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

1-1-1917 Volume 35, Number 01 (January 1917) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 35, Number 01 (January 1917)." , (1917). https://digitalcommons.gardner-webb.edu/etude/631

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m r T

THE ETUDE

“Knowledge Is Power’’-Bacon Self-Expression at the Keyboard

Written Expressly for The Etude by the Distinguished Virtuoso Pianist ETUDE DAY OLGA SAMAROFF (Mrs, Leopold Stokowski)

A Monthly Test in Musical Efficiency The question of self-expression at the keyboard and taste, just as a person of ’excellent character in once, and that in softening" the A natural it produces a whether it is more desirable fpr the artist to be ruled life may do things foreign to his real nature charming effect. by traditions or to attempt to create new and original unless properly guided. These crimes against good As printed in Ex. No. A1 the passage sounds amateur¬ interpretations developed through his own understand¬ taste in music often come from a lack of intellectual ish, sentimental and crude; as printed in Ex. No. A2 it ing and artistic experience is one upon which volumes grasp of the effects produced by certain things. The shows how the artist manages his tonal and rhythmic could be written. Self-expression is such an entirely What ETUDE DAY is and How to Conduct It piano being a percussion instrument, and, therefore, effects in a way that softens the lines and expresses real individual thing that it would be obviously impossible rather hard and unyielding, the great temptation of the feeling. to lay down any rules in the matter. material of a moat ***** young and inexperienced player is to soften these hard Deep feeling- will teach the performer the meaning of The Etude will contain every month a series of questions sim¬ The thing- which has influenced me personally prob¬ lines by not playing all the notes together. An arpeggio a work and the emotion which he wishes to portray, but ilar to the following with sufficient space for writing the answers right be the teacher may correct the answers and if she ably more than any one thought, was what was said to effect between the bass harmonies and the treble mel¬ in the issue itself. Answers to the questions will be found in the me once by the great French actor, Coquelin, whom I it does not by a long shot',always show him how to ody of a singing composition is a thing which must he reading text (see pages marked at end of questions). This enables have already quoted in these pages. He said: “Never portray this emotion; that must be the ■ work of his used very sparingly, and it is the chief offense of many brain and of experience. Just as a painter learns to - the teacher or club leader to hold an Etude Day every month as depend upon the inspiration of the moment. That does Z,Z rluTh aJ^Undertaking would be do vast to consider How- young players. If exaggerated, it produces an over-sen¬ mix his colors on the palette and in the course of time soon as possible after the arrival of the journal. The pupils assemble not mean that the inspiration of the moment is not the everTfthe teacher is interested in securing a prize or sene, of prises timental effect, which is always weak and devoid of real knows exactly what depth to give to shadows or what and each is provided with a copy of The Etude, or, if the teacher most valuable thing in interpretation, but it is undoubt¬ suitable for these events, The Etude will be glad to indicate how feeling. On the other hand, this same effect used spar¬ combinations of colors produce effects of distance, etc., so decides, the copies may be distributed in advance of the edly true that out of a hundred performances which an such prizes may be obtained with little effort or expense. ingly by an artist is of great value. A good instance in so the young artist who is seeking self-expression at the meeting. artist must give, at least half will be given under all kinds of adverse circumstances. Fatigue, nervousness, a well-known work is the following passage from the piano, if he uses his intellect, will soon have a palette On Etude Day the answers are written in The Etude in the To Self Help Students bad physical condition, mental worry, annoying sur¬ middle section of Chopin’s well-known Waltz in Ct of his own and be able consciously to produce the proper place, thus giving each issue the character of an interesting Minor, Op. 64, No. 2. effects demanded by his unconscious or instinctive feel¬ Many of the ablest men of this and other ages have acquired roundings, and a thousand and one other things may put text book, insuring a much more thorough and intelligent reading of This is written out as it sounds when the bass note is ings. Until he does this he will never have real com¬ their educations by self study. Answer the 250 questions that appear a sensitive artistic temperament in a condition which the journal itself, giving the student