and tear-dimmed eye. Zartdurchsichtig and marmorblass, Her harp she plays, and while she sings, Und sie spieltdie ffarfe mid singt, Through her flowing tresses the wind blows wild, Und der Wind durchwuhlt ihre langen Locken Bearing her mournful melody far Und tra'gt ihr dunkles Lied n * vr nottn? T t Allegro O’er the wide,tempestuous main. Ueber das weite,sturmende Meer. HFINE A1 AO LfKJ W xi, L.L, ri.. oi ivrn n 808 THE ETUDE THE ETUDE 803 EGLANTINE Copyright 1914 by Theo. Presser Co. British Copyright Secured 804 THE ETUDE THE ETUDE 805 CRUSADERS’ MARCH WALTER SCHARWENKA Allegro moderato 108 <5—" .A?—^en- teiten ALLEGRO w - marcatissimo T^T?nif SOIVTATA TTVT PI rurr i, 1 IT* m 1 i,it I'Ti h nujiTT'ii.^ < e molto legato F .A*^^ r_ ^ 1 * Jy» i a „——-—A-^ cresc. J .A/^_ > h h h h Lita* *1Lr THE ETUDE THE ETUDE 807 DANCE OF THE MIDGETS Copyright 1907 by Theo.Presser British Copyright Secured THE ETUDE THE ETUDE 809 A won fils Conrad A monfils Conrad DANSE BIZARRE , _ FMTA,„, m „, DANSE BIZARRE Trio British Copyright Secured THE ETUDE 811 THE ETUDE 810 COLUMBIA’S PRIDE ' COLUMBIA’S PRIDE MARCH MARCH After the Song “Nail the Flag to the Mast” After the Song “Nail the Flag to the Mast” SECONDO JOHN PHILIP SOUSA 3 2 13 2 mf pm P 4 ** P Li 3 2 :3* 813 THE ETUDE Copyright 1914 by Theo. Presser Co. British Copyright Secured THE ETUDE 815 THE ETUDE 814 Dedicated to my sister Regina Weil THE VOICE OF THE CELLO Thy wondrous soulful tones, They soothe where sorrow lies, And bring to aching hearts, Sweet solace.from the skies. HENRI WEIL Andantino con espressione M.M. J =72 Henrt Weil . * 2 + it ' •# i# # , if "l# *£ tm 4r » A-IW -.-IE-. if f' * , ■ -, --1 w V MY LESSON TO-DAY JESSICA MOORE TREBLE CLEF PIECE VOCAL OR INSTRUMENTAL GEO.L. SPAULDING Moderato M.M. J = ios F D C This is my les- son to i day» learn it I must if I’d play.-1 (fe- r f f Lf. f t r itr 1 1 >— i i »■ ■ ■ i NM ( a At first the tune by the right hand is played and it then by the left hand is made_ c E E G l IyI I jA J SB J M= £ P £ m Copyright 1914 byTheo. Presser Co. I ' J. '-A- A' Copyright 1914 by Theo.Presser Co British Copyright Secured Britiah Copyright Secured J r THE ETIJ i) E THF. ETUDE BABBLING BROOK PETITE ETUDE i^on nioto 3 precioso m M. * =1 20 3 ]P~~~ 5 1 oO ' i fF 2 -0; ; ► 3 ^ -0- * 2_ 4U * i r l l A_n 6V- flj L-—^ I cW"*-}\ "--ZSG~ —m—Hr -to--to~-J*to^-—-to— 3zmn - . = r i ^ > v 7 j # - p ^ ip ^ ^-~ • A 2 5* 3 5 THE ETUDE 819 THE ETUDE 818 poco animato THE ETUDE 820 THE ETUDE To Chas. Montague MIND EL R. HARRIS A MAMMY’S SONG JAMES H. GILLETTE Andante con moto THE SHADOWS OF THE EVENING HOUR Andante moderato m. m. J = 50 mV... ^ ^ RATH BUN The shad-ows$ of the even-ing hour Fall wr 4 A -T7T- fj\ ftm — ■mr, j. • : - 1 J ru 9. ,Vj 1 n k \h 4r a ~rj - "gl.ftd^ WJ. m 0 : ■ • • 7 j- WT"] V7 m-m-m-J J J fJ »Jm m J» mJ mJ Jm Jm. G J _ — fore Thy throne, O Lord of heav’n, we kneel at close of day; Look on Thy child-ren from on high; And =k r-vants, Lord, 0 do Thou not de - spise, But let the in-cense of our pray’rs Be - fore Thy mercy rise. The Copyright 1908 by Theo. Also published for Low Voice. THE ETUDE 823 KAMAZUR CONCERT MAZURKA WILLIAM E. HAESCHE Copyright 1914 by Theo.Presser Co. British Copyright Secured THE ETUDE 825 824 1 Oboe 4'Flute,Trem. Gt. Flute 8' Ch. Soft 8' A MOONLIGHT SERENADE Ped.SoftWCh.to Ped.-—--;-- , GORDON BALCH NEVIN Andante con molto espressione m.m. J1 - Sw. Copyright 1914 by Theo.Presser Co. British Copyright THE ETUDE 827 826 THE ETUDE Rubinstein s Views of Wagner LA TANDA EDUARD HOLST Rubinstein, as all the world knows, by means of a love-potion, or when a was an “anti." He was to music very knight appears drawn by a swan, which SPANISH DANCE much what a “stand-pat” politician is to will afterwards divulge itself as a prince, Mazurka modern progressiveness. It might be ex¬ that may present a very poetical, pleasing, pected therefore that he had no love for beautiful spectacle, but our heart, our Wagner and the “music of the future.” soul, remains completely cold and un¬ In his published conversations he ex¬ responsive (Hear ye, O worshipers at presses himself at length on the subject, the shrine of the modern Italian verismo and it is curious to note how many of school I)) the points which he made in his con¬ “The leading motive of certain persons demnation of Wagner coincide with and situations is sometimes so naively opinions expressed by modern ultra¬ conceived that it verges on the comic in¬ radicals upon the same subject, with the stead of the pathetic. Allusion—an old difference that whereas most of the devise in music—is sometimes effective, modern composers cheerfully admit Wag¬ but should not be misused, yet the repeti¬ ner’s supreme greatness, and point out tion of the same strain of music at every his faults only with full acknowledgment appearance of a person, or whenever that of his immense influence, Rubinstein was person is mentioned by others, of the evidently not conscious of the trend of same motive in particular situations is the times. hyper-characteristic, I might almost say, “Wagner regards vocal music as the a caricature. highest expression of art. For me, * * * “The declaration of infallibility music (with the exception of song and by the pope has doubtless aroused in church-music) begins only where words many people a distaste for the Catholic cease. He speaks of Gesammtkunst (a religion. If Wagner had composed, pub¬ combination of all arts in opera). I think lished and produced his operas without that we cannot do justice to any one of speaking about them in his writings, then them in that way. He advocates the they would have heen praised, criticized, legend (the supernatural) as the subject loved or not, just as the works of every matter of an opera. In my estimation the composer, but the fact that he declared legend is always a cold expression of art. himself infallible aroused opposition and It may be a diverting or a poetical protest. He has indeed composed some spectacular play, but never a drama, for works worthy of note (Lohengrin, Meis- we cannot sympathize with supernatural tersinger, and the overture to Faust are beings. When a tyrant compels a father my favorites among them), but his to shoot an apple from his son’s head, principting, calculation and pretentious¬ or when a wife saves her husband from ness spoil most of his work for me. death by throwing herself between him The lack of naturalness, of simplicity, and the end of his assailant’s dagger, or makes them unsympathetic to me. All when a son has to disgrace his mother in the persons in his operas walk about on public by declaring her insane, only in stilts (in a musical sense), always de¬ order to save her life, and more subjects claiming, never talking, always pathetic, of that order, the plot arouses our deepest never dramatic, always as gods or demi¬ sympathy and compassion, be it spoken, gods, never as human beings, as simple sung or acted in pantomime, but if a hero mortals.”—Music and Its Masters, by renders himself invisible by means of the Anton Rubinstein, published by Charles Tarnkappe, or passionate love is aroused H. Sergei & Co., Chicago (copyright). Berlioz and His Insatiable Dramatic Thirst Speaking of Modern Tendencies in his of the stage and the footlights and all the Evolution of the Art of Music, Sir Hu¬ machinery, as well as the evolutions and bert Parry, the able director of the Royal gesticulations of the performers, by the College of Music in London, says : “The music alone. His enormous skill and French have never shown any talent for mastery of resource, brilliant intelligence self-dependent instrumental music. From and fiery energy were all concentrated in ADJUSTO the first their musical utterance required the endeavor to make people see in their to be put in motion by some definite idea minds the histrionic presentation of such external to music. The great Parisian fit histrionic subjects as dances of sylphs, A CLASSICAL PIANO SEAT lute-players wrote most of their neat lit¬ processions of pilgrims, and orgies of bri¬ Player Piano or Playing Manually tle pieces to a definite subject; Couperin gands. developed considerable skill in contriving Adds one more useful and “Even the colossal dimensions of his little picture-tunes, and Rameau followed ornamental chair to the Music in the same line later. The kernel of the orchestra, with its many square yards of or Living Room. A perfected Gallic view of things is, moreover, per¬ drum surface, and its crowds of shining Saddle seat; height adjustable sistently theatrical, and all the music in yellow brass instruments, is mainly the to suit performer; leather which they have been successful has had product of his insatiable theatrical thirst. tipped legs preventing slip¬ either direct or secondary connection with It imposes upon the composer himself the stage. as much as it imposes upon his audience, ping. Adopted by leading piano Houses. Berlioz was so typical a Frenchman in by looking so very big and bristling to the eye of the imagination. But though it Ask your dealer or write makes a great noise, and works on the for descriptive literature raw impressionable side of human crea¬ tures, and excites them to an abnormal SIKES COMPANY PHILADELPHIA degree, the effect his music produces is times larger than the reality. S not really so imposing as that of things which make much less show—for instance, is most exciting experiences as —The Leabarjan Music-Roll himself are conceived in the s the opening of Beethoven’s B flat Sym¬ melodrama, and could hardly ha’ phony, which requires only seven differ¬ iVW Perforator 13 w A practical machine designed for the individ- Pe"L.as teHs them except on th ent instruments to play it, and is all pi¬ anissimo. The means are in excess of ua' player piano owner. Does not demand a Phis was not the type of hums musical education. the requirements; or rather what should “[e °f.whom self-dependent insl jgjjjS^Si^v Write for .instructive literature if you are be means become requirements, because wl7S1lC0Uld be exPected ; and ambitious to improve your player piano music the effect is made by the actual sound of, roll library. rne fn ‘hat,When he took to expe It will show j-ou how eajy and inexpensive it is to the instruments, and often not at all by more ‘7 • lnf of art he made mo theatneai than ordinary th the music which they are the means of Price $30.00 including all necessary supplies because he had to supply th expressing.” THE LEABARJAN MFG. CO., Hamilton, Ohio CQpyiighti893.1>y John F. Ellis & Co. ^ From here go hack to % and play to Fine, then play Trio.y E ETUDE when addressing our advertisers. Copyright-transferred 1913 toTheo-Presser ft THE ETUDE 829 828 THE ETUDE Greatest Educational Work of the Age The Pith of the BY PERLEY DUNN ALDRICH. Mathews Standard After giving the subject of the most Piano Problem important need for the American singer of to-day careful thought it seems as This is the title of a book¬ Graded Course of if the one important step for the Amer- let which goes to the very singer to take is a more thor- Studies’™ Pianoforte j ough and sound study of the’ forming heart of the piano question Compiled by W. S. B. MATHEWS America’s Magnificent Record in Singing. and explains how to tell To mate a sweeping statement, The Leading Musical Writer and Dvorak As a Teacher _ a risky thing, Educator of the Preaeot Time „. ... branch of musical art has reads it may take just pride in the fineand even wel1’ of Frencl1 diction, modern the good from the bad in ^ to generalis 1 " ”'"t" “I myself received a v thorough ground- frequently ' __ drsaster " COMPLETE course of standard I America risen to greater musical heights things which all of the=e our fellow citi- tendencies> Strauss and Debussy, who, ing in matters of harmou.v l uo we think we have c all°°tbe A pianos. Every prospective form from the Fuchs brother material with„ whichy—.. to build sf*e“e Etudes and Studies arranged than in that of singing. Just as i, have accomplished. when they appear on the public platform, Conservatory. In America 1 try sufficiently compreliensiy in a progressive order, selected show a lamentable lack of the knowledge purchaser of a piano will ciuae all there is to say on the subject, ern plainsmen are world i renowned for than someone reminds us, or we iurselves from the best composers for the cul¬ SOME OF THE singers WHO HAVE of tbe fundamental principles of singing. nd then their wonderful marksmanship. American find the “Pith” well worth oust maintain become conscious of an omission, tivation of technic, taste and sight The pure legato singing is a closed book we have either wilfully to shut oui reading, carefully edited, fingered, voices have achieved a remarkable wide¬ ADDED TO AMERICA’S RENOWN IN reading. A postal brings it, or reconstruct our theory. phrased, and annotated and supple¬ spread reputation for their strength, rich¬ OPERA AND CONCERT. to them and they marvel at the success I should i *have profited _ When, therefore, I speak of the torn of the great artists who have patiently it. Sohmer Pianos are founders of pianism, I do not mean tnat mented with complete directions for ness and purity. It is no secret that our Abbott, Bessie Lyne, Felice Dvorak’s^ instructs did. For Dvorak they have exhausted all there was to oe conquered their difficult and subtle art unsatisfactory teacher in the the application of Mason’s “System American singers have long been such Abbott, Emma priced at 3450 and more. done. No summary would be complete with¬ of Touch and Technic ” for the’ pro¬ and go on year after year singing with „luluolJ „„„„„ of the term, and of little out naming John Sebastian and 1 hilipp favorites in Europe that the continental Adams, Suzanne MacBeth, Florence practical use except to those who had the Emanuel Bach, Haydn, Mozart. Beethoven, duction of a modern style of playing, the same beauty and freshness of voice. faculty of instinctively grasping his meaning, Schumann, Brahms and Liszt. But, speak¬ Thirty years ago Music Teachings artists have not concealed their jealousy. Albani MacLennen, lie could point out weaknesses and he would ing roughly, I mean that the further de¬ America’s opportunity is at hand. Our fulminate violently against various short¬ velopment of Piano-playing which Schumann, America was for the most part con¬ Time and again we have been told of the Aldrich, Perley wonderful young ,women have only to comings. But he could not explain them. I Brahms and Liszt accomplished, had been ducted in the most slip-shod andex- conspiracies to defeat American singers Dunn Martin, Frederick have seen him clench his fist in the class¬ prepared for them by the four Masters devote themselves to serious and pro¬ room and insist that such a progression or travagant manner imaginable. The in Europe, but at the same time the public Althaus, Paul Martin, Riccardo named. However excellent much other- teachers were not to blame for the found study of the legato school of sing¬ such an effect was wrong, hopelessly bad. music may be, we can afford, from a purely has been most cordial, and has demanded Metcalf, Susan . liut when his reasons were asked he would technical point, to dispense with much of it, enormous expense of purchasing in¬ ing to produce the greatest singers of 315 Fifth Avenue exclaim wrathfully that the particular effects if we carefully, patiently and persistently dividual studies and pieces of music the fresh American voices, the buoyant Bispham, David Montieth, Zipora the world. Let them profit by the ex¬ were bad because they ought to have been work at what these four have bequeathed to American spirit, the American genius for Blauvelt, Lillian New York City carried out in such a way (illustrating his us.