a personal interest in his work played before the treble melody note, while they should mand of his art, although he may at times rise to in¬ thus during the year and your education will be greatly enriched. will make an inspired state of mind quite impossible. and at the same time providing the class with the occasion and the It is then that the artist must fall back upon his reserve be together. spired heights. He will learn, for instance, that in play¬ of traditional interpretation, or, if not traditional, at ing a pianissimo passage of an expressive character he least one which he has intellectually studied out and often must not play pianissimo at all, but almost mezzo*- mastered. His performance will probably not be very forte, and yet produce the effect of pianissimo by good great; it will lack what is commonly called the ‘divine pedalling, mellow tone quality, and soft outlines of spark,’ hut it will be art and worthy art. As a matter phrasing. A good example of this is the following of fact, a real interpretation contains not only the passage from^ the end of the second movement of inspiration of the moment, but the inspiration of many Brahms’ F Minor Sonata: moments ; moments when the artist is digging down into It will be seen that striking the bass note before the -oices? (Pag- IT.) melody note makes the bass notes sound as though they I—QUESTIONS IN MUSICAL HISTORY 2. What is the cause of the ruin of n the meaning of a work, when he is entirely alone and absorbed by the work. When these moments of inspira- belonged to the preceding beat. This produces an When was the first musical magazine started? (Page 10.) 'tion during his study seem to throw a light on the effect of monotonous sentimentality, if constantly used. 3. What was the earliest element in music? (Page ID.) problems of interpretation, he must seize that light and make it a permanent one by grasping with his intellect Who was the great composer who did not live t any of his important exactly what he wishes to do; why he wishes to doit, works published? (Page 10.) 4. What other composer did Beethoven greatly admire? (Page 21.) and how it is to be done.” If this passage is played literally pianissimo as marked Two Important Objects When was Beethoven's Fidelia produced? Where? (Page 2!.) in the score, it will sound dead and cold. If played with Personally, I divide my work into two distinct a warmer tone quality in the upper voice it produces an interpretative work, which I only attempt on effect of remoteness and yet solemnity neces¬ Are the Gypsies noted for their vocal music? (Page 20.) days when I am absolutely in the mood, and sary to the emotional quality of the passage. Was Mozart's temperament joyous or serious? (Page 12.) technical and intellectual work, which I do at all other times. Often one can study a Understanding and Feeling Write phonetically the pronunciation of the following names: Cherubini, piece of music for weeks, and then in one half Understanding of music is quite as essential Czerny, Donizetti, Dargomyzsky, D’Albert. (Page 10.) hour on a day when one is very much in the as feeling. In life as in art one may often mood, suddenly find exactly what one has been experience very strong feeling which is quite searching for unsuccessfully during the weeks mistaken, in spite of its being powerful and when one was not in what I call the interpre¬ spontaneous. One may have a strong feeling tative mood. of anger over something which one has mis¬ Every young artist of real talent, no matter whether he be a musician, or a painter, or an understood. This feeling may turn into some¬ actor, invariably has the impulse and desire to thing quite different.if the whole circumstance 0. Upon what did Peri base his ideas for recitative in opera? (Page 13.) be original, to cast off all rules and regulations. is illuminated by understanding. The same Ill—QUESTIONS ON ETUDE MUSIC This impulse is a healthy one and is usually thing can happen in inusic, and that is the indicative of real talent, but like many other danger of relying solely on instinctive feeling. What does Grand Chmur mean? artistic qualities it must be harnessed by the I once witnessed a very interesting experi¬ 7. When did Gypsy n o Europe? (Page 20.) will and made to serve the highest purposes. ment in Germany. A clever amateur musi¬ The young artist must realize that, as Emerson cian wrote a piece of music and gave a copy says, “A great man tries to possess himself of of it to six of his musician friends, without bhat characterizes the music of the Alps? the knowledge and wisdom of all who have any expression marks whatsoever. The piece 'gone before him and then build his own work was in 3/4 time. One played it as a waltz, upon that.” The young artist who takes the another as a minuet, a third played it as a time and trouble to familiarize himself with nbeturne; none of them played it as the author In what country was music first cultivated? (Page 22.) tradition, regardless