—Fkancesco Bbbgeb in The Monthly for educational purposes, nor were de Moss, Mary ample of the gifted Plangon, who, after tag) instead of the way they had been. they to blame if they did nothavethe original unconventional operatic interpre¬ Hissem Now it is plain that instruction of this type Musical Record (London). he was known as the greatest bass in the experience to select the best studies tation, the American reputation for hard Cary, Anna Louisi could benefit only such pupils as could sym¬ Beethoven, the Forerunner of world, went back to his old master pathize with and intuitively comprehend the for the right time. The Graded Course work, and the American willingness to Case, Anna Nevada, Emma nature of the master. - . Romanticism idea is an original creation of the Sbriglia for seven summers to be sure ; to make clear a certain point i adapt himself to suit new and unusual de Cisneros, Nielson, Alice that his voice had stayed exactly where __ „ , __ he cried Undoubtedly the most constant of all the Presser House. The Standard Graded iition to a pupil of h' ' ’ ’ ‘" marks of romanticism is the tendency to conditions. Eleanora Nordica, Lillian it should be. A profound knowledge of 'Beethoven did that in such a way ; specialize expression. The wide general Course has succeeded because it was YouCanWeigh wny can t vou go ahead and write it as types of human feeling, joy and sorrow, built along the lines which years of ex¬ Training seems to have had very little Clark- Charles W the legato school of singing is the foun¬ Beethoven would have?’ ”—Rubin Goldmark fear and hope* longing, awe, mystery, hesi¬ perience nad shown to be necessary. to do with the Americans’ special success. Clark' Frank Ki in an interview published in Musical tation, with which classicism had remained Clark, Frank King Osgood, George L. dation of the success of every great Exactly What America (New fork). content, it strives constantly to define more That is, our vocalists have been trained Qippinger, D. A. Oudin, Eugene singer. It cannot be too well learned. How Glazounov Views narrowly, to particularize, to isolate, and CHIEF ADVANTAGES in all sorts of schools by all sorts of P ,, You Should hence moves constantly away from the epical SYSTFM Glvea the tearher and the pupil the methods, and seem, nevertheless, to sur- ’ e 6 HOW TO SECURE RESONANCE. the Modern Italians in style toward the lyrical. The brief lyric aiamivi hrnnil„Rt- possible Bv.tnn. and com- Coles, Eugene Palliser, Esther •The younger Italian composers write only is the form which ail the composers of this •vive and come out triumphant. The “old school favor, and in which they best suc¬ arhoole. Kray Connell, Horatio Pasquali, Bernice de You can be Strong, t of i of modern technic la Italian school” (model of infallibility), the BY PERLEY. DUNN ALDRICH. e, in ceed : we find it in Schubert's songs, in Cunningham, Phillips, Arthur Vigorous—full of sided. Schumann’s novelettes and Chopin’s noc¬ Franco-Italian school, the German school, turnes, in Mendelssohn’s songs without Life and Energy. ■Vagner was a great compelling genius and the Austrian school, and other schools Claude The difference between artistic and in¬ a tremendous reformer; in the case of such words, in Grieg’s lyric pieces, and in out- Rappold, Marie a towering spirit, ““ own day in the preludes and other pieces ad nauseam, have a'.l graduated success¬ artistic production of the voice depends You can be free from Chronic special line of__ —__ .. justified; of Debussy. These all aim at vivid charac¬ Rennay, Leon far more on the management of the terization of a single feeling or mood ; they ful American singers despite the fact that Darnell, Vernon Ailments—every organ of your a parallel in Chopin. But wit Renneyson, Mabel Italians it is quite a different - are flash-light pictures, landscapes seen by many of them practice with theories as Davis, Jessie resonators than on the adjustment of the body strong as nature intended. Mascagni and heoncavallo each put forth lightning; they show little effort after de¬ Riegelmann, Mabel vocal cords.—Morrell Mackenzie. one successful effort, and made a great bid velopment, contrast, or composition. They radically different as homeopathyuriieupauiy anaand ai-al- Bartlett p. . . You can have a Clear Skin. for popular approval; and this was a very are in music what the genre picture is in P t»k< lopathy. Now comes the American school. Devine, Lina Doria £'°’ Anita Resonance has been correctly defined commendable thing to do, for Cavalleria and painting, the short story in literature. VARIETY knowxTcol as “the strengthening or reinforcing of You can have a Good Figure Pagliacci have given great pleasure to the We have seen many signs of the same Brilliant American teachers who have Donalda, Pauline Robeson, Lute —as good as any woman. masses: but those two composers have not individualist tendency in Beethoven. Not studies all com _ sought their knowledge not from one Douty, Nicholas Rogers, Francis sound.” If a violin string be stretched been able to repeat their first successes, in only did we observe his sturdy personal over two bridges on a solid block of You can increase or reduce your weight. spite of many efforts, which proves that independence in all matters of ordinary life SIMPLICITY teacher or one country alone but from Root> F’ W- 1 no longer need to sav what “I can do” wood and tuned to the same note as their style of writing, based on subjects —in costume, in manners, in political and taught by any (earlier wiillout previous experi¬ many countries have returned to this Eames, Emma but what “I HAVE DONE.” I have dealing with the primitive emotions, is not a religious opinion, but we noted how in his ence nr training in this course. There is no arbi¬ another violin string of the same pitch broad enough foundation on which to found music he often sacrificed the serene classic trary method demanded. their native land, and by means of their Edvina, Louise Saenger, Oscar helped 65,000 of the most cultured, intelli¬ a school. And their followers have accom¬ beauty in order to express himself with a comparison of the two notes will re¬ gent women of America to arise to their INTEREST O^ the .n-st in«era,fiogUd American common sense have selected the Elwell, Lois Sanderson, Sybil plished nothing. Puccini is broader in scope, more intensity ; how in such a work as the practical studieslmvebeen select, veal the fact that the note of the former very best—why not you ? hut his music has a large element of the Pathetique Sonata, he entered what we call ed. The course always proves most f;i urinating to best from all they have learned, eliminat- Esty, Alice Scott, Henri artificial in it, and seems to be the off¬ +h„ — --’•> -- personal feeling. instrument has nothing like the force of No Drugs—No Medicines pupils, . specially when compared with the old- ing the impracticable. By’ these means Seagle, Oscar spring of an imagination heated by Every one of his nine symphon s -ividlv the latter. The reason is the one string My pupils simply comply with Nature’s characterized; the third > vneruic, — me fifth Ine^pow11041 °f Usln* P°,,derouf ™lume* by they produce results which have aston- Fanning, Cecil Shaw, Warren tragic, the sixth rustic, tl seventh humorous moves the air unaided and being thin its _ _ . writer,__.- (with the humor of gia ished many European experts, who Shea, George F. What My Pupils Say: It is hothouse m s), the ninth re- Farrar, Geraldine power is very limited and consequently music Puccini would be found wanting. Yet Iigious, and so on. Wi iven note in him MAKE NO MISTAKE dently thought they had some kind of Speaks, Oley he is one of the most interesting producers the beginning of the roi.,au„ ,Jt.. * Jness for the resultant tone is feeble. In the case of our day, and the most successful writer titles: The Pathetic Sonata a heaven-given monopoly upon voice cul- Gluck^ ___Alma Stanley, Helen for the stage we have. Here In Russia, how¬ Symphony, the piano sonata of [Departure of the violin the weak tone of the string - ever, his wonts have not gained a strong Absence and Return.—Daniel Gregory ture. Next, many of our American teach- (je (jOg0rzaj Emilo Sterling, Antoinette communicates its vibration to the bridge hold on the public.”—Glazounov in an ers invaded the European territory, until u w. —™ interview published in The Musical Courier, YA'k°)N iD The NeW Music Review (New 1 terr,tr>™ ”n Greene, H. W. Stewart, William G. and the bridge to the body which vibrates (New York). 10 GRADES; 10 VOLUMES correspondence with the string, but, Moving Pictures of the The Glamor of the Troubadour $1.00 EACH VOLUME «»“»STBSt?.nTvLl' st,0”s' s““ of course, altered in amplitude and form! Master Conductors ,, So“B, mystery and much romance cover Hacfcett, Karleton Tew’ Whitney It is the particular quality of tone which A new use for moving picture films has tw SL these 1?rly, ™instl'el wander- A VITAL MOMENT FOR AMERICAN been discovered by the Messter Film Company, Hannah, Jane Thursby, Emma this correspondence causes which is called Business TEACHERS. “resonance.” of Berlin, which promises to perpetuate for Osborne Treville, Yvonne de Women— the enjoyment of future generations the art Now that a hideous war has closed the of the world’s great conductors. Film The pianoforte likewise requires some¬ pictures have already been taken of Felix gates of Europe, it” is to "be” devoutly Harold, Orville thing to reinforce its tone. In this case S find that Luden’. Weingartner conducting the Egmont over- ft dft Sohtnefoai^n|lnff“ Pa°ndS-poet"£ L- ’ ’ ■ win unev Harrison, Theodore W™. 1. Ernst von Scbuch in the Freiscliiitz, STANDARD hoped that those students who have cast . Werrenrath, resonance is obtained by means of the 7 refresh the mouth, Oberd and of they bee Lme^DtorT^^oetrfand”?^^ aspiring eyes on Europe for music study Hauck’ Mlmlle sounding-board, which is a sheet of fir- a aid the voice and _ _ __ Berlioz's Fantastique _ Reinhold stanzasWtheydcomposed. ^ ^ will think for a moment about our. own Henschel, Lillian wood placed immediately under the m ease the nasal phony. The purpose is to have these films It was as if a new language had hn»n CONCERT ETUDES White, Caroline reproduced before living orchestras, who vocal triumphs and determine to do their Bailey (jr passages. follow the movements of the baton on the Whitehill, Clarence strings and which communicates with the FOR ADVANCED STU1 studying right here in the homeland. Fol- Hinckle, Florence strings by means of bridges, Whitney, Mvi Felix Weingartner expressed the greatest Price, $1.00 Grades IX I owing is a list of American singers who Hinshaw, William violin. The strings give the notes, for admiration of the results he saw accom¬ i=ki Wickham, Florence nave met with very great success. Some Homer, Louise the power and quality the sound board is plished in this way in the atelier of the ne standard technical esser Williams, Mrs. film company. He says: “The orchestra two compositions by 8»int-f are living, some have passed along. Many responsible. LUDEN’S played exactly as if. under a living con¬ Stacey Four of t* iUfively of rapid reiterated are far better known in Europe than in Jordan, Mary What the body is to the violin and the ^Candy* COUgll DfOpS ductor. A little uneveness in one place was usual cMH:ng?B Tims ^they6 travel^^^rom^^^n ^ pieces abound in arpeggi completely smoothed out by a repetition. I o extended and arpe**ined tnerica. In fact a recent English pub- Juch, Emma Witherspoon, sounding board to the pianoforte so are consider that this discovery represents a bower°to1 bower.’ fl'°m eastle to ™stle. from U rhythmical puzzles,hut a “ Give Quick Relief ” new epoch, particularly as it is far removed hcation. Who’s Who in Music, gives the Herbert the resonators to the human voice. It from coughs, colds and throat from anything automatic in effect. The will _,L™es of numerous American singers Keely, Abbie Wodell, F. W. is the neglect of these resonators that of a great conductor can thus be exerted Y?*££12$ it.kevenaknth?, we are tw. Ire*pferefto/al* irritation. Luden’s are national upon a living orchestra in far distant times.” •out half Of them by compo DaratNpl Wld Please ““tion THE ETUDE when addressing THE ETUDE 831 THE ETUDE but the consonant must always be articu¬ THE NATURALLY GIFTED standpoint. The resonators of chief im- the quahty of t^ v°'Ce;, not a new lated on the top note, thus: SINGER. portance iimporram(important becauseuccau=^ they■.“-j —have the—.~ lower . notes,. . kthatv new mechanism of Occasionally a person will be found the greatest influence over the tone and register induced y TO SINGERS: No. 2._ who is fortunate in possessing a well- (like the head and SIjp umt tuft? because they are under voluntary m- the vocal cords placed voice of good quality, fair natural trol)UOare* "those^ above the”glottis-the medium registers in sopzno ^ “The requirement^of m»Jernv«ilw breathing powers, musical talent and tem¬ WE GIVE perament. I said fortunate, but will This Fine mouth cavity and nasal chambers. tenor voices), added point of Upholstered Rockf Examine the mouth for a moment, an added quality ana a grlnwlnfiliitstr amend this statement by qualifying it Foremost are the lips, then the teeth, and sensation. correctly placed the Mr. Stock specializes in the field thus: fortunate if he work industriously, For Selling behind them the gums and their continua- When the behind the nose, of Voice placement, its development jSjmtu'gfi non Eniir, Simtnr unfortunate if he work carelessly and Only 25 tion, the hard palate. By passing the tone seetJls ... not help, but rather along individual lines and in the idles away his time and talent. tongue backward along the roof of the Force of oniy effort used study and performance of songs, A naturally gifted singer, by dint of mouth the soft palate can be felt imme- retard^th® ' hich must He in the sacred and secular, that are suitable spasmodic attempts at work, may sing ac¬ diately behind the hard palate. At the must be ment ’th purity of voice - to the first years of vocal study. ceptably in a limited way for awhile, but end of the soft palate is its pendant, the d.rec? I the£nsations These re¬ When pupils have reached the ART ATMOSPHERE, it is utterly impossible for such a one to uvula, behind which is the passage known and locat g ,,ctorv to the practical point where study of advanced rep¬ A* These dark vowels are not only useful have, at instant call, full command of all as the pharynx, and above this the naso- marks are 0Uows ertoire becomes desirable they will that refines and in¬ in helping the “closed” tones, as they are the vocal resources necessary to an all¬ pharynx. On the floor of the mouth we part of the subject wh be recommended to instructors who r spires, that stimu¬ ■\ also called, but are an aid in keeping the round artistic performance, unless he or specialize in this particular field. larynx low, which is desirable at this she possesses complete vocal development lates the student to point. bDr.'Frank1RMUler aptly says, “It will REGI™rIltoHvoices. develop his best in¬ and perfect mastery of the breathing. Some students in endeavoring to locate This preparation comes only to those address stincts toward a The f ™ XSS? the sensations in the head slip into the who work understandingly and indefat- realization of his such parts as are solid, pliable and mov- js that known as the chest 8*^ George Chadwick Stock unnatural falsetto tones. This will not igably. No matter how greatly gifted able. The solid parts are sharply res- the series of tones produced^ We musical ambitions happen if it be remembered that the reg¬ a person may be, he must work zealously onant (here the doctor uses the word as vocal cords vibrating m thel^ ^ TEACHER OF SINGING and ideals. isters and tone are not entirely changed, in order to reach a high standard of meaning ‘powerful’); they are, par ex- and accompanied by chesf-resonance an ^ but merely modified. When singing in Just sign the Coupon below, giving refer¬ Studio artistic excellence in his work.—Geo. ccllence, the resonators in voice produc- chest-sensation—hence its nam . the falsetto voice there is an absence of ences and we will send roll the 25 boxes of Soap Chadwick Stock. together with the Rocker, and allow you thirty days tion; while a pliable part like the register extends upward to about n- Y. M. c. A. Bldg., NEW HAVEN, CONN. J HIGH STANDARD^ that quality which amalgamates it with to sell the Soap before sending payment. We guar¬ pharynx, although resonant in a less de- (third space bass clef for m ’ . the lower register and the —=0=— antee satisfaction If shipment is not satisfactory, THE MEANING OF PREPARA¬ it can be returned at our expense. gree (l e„ less ‘powerful.’ Its influence line treble clef for females), at tw ‘, ’ {messa di voce) is impossible, with rigidly maintained by TION. on the quality of tone is considerable pitch it changes, but usually so natura genuine nasal resonance it is easy and 00., chTcmo YouK achievements as a singer will be CROFTS & BEEP H. S.) is valuable in adjusting structural and easily that it is imperceptible. W , means of the free sup¬ beautiful. shape to every condition that arises, and however, the B or C above is reached tne plementary classes in in accordance with the preparation that the most movable parts of all, the tongue difficulty of production becomes common, D. A. CLIPPINGER Harmony, Counter¬ you have made. BREATH CONTROL. ox and send you $12.60 in and the lips, probably devoid of reson- Here lies the chief difficulty of mampulat- teacher Singing, Author, Lecturer point, Cannon and Every singer, young singers especially, It must not be forgotten that the should realize the vital importance of a ance (power and quality) have their jng the “mixed” register. _ , Fugue, Composition, teacUer may read with pleasure and prom. breath pressure must be reduced to a thorough preparation. This includes the great roles to play in effecting what may What is the “mixed” register t It de- MR. CLIPPINGER'S aucceaa In tralnlna the to Orchestration, Rhythm, minimum. A forceful blast is positively be called wholesale changes in the size rjves its name from the fact that its voice has brought to him singers trom all panic breathing, voice, the entire physical being, Ear Training, Solfeggio, harmful to the tone. It is not the and shape of the mouth cavity, which quality and method are a mixture ot mind and soul, as well as the technic T.b0&HN0la!n4i4-*15 JuSbaU Hall, CUtno.I quantity of air we expend that will aid could not be brought about by any other both head and chest production, it is Pedagogy, Ensemble of each song and a thorough knowledge the new production, but the ability to agencies less mobile. The roof of the that part of the voice where the resona- Playing, Diction, In¬ of its music and text to insure a proper conserve and direct it in such a way as to mouth, the teeth, the hard gums, the tors Qf the head are gradually substituted terpretation, Musical rendition and a healthy interpretation. bring into play the sympathetic vibrations cones of the nasal passage, the sinuses for that of the chest and though the WALTER L.BOGERT and Literary Lectures Whenever there is an arduous vocal of the new resonators. are solid portions of the cavities of upper resonators are brought into play President of N.Y. State Music Teachers’Am’«,I91). performance ahead, there should be prep¬ Member of Advisory. Standards, and Eisnining Concerts, Recitals, The tests of the correctness of pro¬ resonance. When Svengali gazed into the lower resonator continues to vibrate. aration of the vocal organs by a light Advanced Committees. 1914. duction for the “closed” notes are: Trilby’s mouth and exclaimed, “Himmell, The action of the vocal cords differs Musical Director of Peoples' Institute, N. Y.Cty. form of exercising. Unless this is done, 1. The quality and beauty of the voice. what a roof!” he spoke from the depths from that of the head register, inasmuch and the voice fails to respond with all the and Teacher of Singing 2. The ease of production. (or heights?) of vocal knowledge. For as the glottis is still partly open and not, No. 114 West 72nd St., NEW YORK CITY freedom, eclat and power of which it is a highly mouthed roof, especially if the as jn the head-register, closed at both 3. The point of sensation (posterior capable. ^N EMINENT FACULTY\ nasal cavities). tone enters the mouth cavity from a ends. Many muscles are employed in singing, 4. The purity of the vowel. Authentic wide, well rounded pharynx, is of great When the untrained bass or contralto G Paris,5,rueGouno and in strengthening them exercising of Pill? A composed of names 5. The ability to employ the messa di value to the singer. So a fine, shapely reaches the B or C just mentioned (or a light nature is necessary. In all vocal famous in the musical vdee. Ideal Complexion There are American Lady Cor¬ set of teeth, especially as regards the even A), and sings with the same method f N preparation, then, as in all preparation eoula voice 6. The conservation of the breath. sets for all figures, no matter what upper front teeth, behind which vibra- be employed for his lower notes, his world, such as Hans for athletic performances, it is necessary van den Burg, Elise That velvety skin of the Orient, the size or proportion; American tions appear to center in so-called “for- voice becomes what is called “too open” STYLE, DICTION, GESTURE to have a preliminary toning or warming Lady Corsets for all occasions; ward production.” Cautiously brought an(j His production requires physical The first America^man to^sin^m opera i Conrad, Herwegh von THE HEALTHFUL BENEFITS OF up of those parts that are engaged. with the delicate, refined, pearly into play the posterior nasal passage effort. In order to extend the register American Lady Corsets all purses. Ende, Lawrence Good¬ SINGING. In the beginning of vocal practice, be white of the North, is the mos? assists with its resonance the head tones correctly he must here become conscious man, Lewis M. Hub¬ The value of singing from the mere sure to start in the easy range of the American Lady Corsets are made alluring facial beauty in the of the female voice and the upper range that his upper resonators are being bard, Alfred lima, Paul physical standpoint is now becoming more voice, with simple exercises, gradually in¬ of the best materials in the Ameri¬ of the male voice.” , brought into play, especially those behind Kefer, Henri LaBonte, and more recognized by physicians. Al¬ creasing the loudness of the tone as well world. This ideal blending of the can Lady way, by the most skilled It is to direct attention to the cultiva- the nose. Therefore in singing upwards $1000.00 IN CASH MauriceLichtman, bert B. Bach, in his Principles of Singing, as going into the more difficult phases complexion is within the reach of and careful labor. Every Ameri¬ tion of nasal resonance, the quality of from the lowest notes the sensation tells us, “The regular daily practice of of vocalization, yet never losing or mar¬ Beatrice McCue, Albert every woman by the regular use of can Lady Corset keeps its shape, tone required to bring it into play, the changes from the chest and ascends until PRIZES FREE! singing strengthens not only the lungs ring beauty of tone quality. Ross Parsons, Adrienne resists wear, stays new—never sensations which accompany it, its fre- the posterior nasal cavities are felt to q First Prize 8500.00. and the voice, but the whole constitution. Be sure tfiat your power reflects re¬ any undue stretching or loss of quent neglect by contraltos and basses to vibrate in sympathy with the vibrations q A refined and fair contest open_to i Remenyi, Louis Still¬ The deaf and dumb have therefore a de¬ poseful action, not strain or rigidity of shape, even after hard wear. the detriment of their voices, that I wish ;n the lower resonators, q 25 cash prizes free for naming 75 photo- man, Sigismond fective development of the thorax and muscles; that your tone is not only true to discuss. The form of exercise most likely to pictures of famous people, places, etc. Stojowski, Anton the voice and are disposed to consump¬ to the pitch, but also of a musical quality. GOURAUD’S q Enclose 2c stamp for “Contes! ConditioM. _secure this resonance is that which ap- Witek, Vita Witek. tion, and the greater part of them depart Tone can be pure in pitch and yet poor nasal RESONANCE NOT NASAL • proaches the “mixed” note from an easy from this life in their youthful days, after in the elements that make for expressive In the first place nasal resonance must ]ow note: the breaking of the voice. Dr. Meissner musical sound. flmekwm not be confounded with nasal singing: The whole forming a school that has received commendation from gives a list of fifty-one pupils who died A person who is unable to attain musi¬ ORIENTAL the result of the former is a tone at once at the Leipzig Deaf and Dumb Institu¬ cal, expressive tone would better try easy to obtain and beautiful in character, NORTHWESTERN OHIO SCHOOL musicians and teachers all over tion : in forty-nine cases the cause of something else. He will never succeed also, when desired, of great intensity, the world. death is given, and in not less than thir¬ in distinguishing himself in the art of while the latter no refined ear can toler¬ PIANO TUNING ty-two of these the cause was disease of singing. CREAM ate. A well known vocal writer tions the case of a tenor who went to DORMITORY FOR the lungs. Proper planning and preparation insure “Not only for technical but also for creditable rendition of songs. Even The non-greasy CORSETS Paris for three months, during which D. O. BETZ, Dire YOUNG LADIES time his teacher taught him to utilize sanitary reasons should children from though the singer should be affected with toilet preparation. Maintained in a well appointed nasal resonance, with the result that on ^ their seventh year sing daily vocal exer¬ extreme nervousness, it would not inca¬ The Society and American Lady Corset designs are the i each repetition ascending a semi- building, beautifully T ’ cises within the compass of a sixth or an pacitate him; for the sureness of his most advanced and authentic, affording his return home he sang through his tQne Professional women ne as the new resonance is acquired. octave. The earlier in life a child be¬ preparation would carry him along auto¬ perfect lines, an absolutely correct nose. This certainly is not what any New Vocal Music of two Continents gins to sing, the more easily and sooner matically. foundation for the season’s modes. bona-fide vocal teacher would call ‘ nasal are enthusiastic over Among the many American Lady FAVORABLE VOWELS AND For Catalogue, and Information regarding does he widen his thorax, the parts of “Knowledge is power” and “Genius resonance. ON SALE the wonderful results Corset models is a design for What is the particular quality of tone CONSONANTS. Dormitory and Schedules, address which are in childhood cartilaginous, and presupposes proper preparation.” Though “your” individual figure. Isn’t it attainable. The which results when nasal resonance :" A change of vowel will often assist in Secretary, Deoartment A therefore specially capable of expansion. you may never reach this supreme ele¬ worth your while more to him than the men who put in earnestly interested:inithe broad pn»ctple the plumbing or who built the steeple. of Christianity u°e { Christ ac- A Tonic Let us listen for a moment to a few to see the m*in p p . Sun- NOW READY remarks of foremost ministers upon this compltshed, whet eri y Horsford’s Acid Phosphate taken same subject. Dr. Russell H. Conwell day or Cardinal Gibbons,he1has no^ ^ when you feel all played out, can't Questions and Answers Our beautiful new Fall cata¬ the$ noted pulpit orator of Philadelphia Furlhermore, he will al- sleep, and have no appetite, refreshes, invigorates and imparts new life and Helpful Inquiries Answered by a Famous Authority log illustrating Fashion’s very latest models in “Of course the organist should be a vital most surely fail in his wor . resoonse energy. Conducted by LOUIS C. ELSON part of the church service. Music reaches Organists cannot hope tor a resyu all. It can preach alone. It can destroy . ^ „„1p«c thev see this very the New England Conservatory like a prairie Are or It can reap and bind from the church unless tney s , . Suits, Coats, Dresses, sheaves like a harvester machine. The or- cjeariy Work for the church and tne ganlst can give health or death to pure f R church Skirts, Furs and religion. Begin a course of education In the church will work for you. But t Teachers’ Loose Leaf churches to awaken appreciation of his serv^ should know more of your purposes ana Under-garments ~ >v~nded stronger and*t^e^salary6 adequate.” your work. There are thousands of em- The real purpose of my address this ployers who defer raising the incomes o Journal-Ledger 00,000,000 morning will be to consider just such a their employees simply because they do A handy Account Book (pocket size) for The hand¬ campaign as Dr. Conwell suggests. But not realize that the employee deserves the teachers. The plan provides for the entry — “Demi-marcato.” guidance of the minister.” very simple matter for you to get up a Send for sample sheet That Blue-jay stops pain in¬ The last letter I shall read you is a sixteen_page bookiet similar to this I hold Clayton F. Summy Co . Will you kindly tell me briefly, the stantly. That the corn comes out in note from the Rev. H. K Carroll, whom -n hand. Music as an Aid to Re_ stories of how “America" and the "Star No. 6624. — This handsome 48 hours without any pain or soreness. PUBLISHERS Spangled Banner” came to be written.