of whether he is going to had jntended when he wrote it. This shows A In what piano pieces are drone vet use it or reject it later on, will have a much that the expression marks of a composition firmer foundation for his own originality than put in by the composer, which, after all, form the artist who professes contempt for all ex¬ the basis of the so-called traditional interpre¬ cept his own instinctive feelings. tation, have a decided value, and if the student No amount of knowledge of traditions is is really going to get to the bottom of the In what time is a ta^nUUa or mltarella going to stifle or kill originality, if the student meaning of a work he cannot afford to ignore has the proper attitude of mind. If he regards them. the traditions as the laws of the Medes and On the other hand, if a player after having Persians and slavishly follows them, he will, thoroughly studied all the suggestions given of course, never be more than a good routine II—QUESTIONS IN GENERAL'MUSICAL INFORMATION him,by the composer in the form of expres¬ performer. But this is scarcely likely to occur sion marks, still feels very strongly that a 1. Name two important early composers of opera. (Page 13.) in a student of real talent. certain passage must be played in a different Crimes Against Good Taste way, I should as a general rule advise him Again, it is perfectly possible, even to follow his feeling, because one of the ab¬ Person of marked talent, to get into solutely necessary qualities of art is sincerity, and a truly sincere feeling, even though it may habits, to commit crimes against Olua Samaroff. make for an interpretation which is not so fine THE ETUDE 11 10 THE ETUDE The Limitations of “Touch” on the Piano as some other interpretations of the same work, will To sum up these reflections on a question which « of The following description of the peculiar properties _ always have the force of conviction. such vital interest to us all, I should say: let thestudent One of the things against which a student should seek with all earnestness for knowledge, maste 5b of the piano as a musical instrument is by Dr. Dayt0„ always be warned is a disregard for the limitations of trol of his medium, and understandmg of his su J C Miller, the distinguished authority on acoustics. It his instrument. It is absolutely essential for an artist and then upon this solid foundation let him . is extracted from his recently published work, The The Musical and Cultural Education of the Modern Pianist of any kind to grasp fully the possibilities—and still rein to whatever is in him. He cannot go far wrong, Science of Musical Sounds. that is to say, if he has real talent and something to say. more important the limitations—of his medium. It un¬ "The piano is perhaps the most expressive instru- By HENRY HOLDEN HUSS fortunately often happens that artists of great reputation [Editor’s Note.—Olga Samaroff, whose aPP<;a™mong31lie virtuoso pianist have won her a foremost place amo^s gan ment and therefore the most musical, upon which one grow impatient of these limitations and in seeking to go person can play, and hence it is rightly the most popular The following excellent article is extracted from the paper read by Mr. Henry Holden Huss before the New York State Music Teachers’ Association. beyond them defeat their own end and destroy a large 5mtonio,elTexas^Sot° Geiunan nand'nH^j^d^^.u^'^nj^Qtuer. instrument. The piano can produce wonderful varieties Summarizing as it does the requirements that go to the making of a fine modern piano teacher, together with the material he uses in his practical work, part of the beauty of their art. Nothing is more futile of tone color in chords and groups of notes, and its than some of the so-called orchestral effects on the the article will surely give many of our readers a broader and more inspiring view of their life work.—Editor of The Etude. $£? at* that* fameorisaninstTut^n0 AfVer graduating music is full, rich and varied. The sounds from any piano. Orchestral effects in the sense of widely varied one key are also susceptible of much variation through tone color, or rich polyphony are of great value, and ifeK «HKSh? every talented student at the piano will and must work Hutcheson and Hugo Riemann. w Tanuary 18, the nature of the stroke on the key. So skillful does for them; but to try to force the tone of a piano the accomplished performer become in producing When we consider briefly the intellectual side of question is studying music seriously, the parents should exactly right angles to the keys, thereby making it as SRW.KWJSSSSSit or i/rpiif cnwpcR in America readily enabled ner to secu beyond a certain limit produces a toneless crashing variety of tone quality in piano music, which expresses pianistic development, as those who have cherished be informed gently, but firmly and persuasively, that difficult as possible, to pass the thumb under the third which is painful to the listener and futile from