—" That Blue »jay is applied in a I have quoted before He writes: ltfon' by Peter Christian Lutkin, but of M. Dietz. Waist is made from fine quality jiffy. And from that instant one eralTthing'Sfaromt church life, and takes8 little course, with a different text. These A. I doubt if great brevity is possible Silk in the new Roman Stripes forgets the corn. in such a case, but I will try and condense or, ,n? interest in the affairs of the church books should give an idea of what the an answer. America is the melody of 6 ' —Brown, Navy and Copen That the corns never come back. which he serves. This is the reason for . . . , ° Save the King, the national tune of Ei.„ New ones may come, but the old the failure of a large percentage of the training of the average organist is. They land. This is such a singable melody that effects. New Collar and new don't reappear. w?SS'Bthes^seiwe.,a^me*of,these*1mml,whom should tell how much time the average The Musical Leader it has been used as national music by sev¬ Sleeve effect. A most attractive, Think of that, you who pare I have met go to a church service very organist puts upon his work away from eral other countries. Even Germany has Published Weekly, $2.50 a Year adopted it as Weil Dir im Siegeskrantz. It very stylish waist corns, you who use old-time methods. ; they would t was used by the United States even In Revo¬ They0 seem^to the church and knock out that idea that Ten week.’ trial .ubacrlption, fifty cent* A famous chemist, in the one right regard themselves as outsiders called In for organ playing is only a Sunday job. I lutionary times, and before 1800 the Ode on way, has solved the whole com prob¬ a specific purpose to which they strictly ,, , . T . T The Recognized Authority on all Maiieal the Fourth of July was sung to this tune. Price, $5.00 limit themselves." remember that when I was an organist 1 In 1832 the children of Boston had a Fourth lem. And that way—Blue-jay— of July festival in Park St. Church and is at every drug store waiting for Despite Dr. Carroll’s optimistic predic- spent at least one extra day a week in In conjunct Samuel F. Smith, then a divinity student tion that the churches are prosperous and practice, rehearsals, looking over new Andover, wrote the words which at once NEWCOMB-ENDICOTT CO. ^ Don’t you think it time you tried the English melody American prop¬ it—now that sixty million ended corns growing coqstantly in numbers, his ad¬ and in other ways. Musical Leader, regular price | Club Pm it is uncertain as to who wrote the DETROIT, MICH. mission that the services are dwindling - It has often been ascribed to Henry owe their fate to Blue - jay? You cannot blame the music committee $2.50 for year.] *0 CA The passage scarcely requires_ Carey, but it is certainly not by him. It down to one service a day, as well at and the trustees for thinking that you are And ETUDE, regular price, ) vk.JV -' before and after was probably written by Dr. John Bull as our knowledge that organists’ salaries it very well paid for two hours’ work once $1.50 for year.' FOR BOTH irt of the trills, ' ' jU" ** the time of James I. beginning and-- -- -. the Star Spangled Banner many posts in the East have been re¬ a week if they have no means of learning Address THE MUSICAL LEADER ' play the D sharp was originally drinking-song. It was sung duced very greatly, indicate that there i: McCormick Building, Chicago ___„_e-notes in the right at a London •__,l' called the. Anacreon (or Blue-jay better. Such a book as I suggest could the first and second measures. the Anacreontics) as long a fine field for action among organists be read in a few minutes and make a .“ The tune was probably composed For Corns who wish to see their incomes rise. dan named John Staf- very forceful impression. Lastly, the -v, — er squarely IS and 25 cents—at Druggists pamphlet should contain some estimate of Themes We Love to Play .natical accents. Please explain __ „ claimed_ it during ... „ consequence THE ORGANIST’S IDEALS. the importance of music in the church The Etude grammatical accent is in music. One teacher there- - rather acrimonious debate going tells me that 1 should play thehe following , „ ——i-couple iriSh gentle- It must be a very blind organist, indeed, services. It would be impossible for the as though the bar lines fell where•e the.... dotted t claiming a Irish origin fot ... _ who cannot see that in any walk of life individual organist to prepare such a Hava ln!h£iu. Sweet Hour of Prayer ..Yield lines are rather than in their regular pi. ... _ US regards the old drinking- tioli. Woodcrtol Word, of Life. because of the grammatical accents. Please song and subsequent history is excel- sincere belief in a life purpose is essential work, but an association such as yours Special imroluclory price 10. per copy or I for Me paid. explain why. The quotation is from the lentl.v told m a recent book published by for success. When organists in church could do it and the individual organists Scad tor oar cetelogae of errrytUa. la ai* Violin Strings Beethoven Sonatas-I*- Opus 1 No. S.—R.“ TT the *L■ “'-arybrary of Congress, entitled The Star BREHM BROS., Dept. 80, Erie. PenU, spangled Banner, by that splendid historian This Catalog Free work realize that their success depends COuld purchase it from you at cost price, of American music. Mr. Oscar G. Sonneck. not so much upon fumbling the manuals As to the practicability of the plan I . r^ti£„tune first became popular in America, in 1798 (long before the Star Spangled Ban¬ on Sunday as it does upon the success of can only quote the success of the “Missed ETUDE Violin Strings ner was written! as Adams and Liberty, with the main purpose of the church, there will Lesson” slips which we instituted in the STANDARD PIANO DUETS words by Robert Treat Paine, then named be more successful organists and higher work of the Philadelphia Music Teachers’ Commencement March. Op. 15. Tralee . . offer players a chance Thomas Paine. I have in my library a copy Let U. Go For Pleaaure. Op 300. Maarrtte . “(the song in an English edition of about salaries. That is, the organist must get Association, of which I have the honor Railroad Galop d. Concert. Op. J3. Traloar . UK to avoid annoyance due 1800, entitled To Anacreon in Heaven, and in closer communion with the spirit of to be President. These slips and placards Sleighride Galop d. Concert. Op. 25. Tr.lnr .11* another entitled Adams and Liberty, pub¬ Tambourine March de Concert. Op. >1, Trrlaar . 110* to defective and unreli¬ lished in Northampton, Mass., in 1798 and the church itself. were introduced two years ago and now " -words. To Old Hiram This should not be interpreted to mean there are thousands of them all over the able strings. - . Francis* Scott Key wrote the famous words that he must believe exactly what the country, all working to do away with the etc. 3?stT?YSr the bombardment of Fort McHenry, creed of the church ordains. I have at missed lesson abuse THE TKELOAB MUSIC 00., J? Iff14’ .Hi was with tie ENGRAVED $g.50 The ETUDE Strings British fleet under these circumstances: home a huge book left to me by some {The suggestion as to the booklet -was had gone to beg the release of a certain remote and pious ancestor m which the very favorably received and a committee are manufactured for American prisoner, Dr. Beanes, and the Eng¬ bedding Invitations© A. The so-called “Grammatical accents” various denominations in the United composed 0f Messrs. Newman of Meri lish detained him lest he betray their prep¬ Engraved In our latest style English our trade and are as are merely those which constitute the phras¬ arations for an attack on the fort, a sur¬ elegant paper having double envelopes. , States one hundred years ago are de- dan. Conn.; Turner, of Springfield, Mass'- ing of the composition. Thus, in Beethoven's prise. In the early morning he looked at least *10 for this quality elsewhere. 50 Visiting I nearly perfect as the Ninth Symphony, the Scherzo is in % rhythm anxiously through his field glass to see Cards and plate 81.00. Also Betrothal Cards, Re^ | scribed. In looking over this book a Schlieder, of New York; Huff of IVi'l and that rhythm would seem to demand an whether the fort had surrendered, when he accent at the beginning of each measure. --- Stationery. ^ndfor^mples'Sl^pecialpr while ago I was amazed to find that only Uamsport, Pa.; Van Dyke of La-wrZrl highest grade imported saw the- flagw floatingrote theover first It. vergeWith o{great thp COPPERPLATE PRESS . about a dozen out of some two hundred viUe, N. j_; prancis> gf ’Charleston But in one part the composer has marked enthusiasm 200 East 87th St. (Dept. E.) NEW YORK, N. V, | GLORIA IN EXCELS1S strings, but are much “Ritmo di *—: fcbattute,”“**~**’ ”-'— meaning Hithat three’ anthem on the back of « letter.enter wmenwhich he different denominations remained to-day, Va., and James Francis Cooke of Philn A Christmas Carol Service for Sunday _ to constitute the phrasing and had in his pocket. The rest he comDosed less expensive. therefore the strong accent is to come only he went to Baltimore. It was It ot yet the spirit of Christianity prevails and delphia, prepared the copy for publication -BY- at every ninth beat. At another place in printed there • will prevail long after denominationalism The contents of this booklet will hi Caleb simper the same movement he has marked “Ritmo Don’t Stand in Your Own Light di quattro battute,” which means ‘Jthe" Sh+eet of PaP®r) and distributed throneh ind buy cheap publications when for is wiped out. The organist might even go printed in a later issue of The E-run*- \ p*& D**“t *«•« the H.adrrd of four ,he town- It: was then Printed in two Bal- novelties and the so far as to take the view of that won- ' terested Superintendent or^Mmliu-r. derful German religious philosopher, --- F F 14 l C°- 1018-1020 Arch Street. F Ihree length E Strings, 15c. Rudolf Eucken, who contended some time Old Egyptian flutes dating from the r.E. Hathaway.Wea n Agt.. 425 S. Wah h A MILWAUKEE CONSOLIDATED MUSIC CO. .qu?ck‘a%ymoveimnft ^wldcfi Kdffly“! sing,.. ago that we were facing a spiritual crisis, year 3000 B. C. (the Bronze Age ) ha Two length A’s or D’s, each, 15c. receive its “grammatical accent” J”0 S1“S» at least ror untrained singers. It ccessor to RohUing Sons Music Co. » beginning of every second meas-j_ JJuiwSwtSS.has all the showySh2X chai___character of the_ original Nau & Schmidt Music Co. Milwaukee, VI insisting that Christianity must be revolu- a complete diatonic scale preh’ t ■* G Strings, each, 15c. ure# drinking-song, with a rollicking chorus which tionized outside the church and made pipes have the first four tones of °thC The term “grammatical accent” is not takes in a high note near its end. Its corn- much used however, although it is compre- pass is a twelfth, which is too large for the more universal, more active and more diatonic scale, that is to say th fi6 30 Str‘ngs, E, A or D, $3.00 hensible. It is a pity that teachers are average voice. It has too many skips for KIESLING’S TEACHING PIECES manly. Thousands of people are asking of the equal halves of this scale ^ TVSt constantly extending the terminology of easy execution. In short America (God Save music. That bee is in the bonnet of too the King) has all the elements that a popu- where is the Christianity of Europe at tonic intervals frequently occur on n '■ Faust School of Tuning many instructors of__ music. _I recall one at- lar song to be sung by thousands should this moment when there is hell let loose tive instruments . . The tempt to_ make a number of new terms in a have, limited compass, conjunct movement, from the North Sea to the China Sea— the older music writers thatch ltl0n °f Piano, Play«--p(an.iap^^Qi^[TitnidOr|i.CM*' mi6C-- conservatory,y manymnnv yevpars aero The ffoins- by^degrees rather than by skips and great octave was changed ii the “large brevity, while Spangled a territory studded with church spires. It tonic scale is the earliest 6 penta" wa«cdAhn‘ Muke ,ho~ T«ACH«s! Inert*1; Theo. Presser Co. group.” the “consequent’-- of— - period was Banner has none of these attributeA” This wurcr ofh i h® » your income, become* is natural that this should be an age of be maintained in the face of "Th Ca.nnc,t ™ transferred,rana.~.~. into- the— “subseqt‘subsequent.” -a fugal- -s~ may- be unwelcome news to the many who •ourcc of profit. pianoforte toner. PHILADELPHIA, PA. sublect and answer..became became Theme and Re- lolove-1 . it bnt it may spur us on to the nohiev- scepticism—but unless the organist is cal research.—Wallaschek ethno'°gi- Send /or rues roar Boot oirtna full taAnaaUM sDonse- - " ’’ —Aand so nr.on t-bretiBhtnrougnthrough a largelArgetarge numuernumber ingIng a real national !song, entirely our own, of names. Such things only puzzle the pupil, in the near future. Flugge mention THE ETUDE when addressing °ar advertisers THE ETUDE 837 836 THE ETUDE “\viiIatJ'aIn(lTlIovveto Plly°for0pi“ureC W themes from her babyhood, and when she Child Prodigies. Idaho.' ^ i old enough to hold a fiddle she found the way to pick them out one by one. “Gemiinder By ARTHUR HARTMANN My Beauty Exercises What was the need of notation? Music Art” Violins Younger ana ~ ~ ">°st praiseworthy and natural to suffered, ^‘^^lf-eriticisnf^and de- was her language, and a baby does no: Beautiful than all the see mothers have high ambitions for their merciless in tne learn to speak by first learning to read. The acknowledged perfect mflhtuKfoVrHfctimm children, yet how many lives have been votion to the 1 ea s. voung However, the time came when the ob¬ , ItOF»•:S Shit 'PIANO, TlieoryTlh,.. The only modern Violins on No massage, electricity, made unhappy merely to satisfy the pride I recall a lady who brouS hild was vious talent of the child made it neces¬ ni ifpsires position. Experienced as Or which you can shade each mony u choir Director. Licentiate in sary for her to study seriously. When plasters,11'straps,1- filling of some doting parent or relative! I am daughter to play for me; „ manner. Susie Dominion College of Music Montreal, individual tone as desired. or surgery-Just Na- ref erring particularly to the exploiting of pretty and played m a PreJ. . but p. Que. Address, W. W.. care of Etcde, she had learned all that her grandfather tUResul^come soon and so-called “prodigies.” Of course, I may have been m Jaken,^^ could teach her, she started out to play OLDyr LINS“ES'pSM“ aiiy ulc. B- CHRISTMAS .is drawing near. What 6 1 rstemerSakesShould any of you be privileged to I did not detect any startling e _ __ .esents? Send a in public. Discarding her frocks and pairing, Exchanging, Time PaymentB sallow" skhts 'clear" and havee a child of unusual endowments, real- talent—nottalent- to mention the gr®.at . postal for ot BE catalog of Diamonds, frills she adopted male attire and this the responsibility and know that for divine. I patted her cheeks aiid stroke Watches and Jewelry. Address, Loftis Bros. FJUGU5T GEMUNDER 8? S0N5 Dept. F. CZINKA PANNA. Th— c .i . mode of dress was never changed until 141 WEST 42nd STREET - NEW YORK 'usclc^therebyobHteradng'resultan"^vrinklcs Jfij everything in this.1-:. 1life, :L the,i,a price hasw to beIso her hair,1,.;- thentlior. asked the mother wwhether er & jstSteCompany, str eet, Chicago, HI. They sing of the open air, the roadside, the time of her death. DO thin face and neck.nre round^out^holtoiw aid Beware that the brain, the “soul,” the child ate, drank and slept we , “^LIIVvioli STUDY BY CORRESPOND. The Hungarian Musical Joan of Arc. there °is no Iife’ ^ which A sensitive musical soul, My System makes double chins disappi is not being developed at the expense of upon the mother poured out er ’ S'gSoufSSSSST m0ethod0f itSdentsU5 m ’ , Those of her time who heard her play, and it leaves the flesh firm, after the sup the body. Ever bear in mind the sublime what a time she had to keep he- ro wever, we must realize that much speak superlatively regarding her mag- *”}& • g™alCan ticn Uom^Adtpfedlof^ 18 My Beauty^ Exercises are supplemented laws of compensation which, sooner or dolls, how she had to, at times, pu ot the music commonly attributed to the netism, lire and emotionalism. Some in¬ work to make the finite more shapely^an dents’ without advantage of good individual later, equalize absolutely everything. The to make her take up her violm, an • instruction. Write for special offer. War- In all musical history, no career is more School of Music. Warren, Pa. gypsies is none other than that which the deed might rank her as a charlatan, exploitation of children robs them, firstly, “Madame,” I said sternly, “you have romantic than that of the unique gypsy gypsies, with their characteristic traits. However, when one glances over her i-.v j* • : „ .3 „ „ -C 1J-f« thank- * God/'- I for.r Your childChiln isIS usSbll ^OICE BOOKLET^ of the most divine periods of life—child- woman violinist Czinka Panna, whose have purloined from . the Magyar or compositions, of which there are a few loring. well and strong, and of a gentle disposi- edition,^s Vo o y d \ NI1MBiA'nV,'-e 25 ‘•F ■ l Be Utv hood. It makes of them mangled, half- weu anu SL1U11S> Mi „- compositions and whose playing were so Hungarian race. Indeed in many of their preserved (though rarely played) one is “Xhe'rL., . Suggestions”- formed beings, and at the age of twenty, tion wbyWhy do you torture her young hielife . SpIjATN TALK AND PSYCHI^ REFI.EC " ' e, Body Cultur remarkable that they have become closely FREE. when one ought to-he merely beginning"Do joo not realize if she-u~ W1tod thnthe (JwInn too*..'00 JJgf ^S'SSrfSS! themes one may discover old church comPelled t0 admit that Czinka Panna KATHRYN MURRAY knit with the music lore of Hungary. In¬ u. -___regard life, they are old, tired, a for ■he violin, yon conid tordl, keep her themes with very inconsiderable changes ""TT!- ^ unusua(U-v se"skive musi“1 Dept. 911, 209 Sti ~ - — • deed, one of the most famous melodies Others have what might be termed = sou1’ EntlreIy aPart from the innumerable The First Wo To' 'reach" ^Scientific Facial Exercise usually, blase; neither mature nor p< from it? , . cilS" 00 cents (rostpnld). Essex Publish which distinguish sessing the necessary enthusiasm (or pos¬ There was an awkward pause, and then - ’company, Carnegie Ilall. Manhattan, played by the gypsies to-day is known f cynicism and what may ®race 1 J srvnsvgypsy music from that of all other sibly, strength) to begin the real climb. helpless voiee the mother astod, Jtototo,, IS Czinka Panna, and there are few who be termed "goading.” Others e the in- peoples, Czinka Panna’s compositions For without enthusiasm, nothing is worth make positions aware that it takes its name from cendiary themes of the warring Magyat “Well, would you then advise (like those of the famous gypsy violinist Your Music Is Torn! “most the interesting personage of its composer. camps, then actively engaged against the while. a painter of her?” I was furious- composer John Bihari, 1769), are simple It will Take One Minute to The history of those who “arrived” is certainly Madame, if you make the Before considering the composer her¬ encroachments of the Austrians. The Repair it by Using United States, to secure home necessities it and majestic. They portray the sad fate always written in red blood, and in the child see!" was my retort. lue ... self, the reader will do well to spend ; Magyar leader Was none other than the lay of foods, soaps, toilet preparations of Hungary during the bitter period of MuItum-in-Parvo Binding Tape heavy heart aches and soul struggles. Whv is it girls are taught dancing, kitchen———mo/iA supplies made Inin a modem sanitarj few moments in becoming acquainted noble Rakoczy. Strange to say, even in Can you understand the born artist? Hungary very few of these magnificent its struggles. fencing, music, etc. (hardly one of which visitors, and at the with the peculiarities and history of the At fourteen, Czinka Panna married a Can you understand that this being was they learn passably well), and their train- ..- Hungarian folk-song. In the seventeenth old themes are widely known. born with the great “Weltschmerz,” that a reward for club co-operation. The plan c . viola-di-gamba player in her orchestra. ing for life is left largely to their in¬ most interesting one and Is fully outlined century and during the early years of u . - a?°.~ HunS?=----n,an "msicians At that time the accompaniments for even in its early childhood days it is tor¬ the famous Larkin Catalog which may stincts and “the future?” the eighteenth the music of the people w“° real'zed tbe beauty of the early folk such players were not written out t mented by great soul problems, which in postal request ti . N. Y. Theo. Presser Co., Philadelphia, Pa. its exquisiteite sensitiveness andana chastecnasie de¬ue- Bemoan the ‘ prodigies wherever or n I .ark in Co., in Hungary was at its heyday. The songs sonSs sought to revive them by resurrect- printed. The soloist traveled with bands All in excellent condition; votion ' hugs close to itself and buries whatever branch you encounter them. of the period are altogether unique in in*L „ e ! rument. as t*le tai*o- of gypsies who would extemporize accom- Multum-in-Parvo Binder Co. ■ - ■ - Their lives are sad, serious and almost Act Four, ••Aida" (bound 624 Arch Street Philadelphia, Pi n^manlha ^ ers), lf>4 copies: At The their characteristic rhythmic form. Their , ,'S -Yery indlvldua' member of paniments as the soloist proceeded. When Every truly great artist (which means always tragic, ^ry to make their lives Jrieg (Octavo), 116 copies; spontaneity indicates the extreme sincer- u' * ^ y, seems be peculiar to the soloist chose to play alone, a wink lchrlst, 138 copies; Choral a high priest of beauty) has realized his joyous and gay, by keeping t ity and naturalness of their composers. ^Z a deBoer X tZ ‘° the band si^ified that they w great, noble and sad mission in life, and the “normal” line as possible, and _ they ms AW1 it: Strange to say most of them writ ]t, h . a deePer> [ul,er ton?> and when keep still. At the end of a brilliantly played by native players is tinged with a improvised cadenza, the cymbal player Tf Folio of Classics re left their records in tne wm s-” — the world Gounod “^nd^manlta covemh ’lSJ $ ten to be played in moderato or adagio For Orchestra and Mandolin Orchestra book of time (which have helped others womanhood, and bless you, and the world, leg. Cl.ea\,on> Haydn, about coo copies; Eli- melancholy hard to define in words, would strike an appropriate chord, serv- 15 High Class Favorites—A Separate Book for tempo, all indicating the influence of the attain their hopes) who have stumbled, with sublime creations! Such an instrument accompanied by ing as a signal for the band Poco a 26 Different Instruments— SSX musical settings of the psalms of the day. Violin, Comet, Flute, Mandolin, Etc. Legend, Sullivan, about 200 copies; Cara- strings and the native ‘cimbalom” makes poco they would take up the accompani- Send 10 centi for Sample Violin or Mandolin Book leria Rustlcann. Mascagni, about Jen cop a never to be forgotten ment of the solo, mostly ending the nur Walter Jacobs, 8 Boston, Mass. ies ; Huguenots, Meyerbeer, about 200 copies. Tart Songs (bound in pnpor), about .ou Magyar ndta. impression. Some of the ber in a furious Csdrdds. 0 copies. Contents : O Lady Mine, by Hadley; „. PANNA gypsy bands in Hungary still Like ber race Czinka panna had . Cz Who Are the Great Jewish Composers ? a Lassan. Andante. ■ _ use this instrument. insatiate craving for decoration, particu- THE rakoczy MARCH. ]arly jewels. Her death was most dra- MUSIC MATERIAL Mr James Huneker recently con- one (he was first hornist in the Munich La3^“gcUb0yru^Y^ound In man,1U cavern), For Kindergarten Teachers tributed to the greatly improved humorous opera), but Richard is an out and out about 180 copies. Contents:.Die MeUte- It was in 1702 that the matic. When she felt that the end was Color Note Fcale; Small original of the famous at hand, she summoned her band of gypsy Peg Board; Music Staff paper Puck some remarks anent the Jew Bavarian. His mother was a Pschorr, Som%n Cond ’neinah? s,,» U nd for catalog. in music from which the following has daughter of the Munich brewer. The chorus of Philistines. Her Frelsrhutz, “Tk- Rakoczy March was first players to her bedside. One by one they in music trom wmen music of Wagner, Strauss, and Goldmark, toria Victoria." Faust, Soldiers' Chorus (for heard. Like most compo- played through her best known composi- been extracted. . ... , . . , . mixed voices). been notably oriental in color and intensity. Communicate with r.UNION M0RKIS, sitions of its class it was tions. Her famous Amati violin had Nearly every- great .composer has^beM ^ ^ ceiebrated singers and virtuosi DEAN, CONVERSE COLLEGE, SPARTAKS- first played in a very slow never sung with such music before. Fi- caneucalled a jewTew oosometime _ in his career.n were, with., few, exceptions,. of. JewishT . , tempo. Michael Barna, the nally she fell exhausted and unconscious Mozart (whose real name was wzart, . 'ti-. n -n «• , • -r-x . VAHTINE’S ««l T-OF-THE-0R0I- STUDY HARMONY . , ), ... . . T„,„;=h fp-i turps - origin: Thalberg, Rubinstein, Paganini court gypsy of Rakoczy in the transit to immortality. Clad in based upon MUSICfPRINCIPLES instwd^of NARY” CHRISTMAS GIFTS. On anotw when he wa?hrougli before Maria (who Rooked as Jewish as the Kol page in this Issue you will find a list « (Francis II), is said to have her gypsy raiment and decorated with g modern6 APCOMPREHENSIVECSYSTEM few of the famous Vantinc Importntions ti been the originator of the gorgeous jewels, her Amati still held ii written by C. A. Alehin. Theresa at Vienna, that great Empress Ntdrei), Joachim Wtemawskc Karl the Orient. A. A. Vantine and Co. haveW Price, $1.75. Advance orders, $1.00 sharply asked: “Has the child been bap- Tausig, Joseffy Rosenthal, ^Albert, been famous for the character of the Oriental theme. Francis Rakoczy, the grip of death, she was laid away, goods thev have imported. The different* after many reverses, found It is not possible to reproduce here o , , ALDEN PUBLISHING CO. tized?” On being told he had, she said: Busoni, Godowsky, Pachmann, Lilli Leh- netweenbetween thetne genuinegent and the Imitation u 1227 S. Hoover St. Los Angeles, Calif. «A ‘ !... nr.f Up o Tew ” Apochry- mann’ Milka Ternina, the Garcia family— Oriental‘"'ental wares is at once detected by peojj* his power gradually waning more than a few measures of her strik- taste. The real Is appreciated and u* under the attacks of the ing themes and we choose that known this teaching outfit. Write for particulars. °Un< phal or not, this is an interesting story, 2? fthe PatM\ not ■fake” despised.r THE ETUDE , the oeriod of the announcement , •„ nart be taken up by every student sufficiently *1 work This pack of cards will b° uhe nnTqne. They will be as near «Bud ,„d and with w# «- Practical Five Finter Exercises, £Z£ t^T*" h'La set of regular playing cards as it planatory notes to several, besides a Op. 802. By C. Czerny and pupil only, but the most usetul auei xhe special introductory pnce in ad- Possible to make them, except that the brief but illuminating essay by Niecks on m b ready for deliVery 0f all are those winch may b P ^ vance of publication for Books I and II, SU1S will be called by musical names the composer’s life and works Few Re present month. This is the by two pupils of about equal gra is 30 cents, prepaid. “stead of hearts, diamonds, clubs and pianists succeed in mastering al of o?cSrny that is a complete Material of this nature w.U be found^n oades. Any game playable with the Chopin, but every technical work, containing all the tech- abundance ^ ou/u,nea^d °nteresti4 and Practical Method for the Young fsual cards will be playable with these, ability should make these lighter original material necessary for pianoforte pieces are tunetul ana nut & TT. 1# . , jyxr rr tt iinAllnj 8 “d the advance of publication price is works a leading part of his musical edu- "playing, such aSas scales, octaves, five fin- they will be thoroughly enjoyed Violinist. By K. H. Aiqoum 25 cents We believe it will pay to buy cation. „ , . , ger exercises, double notes, e I.- continuing this month ...k a number of packs of these in advance For November we offer this volume at suitable for any_ pupil and is c j'ihe j^%rIsfc,ssda'U'rpo.«»i SCHOOLS BARTEL BEicHwrss hjmsuss baker ==. combsbecker “■ w||S5S-a CRANE — HENRY SSSraS^S *.«***»»» HAWTHORNE "~ta!i&g^ MOULTON r5fr«as: 1™™%-'!$' ■'*“ PETER SHEA A“ ™ MOLLICAS FEW YORK POBTEB jS&BejBBBr* mna NEWT VIRGIL FALK VIRGIL PATTERSON VDHENDE-SSSaS^ "™IHL5EB!te*ti .. *™*:. NiCHOLsr:SftP»£:r, CONVERSE p™1 cpc ™*“ -- PEABODY r_._| S. c. LSSSSSsaass STORY Igfet^sagg US GROFjjRYANIJ^Fi: CHICAGO “•FarSSfe” ------CHICAG0=3raMr:r S CHlCM^p^^Sr KRIENS “• CINCINNATI asrK&s -. lj*. , “E£SS QETjmgjSa^ uflnnisTEK-^ggi mmuISS- mmmvr~ “■*' -'"mi BURR OWES knox rr- MMElPOUSSi^: CdUBTBIGHTSSSgg FLETCHER^sSsiT OBEGOiSg^igg KEB»EgaBE3ag A New Book of Hymns and Sacred Songs for Religious M “GIVE THANKS AND SING wBasaafe^..-...- THEO. PRESSER CO., SSEFBsst THE ETUDE 847 846 THE ETUDE requisites for THEODORE PRESSER CO., 1712-1714 Chestnut Street, Philadelphia, Penna. NEW PUBLICATIONS MUSICTEflCHER business manual for MUSICTEACH. The Quickest Mail Order Music Supply House for Juvenile Musical Poems ERS, SI .o O. This book is a compendium of The Education of the Music The Standard Violinist the latest and best ideas upon the must practical By CARO SENOUR methods of compelling your professional vork Teacher Twenty-Seven Pieces for to yield you a larger income. Teachers, Schools and Conservatories of Music By THOMAS TAPER Price, 75 Cents Violin and Piano CLASS AND ACCOUNT BOOK. E. M. Price, $1.50 Sefton. •O+J***-*^*'™*of The best selected and one of the largest stocks of music. The most liberal “ON SALE” plan. Anything A most Important work for all teachers Price, 50 Cents juour.^ These 3 BPSsongs2 are intended for z PUPIL'S LESSON BOOK. Price IOc each, who aspire to conduct their profession on „.g Is one of the best collections of SI.00 per dozen. m our stock or published by us sent freely on inspection at our regular low lines most widely approved In modern music Violin and Piano music ever compiled. It ^er'ha^^een^very s^cceS in lnteresi- THE STANDARD LESSON RECORD. (36 study. Mr. Tapper shows what knowledge ntains many more pieces than one usually ig young children, and these songs canno records with stubs.) 25c. A practical method Professional Rates. The best discounts and terms. and proficiency the teacher must have and _ids In similar collections, and there Is then makes clear how this may best be ob¬ a larger range in selection. The pieces arc iVVvering afc-™ ISerestfng^ub- pupils, studies and accounts. tained. The hook Is finely hound In cloth - all styles and suited to all possible oc- jects.’ The verses are bright and pleasing and comprises 224 pages. LESSON AND PRACTICE RECORD. sions. The pieces^arc not all of "haraeter always tuneful°and lasy to sing! erage^good player. This volume should in the permanent repertoire of every THE MOST MODERN TEACHING PUBLICATIONS IN MUSIC Young Players’ Album olinist. It is recommended alike to the FOUND IN THE STUDIOS OF EVERY PROGRESSIVE TEACHER 72 PIECES FOR THE PIANOFORTE icher, student and player. The Standard Vocalist BILLS AND RECEIPTS. (Package of 100) Price, 50 cents 50 Fine Songs for 50 Cents — y. PRIMER OF BATCHELL0R MUSICAL Here is a veritable feast of good things Two Part Songs large and comprehensive collection of BLANK BILLS. ( barge size 6x9, package of 60) STANDARD GRADED COURSE OF for the young player, seventy-two complete s, both sacred and secular, suited to 2 Sc. FACTS ABOUT MUSIC KINDERGARTEN METHOD pieces, more than nr- - songs, both By M. G. EVANS Price, 50 Cents similar volume, and FOR WOMEN’S VOICES roices of avemse MUSIC TEACHERS’ DESK TABLET. wok to whichlieu thecue uuaj --, . , (Package of 1U0 I 1 Sc. For all memomnduma, STUDIES FOR THE PIANOFORTE By D. BATCHELLOR and C. LANDON These pieces are In .1 styles, ehlefl;, Price, 50 Cents and find therein a song adapted especially practice directions to the pupil. This little work is more than a primer; it is Price, $1.50 modern popular writ , and largely in the a compact musical encyclopedia, the subject _ .feeding Grade III. A collection of bright, melodious and ery possible demand. The CLARKE’S HARMONY TABLET. Pad of Compiled by W. S. B. MATHEWS A concise, practical manual, a logical exposi¬ singable numbers for women’s voices, matter being presented not alphabetically but _ .. _ characteristic pieces, reveries, iflymby_ — 100 leaves ruled music paper, 7x10, 25c. 10 Grades 10 Volumes $1.00 Each Volume tion of the art of teaching music to the young nocturnes, dances and marches, In short, adapted for use in schools, seminaries, for progressively, beginning with the rudiments of pieces for all occasions. The volume is school choruses and for women’s 11 suited for teaching STUDENT'S HARIWONY TABLET^ Pad of A complete course of the best studies selected for every purpose. The in a pleasing and attractive manner. handsomely printed from special large The very best possible material music and ending with a tabulated summary Graded Course idea is original with the Presser house, but imitated more This method uses various devices to awaken __ drawn upon in the making of — BLANK MUSIC COPY BOOKS. of Musical History, each subject being ex¬ than any other system or Work ever published. This Course is being im¬ and to hold the interest of the little child. The book, our resources for this purpose^ being plained through the medium of a series of prac¬ celled. The l Prices, t Oc to 35c. proved constantly. It combines the best elements of ail schools, the aim is to develop the subject .in conformity with A. B. C. of Piano Music BLANK MUSIC PAPER.^ 12^U^oM6^1mn tical questions and answers covering the greatest variety from the best composers. It is simple and practical; the natural bent of the child’s mind, largely in ;e in tl Elements of Music, Notation, Time, Scales, Anthem Offering 'oTor (Postage lie extra.) easy to teach, always interesting. We invite comparison. the spirit of play. There are a number of rote By Mrs. H. B. HUDSON Intervals, Chords, etc. A COLLECTION FOR GENERAL USE Price, 50 cents BLANK MUSIC PAPER. MORE THAN A MILLION COPIES SOLD songs ; also music for marching, drills, etc. " " leaves 7x8)4 with wide spacing. 25c. QUESTIONS AND ANSWERS ON ELEMENTS OF MUSIC ONLY COMPLETE MUSICAL KINDERGARTEN METHOD ittle book, which is intended to BLANK PROCRAM FORMS. For Concerto The Standard Organist mv piano method. It is based on or Pupils’Recitals. 50c per hundred. The seventh volume in our phenomenally principli of familiarizing the pupil ’ MASTERING THE successful series of anthem’ collec" - 43 PIECES FOR THE PIPE ORGAN ) keys before DIPLOMA FORM. 21x19. Price 1 6e. Puck- Anthem Offering contains seventeen nun__- . After "the hand has been shaped and placed ment, 25c. BEGINNER’S BOOK TOUCH AND TECHNIC In all styles, suited to various occasions, all Price, 50 cents pon the keyboard, the young student be- TEACHERS' CERTIFICATES. 11x8)4. 5c. SCALES AND ARPEGGIOS large By DR. WM. MASON by successful writers. Some of the com¬ One of the best collections ever published ins playing at once, playing froi ’ MUSICAL PRIZE CARD. 6Kxi>£ inches. SCHOOL OF THE PIANOFORTE By JAMES FRANCIS COOKE Price, $1.25 posers represented are Berwald, Camp, The pieces are all good and interesting, o ipltal letters instead of . .." It is I Oc. In Four Books Price of Each, $1.00 Itockwell, Roberts, Meyer, Blount, Bird, intermediate grade and moderate length time, yet the By THEODORE PRESSER Price, 75‘cents This work contains all the necessary prac¬ Stults, Stair and others. In general ex¬ written in all styles and suited *“ REWARD CARDS. Lilho in Colors, se PART I—The Two-Finger Exercises (School of Touch). cellence this collection is in nowise behind poses. Both origlnr1 — ?amilia A book for the veriest beginner planned along modern tice material fully written out, carefully PART II—The Scales Rhythmically Treated (School of Bril¬ the others. It is fully up to the stai transcriptions —‘ lines, proceeding logically, step by step, making everything graded and explained, also very extensive liant Passages). and Is bound to become popular. portion. The book is handsomely printed new and original material, making it the PART III—Arpeggios Rhythmically Treated (Passage School). from special li plain to the youngest student. All the material is fresh and PART IV—School of Octave and Bravura Playing. attractive and full of interest. An extra large note is used. strongest, clearest work of its kind for the An original system for the development of a complete Plain Roman. Special features are writing exercises, and questions and very young .beginner, as well as the highly technic, from the beginning to virtuosity; embodying all the 10 Five Note Recreations Great Pianists on Piano RUBBER STAMP AND INK PAD. One advanced student. It may be used with ripened musical experiences of its distinguished author. line 30c, two lines 40c, three lines 50c. any student, at any age, with any method. FOR THE PIANOFORTE Operatic Four-Hand LATEST AND BEST INSTRUCTION BOOK GREATEST TECHNICAL WORKof MODERN TIMES Playing A REAL NECESSITY FOR TRAINING SUCCESS By Mrs. C. W. KROGMANN. Op. 110 Album Price, 75 Cents FOR THE PIANOFORTE By JAMES FRANCIS COOKE A SYSTEM BEGINNERS’ These excellent little teaching pieces art Price, $1.50 about as easy as It is possible to makt Price, 50 Cents SELECTED “CZERNY” STUDIES them. Throughout all the pieces eact A score nf the foremost keyboard masters OF TEACHING HARMONY Revised, edited ai 1 fingered, t PIPE ORGAN BOOK hand lies in the five-finger position. In r most valuable ADHESIVE LINEN TAPE. Ten yards. Pa By HUGH A, CLARKE, Mus. Doc. By GEO. E. WHITING PRICE, $1.00 best results In paid, I 2 cents. Red, blue and black I 5c By EMIL LIEBLING spite of the technical limitation that this possible to arrange them in the orchesti of Unhxnlty of ‘Pennsylvania This volume may be taken up after one year’s places upon the composer, the pieces will manner. Our new volume is modeled up h chapter is PRICE, - $1.25 In Three Books Price, 90 Cents Each be found to he decidedly interesting ana our two recent, collections which have prov ADHESIVE PARCHMENT PAPER. instruction on the pianoforte. The exercises in Style, Interpretation, Expres- parent.) Per package, postpaid *” ’ The standard textbook of musical theory. A noteworthy addition to the technical literature of the pianoforte. In attractive. They are in their various cha so successful, namely, "Standard Opera - yards In a roll, postpaid, 1 practically every volume of Czerny’s works will be found some. gem. progress by easy stages through the keys. acteristic rhythms and each piece is a hum," for piano solo, and “Operatic Selec¬ _ _ Technic, handsomely oound In 12 The object kept in view is how to enable the Pedaling is treated in a clear and exhaustive compacted by appropriate verses whb tions for Violin and Piano." It will contain cloth. Any piano.lover will be delighted to yards in a roll, postpaid, 6c. pupil to grasp, in the easiest, most interesting Mr. Liebling’s selection and editorial work are masterly. All the popular may be sung if desired. Mrs. Krogmai gems from all the standard operas, arranged get this book; three hundred pages ot' in- PASTEBOARD, DUST-PROOF BOXES. Opus numbers and many less known are represented, compiled in an at¬ manner. There are no dry exercises or studies. Is one of the best known writers of educ in the best possible manner, all of medium = .i— e--'"-famous musical and comprehensible way, the mass of facts and Genuine musicianship is developed from the tional pianoforte pieces. music, height 3>4 inches. By rules which make up the art of harmony. For tractive and convenient form for general use. These are the studies that paid, 25c HflSS nr CaKJnnfn.nfm. contributed to the making of all the world’s great pianists. very beginning and a foundation is laid for self-instruction. practical church playing. MANILLA WRAPPERS. „ Key to Harmony, Price 50 Cent* THE INDISPENSABLE STUDIES mauilla paper, per hundred, PRACTICAL PIPE ORGAN INSTRUCTOR Elementary Piano Technics, Study Pieces in Octaves Concentrated Technic rope mauilla, per hundred, by CONCISE AND EASILY UNDERSTOOD paid, SI. Op. 19 FOR THE PIANOFORTE FOR THE PIANOFORTE BUSTS. Prices from S 1.25 to S 1 0,accord- By A. SARTORIO. Op. 1021 ROOT’S TECHNIC By Dr. J. M. BLOSE By ALOIS F. LEJEAL COMPLETE SCHOOLdPTECHNIC Price, 60 cents Price, $1.25 AND ART OF SINGING THE MODERN PIANIST Price, $1.00 A simple elementary work of technic, one A masterly exemplification of mortem FOR THE PIANOFORTE By MARIE PRENTNER - - Price, $1.50 that may be taken up in the early stages of octave playing for students of int A technical work for more advanced on Scientific Methods. By FREDERIC W."root instruction, including five-finger exercises, students, to be used In daily practice, to By ISIDOR PHILLIP Price, $1.50 I. Methodical Sight-Singing. Op. 21. The author was a graduate of, and the ablest assistant for simple chord exercises, and arpeggios in all foster and conserve flexibility of the fingers The last word from the great living authority. M. Phillip Three keys, each - - - many years to, Theo. Leschetizky. This edition issued with the keys. The scales receive a very com¬ particular point. Mr. Sartorio’s and wrist, insuring perfect evenness of touch times. A list of over live hundred subjectonat II. Introductory Lessons in Voice Culture his unqualified endorsement. . The Leschetizky system has prehensive treatment. The little work Is Is always interesting and melodious, _ and smooth, pearl-like scale playing. All upon application. is the leading professor of pianoforte playing in the Paris III. Short Song Studies. Three keys, each thoroughly practical, giving the teacher a in studies of all kinds he is at his very departments of technic are fully covered In MAELZEL METRONOMES. Americanmak conservatoire, and this work embodies the result of years made more great artists than any other: Paderewski, Essip- new choice of technical material. condensed logical form. no bell, $2.25; with bell, $3.35. Forei, off, Hambourg, Gabrilowitsch, Bloomfield-Zeisler, Prentner, make, no bail $2 50; with bell. $3.50. of experience both as teacher and player. M. Phillip is ad¬ irelve Analytical Stu< vanced in thought and methods, thoroughly abreast of the Slivinski, Sieveking. It forms a complete, comprehensive cty-eight Exercises i and extremely practical treatise of piano technic. IN PRESS Trans’ponaUon’3* ea°h!extith $4'b times. This work may be used in Daily Practice. '—-J. Op. 28 - nomes. postpaid, 50c. Fundamental Principles of THE LESCHETIZKY METHOD FOR SALE AT LOW ADVANCE PRICES SEND FOR BULLETIN MUSIC ROLLS. Cowhide, smooth, HE inch _COMPREHENSIVE, EXHAUSTIVE, PRACTICAL_ WAGNER-LTSZT ALBUM FOB THE PI¬ JoSft’sYTaa "‘smlGr'aln ’ l'.'u'inches “ ANOFORTE. NpYanofor4eCE ALBDM for tiik black or brown. m1 ao ,. ’tneoandboui IIOriN’S POLONAISES FOB THE PI¬ SONATINAS, Veil. Ir Kulilau y-, e ryl a i Q of any class of musical publications s THE VOCAL INSTRUCTOR ANOFORTE. STANDARD HISTORY ofMUSIC for tying ent By JAMES FRANCIS COOKE Price, $1.25 f l A free upon application. We have, and a By E. J. MYER Price, $1.00 __constantly making real “Teachers’ Aid” STUDIES IN FLORID SONG (FOR ME¬ VIOLIN ’ STUDIES, Op. 20 Book IT bith°erou^ practical textbook told in story Designed to be the most direct and helpful DIUM COMPASS). F. W. Root. Kayser. 11 ’ -ggs catalogues Our specialties are Piano Compositions and Studies, Songs PRACTICAL METHOD, Op. wrm. So clear a child can understand every work of its type and scope. Mr. E. J. Myer PRACTICAL METHOD FOR YOUNG VIO¬ SOUVENIRS OF THE MASTERS. G. L. Kohler ’ V Book III. and Vocal ’ Studies, Works on Theory and Musical Literature, and Col- LINISTS. K. H. Aiqouni. Spaulding. to $4.50.Sp°?iiaFu]&ndt,“ito*s,!e’! wj,h -7so absorbing that adults are charmed has embodied in his new work the experience of EASY FOUR-HAND PIECES. E. Kronke. "USIC CABINETS. S 1 O to $2 8. Send EXERCISES FOR ACCURACY IN PIANO Schwalm.--- Please mention THE ETUDE when addressing our advertisers. THE ETUDE 849 848 THE ETUDE LINKS IN THE CHAIN OF MEM¬ Continued front page 840) -TSservatories ORY. (,Children’s Department— ■ and teachers CONSERVATORIES Auntie’s Part in Mildred’s Music. BY GRACE BUSENBARK. SCHOOLS-TEACHERS a foot from the radiator. For my part Dear Auntie:—I’m very young, you I don’t see why people should expect a We learn our pieces in bits at a time; CHRISTMAS MUSIC will say, to be writing you this letter piano to stand more than a human being by phrases, or measures, or half-pages, and I fear you will think I am ungrate¬ —teacher has told me that they are so but when learned do we always feel that AMERICAN CONSERVATORY ful, if not downright impertinent; but, university SCHOOL SOLOS IN SHEET FORM delicate in construction and so sensitive the piece is welded together in a strong Chicago’s Foremost School of Music and Dramatic Art Auntie dear, there are some things about chain of melody and harmony with no 8050 Angel’s Refrain, The (Vio- 8046 I 1 Glorious Morn (Vio¬ music lessons and practicing that you to heat and cold. OF MUSIC [in. Public School Music, Drair ALBERT a. STANLEY, A.M., Director -____ible- —- '-colleges. Desirai Dormitory Accommodations. Diplomas lin Obbligato).A. Geibel High .60 understand. I’m going to tell you Of course I know it would be too weak links liable to break from loss of 8047 do do Low much to ask you for a new piano now, and Degrees. Students may enter at any time. For CatalogCataJ and general information address 12240 Hail to the King.Burleigh High the straight plain facts in my case, be- Ann Arbor, Michigan memory? In order to make your pieces JOHN J. HATTSTAEDT, Pres. - 671 Kimball Hall, CHICAGO, ILL. 12241 do do Low Cousin Delia complained in her because you do love yours even though proof against such breaking, examine each 3703 Heralds of Heaven (Violin you did store it in a mill; but really, iphc-, . .. last letter to you of my slovenly ways link carefully as trainmen do each wheel Obbligato) ...Schnecker High Auntie dear, pianos do wear out just “L„ who intended to study abroac llo).. .Sudds High .60 3703 do do Med. of practicing. and section of the train before starting THE COLUMBIA SCHOOL OF MUSIC 4488 Bells of Bethlehem. . Tracy High .60 8048 In Old Judea (Violin Ob¬ like shoes and other things. CLARE OSBORNE REED, Director 4488a Bells of Bethlehem (Vio- First of all, would you like to sit on a -is on the journey. bligato) .A. Geibel High Delia complains about my not practic¬ Station,asu' Chorus of m Orchestra ’m Obbligato) _Tracy High .6“ 8049 do do Low hard slippery bench at least four inches Divide the piece to be memorized into Piano—Voice—Violin—Theory—Public School Music 5246 It Came Upon the Mid¬ ing in the evening, I would if the light Special Training Department for Teachers Public School Clasa Limited Account of Practice School too high, to run your sewing machine ? sections of about four measures, accord¬ night Clear ....Lansing High was good, but what can one see from a PUPILS MAY ENTER AT ANY TIME 4150 Little Christmas Song, A I know the bench looks stylish, but it’s Send for Announcement. ing; to the phrasing, and test thoroughly Sixty Teachera. Ideal Equipment. Dormitory Facilities. For Catalog and Programs, Address (Duet glaring ceiling light; a desk lamp costs too hard and too high and it makes me CHARLES A. SINK, A.B., Secretary your knowledge and ability to play the J. B. HALL, Business Manager, OHIO BLDG., 509 S. Wabash Avenue, Chicago Ear of Night. .Thon uncomfortable I can’t pretend to work little enough compared with the use 1 1200 Maynard Street Med. would get out of it and it could be beginnings and endings of these sections. 6436 (O) Lovely Voices..- - the way I should. Be able to tell to someone the notes, What I need, and you would see it easily adjusted over the top so the gla do Med. 6994 My Guiding Star THE MARY WOOD CHASE SCHOOL OF MUSICAL ARTS H. J. Wrightson Med. plainly enough if you had to do three would come in the right place. I tell yo chords or accidentals, of the beginnings MARY WOOD CHASE, DIRECTOR—A of “Natural Laws in Piano 6570 (O) Night Divine...Jordan High Cosmopolitan School of Music 7035 Christmas Pastoral.Pontius Low hours a day on it, is a chair with a back Auntie, it is these little things that make and endings of the sections, or to write Eighth Season Opens September 14, 1914 2346 Christmas Song. .A. Adam Med. 7437 Our Saviour and King them without the music. Endorsed by musicians as one of the foremost American Schools for training professional stud, 4986 Come and Worship. Dressier Med. F. H. Brackett High ;ane seat. You have read how us. want to practice. and Dramatic Art graduates are holding high salaried positions in prominent Schools of Music, Colleges and Un: 12247 Dawn of Hope.Shelley High 8068 Sleep Sweetly Babe of I have a real longing for a place to Also be able to start the piece from Bethlehem (Violin Ob¬ fussy some of the artists are over their Its artist students are playing with success with famous American Orchestras and other well know 12248 do do Med. keep my music, it is in the piano bench Mrs. W. S. Bracken, President 12249 do do Low bligato).A. Geibel Low seats, some of them even carry their own memory at any one of these links in request. Address the Secretary, E. H. LOGAN, Fine Arts^BuiSding, Chicago. °° 6368 do do Low 9232 Song of Bethlehem.Minetti High chairs or stools or benches, and I don’t now where Delia keeps her gloves the chain. It is good practice to return 2869 Gift, The.A. H. Behrend Med. 9231 Assisted by eminent faculty of SO artists. 6408 do do Low Song the Angels Sang, blame them or any one for making a veils and its getting most awfully torn. Offers to prospective students courses of to the piece in question after work upon 8066 Gloria In Excelsis.A. Geibel Med. The.R. M. Stults Med. a piano stool that’s uncom¬ Auntie, if I can’t have a new piano ca study based upon the best modern educa¬ another piece or etude—or after some 8067 do do Low Beethoven Conservatory sSwItci,; 12244 Glorious Morn. .Neidlinger High fortable. Really, Auntie, it isn’t the I have a place all my own to put my tional principles. Diplomas and degrees other occupation—and to see if you can do Med. 5838 Wake and Sing. .. .Salter High practicing itself but these little outside music. I believe I would love it 1 conferred. Many free advantages. One of the oldest and best Music Schools in the United States N. W. Cor. Taylor and Olivo St.„ St. I 12246 do' Low 5839 do do Med. play the piece starting from any phrase things which keep me away from the if it were clean and not torn. 12242 Glory p God.. . . Edwards High 5434 When Heaven Sang to Students May Enter at Any Time or section. Of course the piece must be 12243 Earth .H. Parker High I am getting along beautifully. I piano. I might just as well say it now gone straight through in its entirety SCHOOL OF MUSIC 5330 Glory ' God. ..A. Rotoli High 5395 do do Med. played at the last recital and I know yo 6321 5359 do do Low —I’m not on the best of terms with the several times after each link has been Valparaiso University . .^credited 5362 3708 While Shepherds.Gilchrist High piano either. I know it’s yours and that would have been proud of your niec „ - VALPARAISO. - - INDIANA. 9230 Glory i 5245 Wondrous Story... Lemmel Med. tested separately so that a concept of the School of Music offers courses in Piano, Voice, Violin, Organ, Theory and Public School Music, it was once expensive and beautiful, but I’m so glad you are to let me take les¬ mts may attend the Music School and also take the regular work at the University. whole may be held in the mind, but 1 it’s beyond hope of keeping in tune ; it’s sons this summer, for I lose so mud THE EXPENSES ARE THE LOWEST ANTHEMS IN OCTAVO FORM have found that a feeling of security and Tuition, $20.00 per quar r of twelve weeks. Board with Furnished Room, SI.80 to £3.00 per week. half a tone lower than teacher’s piano in the long vacation. Teacher says I an Catalog will be mailed free. Henry B. Brown, President, or Oliver P. Kinsey, Vice President. sureness is gained by this drill in analys¬ d There Were Shepherds 6035 “Noel” and it rattles in every joint when I use 42ND YEAR—STUDENTS ACCEPTED AT ANY TIME. ready for a Beethoven sonata: how glad /a) EFFA ELLIS ing the component parts of a composition. the pedals. I shall be. I just know it will feel like One feels that even if .his memory should 6226 Behold, I Bring You. .Ben Delia says when the house was re¬ Teaching System 26 Behold, I Bring You.. .Crai 6091 O Little Town.Wilbur walking into some grand and solemn somehow unaccountably fail him at the built that the piano was stored in the 10306 Behold, I Bring You.. .Easl 6090 O’er Bethlehem’s Hill_Scott temple. Teacher says Beethoven is KEYBOARD, HARMONY recital yet nothing serious will happen to 6069 Rejoice Greatly .Berridge mill over the river and that it stayed BURROWES COURSE 0FST^,C 6034 Ring the Bells.Loud to Bach and I’m so glad I don’t “hate and MELODY BUILDING his piece—that he can grasp it again at 10352 Shepherds o’er Their Flocks there three years. If the poor piano Bach” as some of the girls do, for his Kindergarten and Primary—Correspondence or Personal Instruction 6012 Break Forth Into Joy.B Dressier the nearest link—since all the links of the Happy Pupils—Satisfied Parenta—Prosperous Teachers. Classes are doubled by use ol this method could talk it would send up groans of music is a temple too. I’m not complain¬ Effa Ellis Perfield will be pleased to give a 6273 Bright and Joyful.W 10449 Shout the Glad Tidings (New) misery, because it is just as much too chain are familiar. 10505 Brightest and Best. ing, Auntie, I’m telling you that’s all. 1 sic Teacher or School Teacher interested “iSj,cti^rir^heo? appilcation^to KATHARINE BURROWES 6268 Brightest and Best.... hot and dry now as it was too damp and 6206 Brightest and Best Your devoted niece, D. 502 CARNEGIE HALL, NEW YORK CITY, or 10 10099 Shout the Glad Tidings cold in the mill; for Delia will have the CHERUBINI AND CESAR Dept. D. 246 HIGHLAND AVE., HIGHLAND PARK, DETROIT, MICH. Rockwell steam on full force and the piano is only Mildred. Sing, O Heavens.Tours FRANCK. 59516 Sing, O Heavens .Simper 10304 Sing, O Heavens Music’s Debt to the Dance An Eton College boy once said of Dr. and Worship.. . .Dressier Handel-Eastham EFFA ELLIS PERFIELD Temple, head master of Eton4and after¬ DETROIT CONSERVATORY OF MUSIC 10110 come Christians..Hilton-Turvey 10146 Sing, 0 Heavens .Grant A rather violent attack on the influ¬ but as she went on new possibilities J >50-955 McClarg Bid;., 218 So. Wabash, Chicago, Ill. FRANCIS L. YORK, MA., President FINEST CONSERVATORY IN THE WEST 42nd Year 10462 Coming of the King, The 6208 Sing, O Heavens.Solly wards Archbishop of Canterbury, “He’s 6002 Star of Bethlehem. The. Adams ence of the dance appeared in a recent were discovered, and various followers a beast; but a just beast,” and the saying Students may enter 2fers courses in Piano, Voice, Violin, Organ, issue of the London Times, in which the 6014 Star of Peace, The in her footsteps enlarged the borders by might hold good of Cherubini. Perhaps at anv time Theory, Public School Music, etc. Academic 10364 Stars All Bright. author insisted that while the older com¬ J Department. Send for Catalog. 2 There Were in the S eS8onCn! attempting to dance whole sonatas of Centralizing the Paris Conservatory never produced try .. poser certainly appropriated certain JAMES H. BELL, Sec. 1013 Woodward Avenue DETROIT, MICHIGAN Beethoven, and various long compositions a more brilliant group of musicians than 6013 There Wert dance forms they robbed them of the j the Lord’s Anointed 6973 There Were which did not at first sight seem to School of durging the long period that Cherubini -.’Dougall “dance” element as speedily as possible. WILLIAM H. PONTIUS, Director Department of Muaio. CHARLES M. HOLT, Director Dennrtment nffiMinm »nri * aloud for saltatory illustration. was its head—and none greater than THE EXCEPTIONAL FACILITIES, COMPLETE ORGANIZATION AND COMPREHENSIVE COtRSMMAKE TTIE° 10461 There Were Shepherds (New) The dance, he contended, might be a “Miss Maud Allan’s experience a Music Cesar Franck,—but he was a great dis¬ 10353 There Ware Shepherds. . Stults means to an end; it was never an end in 4M« MINNEAPOLIS SCHOOL OF MUSIC H musician gave special beauty to her ver¬ Gertrude Radle-Paradis 77 There Were Shepherds.Ambrose itself. “Allemande, sarabande, gavot, ciplinarian. It is well known, of course, cigbtb st., s. ORATORY AND DRAMATIC ART "'“BES s' 6239 There Were Shepherds..Wright sions of things like Mendelssohn’s Spm that he refused Liszt as a pupil because RECOGNIZEl* LEADING INSTITUTION OF THE NORTIIWFST 10606 There Were Shepherds. .Marks minuet, and all the rest might be built a I j TERM OPKNK TITF.R1»AY B K 1>^ JV.-w, V . .. A 10235 How Grand and How Bright 10611 There Were Shepherds. . . Slinn up into the new complex structure of Song and Schubert’s Moment Musicals VOCATIONAL EDUCATION he was “too young.” The following inci¬ (Unison) . Clarke 6072 Through the Still Air.. . Allen F minor, in all of which the details of dent related by Vincent d’lndy in his life 6088 In the Vineyard. Carol . Scott 10211 To-day the Prince of Peace is the suite; but the artistic life of one Piano, Voice, Violin, Dramatic Art, Har- of Cesar Franck gives a further proof of equipped stage tor act,eg and opera. 76 It Came Upon the Midnight Born . Brackett and all depended on the more or less the musical phrase found an exac ®°ay, Public School Music, Theory and 6016 Unto You a Saviour_Watson Cherubini’s rigid regard for rules: 10354 It Came Upon the Midnight 10207 We Have Seen His Star. .Clare complete repudiation of their birthright.” appropriate counterpart in the gestures usmess Training. Fall term opens Sep- Clear . Berwald 10218 What Sounds are Those. . .Bird The article in the Times created some of the dancer. Neither here nor in tauber 1. For catalog address: “The competition for pianoforte in 1838 CINCINNATI CONSERVATORY of MUSIC 10607 Jesus Christ To-day is Born 10602 When Christ Was Born.Chaffin Marzo 6064 While Shepherds .Goodrich discussion which was later carried into productions of the Imperial R— Sec., Box 8, 20 E. Jackson Blvd. gave rise to a singular incident which is 10228 Joy to the World! . . . .Berwald 10356 While Shepherds .Morrison The Music Student, to which Mr. J. A. Ballet, which deal with music of estab¬ worth relating. After having played the Faculty of International Reputation 10355 Light of Life.Brackett 23 While Sh-pherds Watched.Best CHICAGO. ILL. 10197 Message of the Bells... .Blount 10501 While Shepherds Watched Fuller-Maitland, formerly music critic to lished fame, was the smallest trace 0 work selected—Hummel’s A minor con¬ All Departments Open Throughout the Summ 10137 Message of Christmas. .Lansing Burleigh the Times and editor of the revised artistic irreverence to he perceived. certo— i„ excellent style, young Franck 10374 Nazareth (Women’s Voices) Grove’s Dictionary, contributed. He an¬ Elocution—M U SIC—Language * The Carnaval of Schumann, as danced Lyceum Arts Conservatory took it into his head, when it came to Also Special Summer Course in swered the above argument in the fol¬ at Covent Garden, had not a quaver in¬ Elias Day, Dir. Frank A. Morgan, Mgr. the sight-reading test, to transpose the CANTATAS FOR CHURCH USE lowing interesting way: SdSl'BJ* “ Phoo, Voice, Violin, Public piece that was put before him to the third PUBLIC SCHOOL MUSI terpolated or taken out; it had only un¬ Location and surroundings ideal for Summer s THE HOLY NIGHT. By Lucien G. Chaffin, CHRISTMAS ORATORIO. By W. Gilchrist “It is perfectly true, of course, that below, playing it off without the least slip _■ il —lounumgs ideal lor Summer stu Price, 50 Cent. Price, 75 Cents dergone the process of transformation For Catalogue and Circular Address THE MORNING STAR. By John S. Camp. artistic music did appropriate the dance- from the pianoforte to the orchestra. or hesitation. Such exploits were not MISS BERTHA BillR, Direct,.,,. Hi,hl»iid Atm.«Tnd'"oS'st’aSnaH Price, 50 Cents forms of its time, and gave them a new Speaking personally, the dancing of this ^rrEwETr±-... within the rules of the competition, and life, quite apart from natural dancing; COMPLETE CHRISTMAS SERVICES FOR SUNDAY-SCHOOLS and the performance of Karsavina and this audacity on the part of a pupil of but in these latter days the art of the Nijinski of Weber’s Invitation a la Valst fifteen and a half so shocked old Cheru¬ DANA’S MUSICAL INSTITUTE dance has made the aptest retort that taught me so many things in the way of private Teachers bini, then Director of the Conservatoire WARREN, OHIO could be imagined, by taking musical rhythm that I shall never hear either of in th^WeM^r*01" ^Mociat« Faculty Membership that he stoutly declined to award a first Forty-fifth year. Music taught in all its branches. Lessons daily and private. Fine dormitorV. t r Per dozen (prepaid) 55c. works often unconnected with dancing, the compositions played without pictur¬ prize to the lad, although he deserved it. and illustrating them in the dance. I be¬ -. Pa.8; SupeHoHaculty;aCEvery"sta te aSschtf ing the dance. At Mme. Pavlova’s first lSn»CataJoe?'-«^.ins; “But in spite of his red-tapism and dic¬ lieve this to be due, in the first instance, foarU64-pagencarelo^eabLeTcSk and'hisloVi^^ any t!me- “end visit to the Palace Theatre she was oc- ,l»tage. tatorial methods, the composer of Lodot- to Miss Isadora Duncan, who, when she companied by a troupe of dancers whose i”1' E. H. SCOTT ‘ ska was not really unjust, and proposed first came to England, professed to dance execution of a mazurka was a revela¬ to the jury to recommend the audacious to th** abov^ list of our o poetry and pictures, but not music; it MRS. STACEY WILLIAMS tion to most people; no one with any pianist for a special reward, outside all L. ERNEST WALKEF as Music for the Sund was pointed out in the columns of ’the Voice Production: Repertoire spark of the artistic temperament could apSSS5facts about music Ivvmnetition and known by the high- Times and elswhere that there was a new In Europe June 15th to Sept. 15th. Harmony and Counterpoint ^ sual liberal discount field for her energies in the dance- play a mazurka of Chopin, after seeing JJkisbyfarfteW ^ 5# Ce"U rs *>« .f ‘Gr»". the Paris Conservatoire. Please mention THE ETUDE w " SEdETODE when addressing THE ETUDE 851 850 Conservatories-Schools—T eachers “ “*] CONSERVATORIES NEW YORK NEW YORK ! ANT) TEACHERS THE VIRGIL NEW YORK SCHOOL OF MUSIC AND ARTS PIANO SCHOOL CO., 56-58 West 97tH Street, New York City 42 WEST 76th ST., NEW YORK RALFE LEECH STERNER ... - Director buildings delightfully All Branches of Music and the Arts taught New York’s Modern Up-To-Date Music from the beginning to the highest artistic m School with finish by a faculty compos ' ' M Dormitories in School Buildings and America’s Most Eminent Teachers MASTERFUL ADVANTJ OPEN THE ENTIRE YEAR. PUPILS MAY ENTER ANY DAY TERMS, including Tuition, Board, Practicing, etc., VIRGIL PIANO CONSERVATORY SEND FOR BOOKLET Fall Term Begins September 28th MRS. A. M. VIRGIL, Director 42 West THE NEW VIRGIL MUSIC EDUCATION PRACTICE CLAVIER VIRGIL SCHOOL OF MUSIC V 1205 Cameron Bldg., 34th St. and Madison Ave. NORs&f^ IRGIL NEWYORK- or St. Petersburg, Florida sR“e- SsSskpstfSi ALBERT ROSS PARSONS DUNNING SYSTEM STUDENTS QUALIFIED AS CONCERT PIANISTS AND INTERNATIONAL SMS liifiepSiiSSa ■ A* ¥* I U Granberry Piano School Crane Normal Institute of music Teachers’ Training Courses TRAINING SCHOOL FOR SUPERVISORS OF MUSIC—Both Sexes FAELTEN SYSTEM. Booklet POTSDAM, N. Y. LOUISE RING J. SOHM The American Institute of I“”ir,^»ssr8RS”.?™adi"s' PIANIST-INSTRUCTOR as 212 West 59th Street New York City Complete courses Public STEINWAY HALL, New York City JOHN ^ CALVERT,mD.D., Pres. IaTE 852 THE ETUDE CONSERVATORIES CONSERVATORIES AND TEACHERS 1.■■■ Wit, Humor and IN | | southern"! I EASTERN 1 AND TEACHERS | southern | Anecdote Three Exceptionally Useful Books A NEW AND WELL-PAID PROFESSION N'odmalConsbwatoii By JAMES FRANCIS COOKE “I thought my pupil was to s THE established success of these publications is due to their clearness, their value in Is Open To Women Who Study liet ?” 1 stimulating new interest and to their practicability resulting from the author’s wide “I fear she won’t do,” said tne im¬ experience in the teaching field and long association with our foremost musical thinkers. THE FLETCHER MUSIC METHOD presario. . , "Why she has a magnificent voice and Recently Published The Fall Class for Teachers BrookiCin°eb(BoL2on) Tm..*. she knows how to act.” GREAT PIANISTS ON PIANO PLAYING The Baldwin possesses that individual The demand for this Method is steadily increasing. Last Summer’s “True.” quality so much desired by the ambitious School was the largest since the Method was introduced into this “She is young and graceful.” Price $1,50 country, fifteen years ago. “That’s just it. She doesn’t look the A series of personal conferences with our most distinguished virtuosos pianist, but so rarely found: that “indi¬ Dr. Lyman Abbott says: “Mrs. Copp teaches children to think and to express part. I never saw a grand opera Juliet Busoni Godowsky, de Pachmann Bauer, Carreno, Scharwenka, Rachmaninoff, vidual’’ quality comparable to and sym¬ themselves in terms of music. She converts it from a blind, mechanical copying, into weigh less than 200 pounds.”—Kansas Goodson, Zeisler, Bachaus, Sauer and others are represented in three hundred nazes of pathetic with the matchless tone quality a vital self expression. It seems to me more than a method, it is a revolution, and con¬ City Journal. valuable ideas upon Technic Interpretation. Expression and Style. Fine portraits and verts musical education from a mere drill and drudgery into an inspiration and a life.” biographies of all pianists included. Although designed for individual reading it was of Madame Sembrich’s voice. Harvey Worthington Loomis says: “How any music teacher could ever allow young pupils to struggle on in the old stultifying grind, after seeing your ingenious in¬ “Is your wife going to wear her dia¬ Of the Baldwin, used exclusively by her vention, is beyond my comprehension. You are indeed the Froebel of music, and the monds to the grand opera?” importance of your educational work cannot be over-estimated.” “Of course,” answered Mr. Cumrox. J. ALBERT ALLEN, Jr. in all concert engagements as well as in “We can’t all appreciate music, and we Pianist—Instructor MASTERING THE SCALES & ARPEGGIOS her home, Madame Sembrich says: “A ought to try to make grand opera inter¬ Price $1.25 Steinert Building, Providence, R. I. esting even for those who go merely to tone that blends so well with my voice.” TEACHING SEASON OPENS EVELYN FLETCHER COPP look on.”—Washington Star. SEPTEMBER THE NINTH Possessing that pure, even and lasting tone, the Address, P. O. Box 61, Providence, R. I. Everything fully written out with abundant explanations. May be used with any or original ideas. Strongly endorsed by Moritz Rosenthal, Baldwin is considered by the skilled pianist as “Mamma, was that true about your hav¬ ffin te r^V" > Moritz Rosenthal! superior tovv, all OU1C1S,others, becauseuccauac 1its Lo volumeVUtUIIlC OIof ing a friend in Mexico when that last war of teachers who have made it a i tone and responsiveness of action meets every Puts practical American efficieni ESTABLISHED 1857 started, and about a cannon ball coming CHARLES VEON, Pianist. possible requirement. right through the house and knocking STEREOPTICON LECTURE RECITALS their piano all to smithereens?” “MOZART AND HIS MUSIC” Write jar catalogs PFARHIW CONSERVATORY “Perfectly true, dear.” Mr. Vcon is prepared to furnish in entire program, THE STANDARD HISTORY OF MUSIC BALTIMORE, MD. Price $1.25 I L»r\D\JU 1 “And did they have any little children rausicafprogram tobe fur’nUh'ed'by elub“ 23^“- HAROLD RANDOLPH, Director who had to practice on their piano?” advanced students. Terms reasonable. A A First History for Students at All Ages care of Stale Normal School, California, Pa. I Is endowment enables it to offer exceptional advantages in music culture tn all grades and banches “Yes, they have two little girls and a A complete, concise, understandable series of forty "story-lessons." Abundantly little boy.” illustrated. Self-pronouncing. Handsomely bound. Up-to-date. This' book is now in Manufacturer “Mamma, don’t we never have no wars use in hundreds of History classes and clubs from coast to coast and has been the means in this country?”—Houston Post. EDITH LYNWOOD WINN of a broadspread revival in general musical interest wherever introduced Let us help Cincinnati Chicago New York you start a History Club through a very successful plan which has helped others. Courtright System of Musical Kindergarten SCHOOL OF MUSIC "“SSST- I St. Louis Indianapolis Louisville MRS. COURTRlGHT CARD WILL PERSONALLY TEACH ONE CLASS Denver San Francisco A man went to order a wedding cake Winn returns from Europe Sept. 1 and All the above books sent postpaid on receipt of OF TEACHERS THIS WINTER IN NEW YORK CITY ‘ ~ * of Hand Do price. Write for circulars and special quantity rates the other day. nTsts Pmn'iata anu ce . THE GRAND PRIX — PARTS , 1900, music world, loaches Piano from the start, Sijjht Reading ^Transposing, Rhythm and Ear Training. _ ^ “I’m getting married,” he said, “and by Elman, Auer and Zimbalist. I THE GRAND PRIZE-ST.LOUIS.i904, I want a cake.” Resident pupils. Teachers’ Courses, Ensemble one system guaranteeing Jesuits. ^WritTforparticulars. ^ “fl® EDnVaVE.J THE WORLD’S HIGHEST HONORS “Well, it’s the latest thing,” said the shopgirl, “to have wedding cakes in har¬ mony with the bridegroom’s calling or profession. Thus, a journalist has a spice Combs Broad Street Conservatory cake, a musician an oat cake, an athlete Musical Post Cards Gives you individual and careful attention. ^Your needs are considered. On entrance you are assigned a cup cake, a man who loafs on his friends sponge cake, and so forth and so w'tflhc *mtFreSckolLPtDai?y snfemhim "hows flitRKUalfa'Z^gVe^ou ample opportunity for Public Performance. on. What is your calling, please?” A Partial History YOU MUST SUCCEED “I’m a pianist.” for we give you a safe, sound) sure foundation. We develop your latent qualities. Modern and “Then, of scientific methods insure to you economy of time, money, labor. Reciprocal relations with the U. of Pa. want a pound Cour8" ladies’ dormi- of the GILBERT RAYNOLDS COMBS, Director Tunin8 The orchestra forth at the Ci Ruskin School of Music Southern University of Music, Inc. the scene del RAY G. EDWARDS, Director tant strains. “Piano 1 Piati UNDERWOOD Features: SS'‘Ensemble1W«“U,hSS.v and Composition Classes. Private lesso'ns in Violin, from the stage. Piano and Voice. Social and Educational Advan¬ . ipeoKts. OertEtei “We a tages of a College Town. Music Colony in January. leader. ‘This Catalog. RUSKIN, FLORIDA First practical visible machine And the it on.—St. Louis Post- Dispatch. Atlanta Conservatory of Music MR. and MRS. CROSBY ADAMS Winner of every International Record for Typewriter The foremost school of fine arts wm eo„d„c A MID-WINTER CLASS Caller—“Who is tl in the South. Advantages equal (or Teachers ol Plano for the Study of Teaching Material Hostess—“That’s c to those anywhere. in their Home Studio in Montreat, N. C., (near Asheville) always sings at her ' Speed— Accuracy- Stability ^December 30,1914 to January 12, 1915 Fall Term begins September 7th. Caller—“What a Mercy! how loud sh Send for Catalogue. ATLANTA, GA. Montreat, North Carolina Hostess—“Yes. V she’s breaking so: Holder of the Elliott Cresson award for mechanical supremacy Plain Dealer. Eastern Conservatory of Music OPENS SEPTEMBER 29th A. AGNES SHEPARD Artist Teacher Various dishes in the Hungarian restau¬ Surely the PIANO AND HARMONY rant were numbered for the convenience of the waiters and the benefit of the patrons. A young couple entered. The H. U. ROOP, Pros. Mar Vet. Box R. orchestra struck up the William Tell over¬ ture. Turning to her woman said : “That’s UN DERWOOD Hugh A. Clarke.Mus. Doc. Hahn Music School and saw the numbet _ ^ LESSONS BY MAIL Then, with the air of one who 7s__ is In Harmony, Counterpoint tomed to cafe life, he looked no No~7 and Composition on the bill of fare. “That,” he replied 3919-s Junius Strei 4618 CHESTER AVE., PHILADELPHIA, PA. when he had located it, “is Filet Mignon “The Machine You Will Eventually Buy” by Champignons.”—New York Tribune e mention THE ETUDE when addressing our advertisers. POND PIANOS FOR HOME OR STUDIO ' /nk Where ink is Wanted Andin no other place! Ink When ink is Wanted' Your swiftest thoughts to trace. Thats the_Stor^oP deal then the 52 issues \ of 1915—61 issues in all—to those who subscribe s before November 14 TheYoutfis Companion / I El Sold ly the leading retail dealer, in every locality. L. E. Water man Company, 173 Broadway New York- Branches: Boston Chicago, San Francisco, London Paris, Milan, Dresden, etc. A TkT/\C' have been established 60 YEARS. of payments JX \$ |\ every family in moderate circumstar' s 5 piano. We AStl 1 VF\J take old instruments in exchange ■ mano in your home free oi expense. Write ior C a< nations. vose S SONS PIANO CO.. Boston. IVS*