the point his musical moods, that it is often said that something ideals, we naturally have frequent cause for discour¬ and fourth fingers. But the numbers who teach in this M“e- Samaroff became the wife of the *£*«**,, music studied with modern methods (I emphasize mod¬ of view of interpretation. It is very much the same of the personality of the player is transmitted by the agement and weariness of spirit, therefore let us thank¬ ern) requires great concentration of mind. It is inter¬ distressingly medieval fashon are decreasing rapidly, as wild or violent gestures on the part of an orchestral “touch” to the tone produced, something which is fully grasp any cause for encouragement also. esting to note that the study of form in music is akin let us hope. conductor in passages where the response of the orches¬ quite independent of the loudness of the tone. It js The very fact that the distinctly intellectual side, of : to the study of architecture. It seems to be a pretty You have probably many times noticed a small child tra does not justify them. The effect is ludicrous, and Difficult Pronunciations also claimed that a variety of tone qualities may be the question is being more and more cultivated and of say three or four years bang with its tiny fists on yet one often sees it. well established conviction of the best modern teachers Charpentier, Gustave (Shar-pahn-tiay) French com¬ obtained from one key, by a variation in the artistic investigated is a very definite and let me say very mod¬ the keyboard, but have you noticed with what relaxed In spite of its limitations the piano is really a most of the piano that four hours of piano study is the wise poser, 1860. or emotional touch of the finger upon the key, even ern cause for encouragement. Because it pregnantly satisfying instrument. It is capable of expressing a daily maximum. Josef Hofmann is quoted as saying muscles it does this? It is remarkable, I say, with what Chausson, Ernest (Shoh-song) French composer, 1855- when the different touches all produce sounds of the illustrates a very flagrant negative side of the queston musical thought in its entirety without accompaniment of that if a student could not learn to be a pianist with invariably relaxed normal muscles the little untaught same loudness. This opinion is almost universal I wish to repeat here, something that sounds almost other instruments. The pianist should realize this and 1899. four hours’ daily practice, neither would six, much less child does this, with relaxed muscles the proper use of Cherubini, Luigi (Keh-roo-hee-nee) Italian composer, among artistic musicians, and doubtless honestly so. incredible. Czerny, dear old Czerny, frequently useful be satisfied with it, or choose some other medium. eight hours suffice! Students should be aware that which has cost the wrongly taught adult student who 1760- 1842. These musicians do in truth produce marvelous tone old Czerny, and sometimes foolish old Czerny, in one wishes to reform many weeks of study. To make a Misuse of the “Rubato” as soon as real mental concentration ceases to dominate Chopin, Frederic (57m-pang, last syllable nasal) Polish qualities under the direction of their artistic emotions, of his innumerable books on technic says (and these reverend paraphrase one might say, “except ye become Another danger to the inexperienced performer is the their practice, such practice is worse than useless. No' composer, 1810-1849. but they are primarily conscious of their personal feel¬ are his exact words): "As the student will probably as little children ye cannot enter into the kingdom of use of “rubato.” This freedom or elasticity of phras¬ doubt those.of you who have had much experience real¬ Clementi, Muzio (Kleh-meu-tee) Italian composer, 1752- ings and efforts, and seldom thoroughly analyze the find these exercises rather dry (he usually does!), let pianistic, art 1” I never tire of urging the very, very ing is so subtle and intangible that it is scarcely possible principles of physics involved in the complicated ize that after a good solid half hour of intense earnest 1832. him place a book or newspaper on the piano desk to sparing use of mechanical, rigid etudes, which dessicate to put into words the unwritten laws that govern it; Concone, G. (Kon-kohn-eh') Italian vocal teacher, 1810- mechanical operations of tone production on the piano. read while playing the exercise!!!” Now, mine eyes study, it is not merely advisable, it is necessary, to rest and yet there are unwritten laws, perfectly natural ones, the imagination of the pupil, and of substituting in their 1861. “Having investigated this question with ample facil¬ have seen this incredible foolishness. Nowadays we all the mind completely for at least three or four minutes. which cannot be disregarded. To put it crudely, if one stead pieces carefully chosen, for not only their emo¬ Corelli, Arcangelo (Koh-reLlee) Italian composer, ities, we are compelled by the definite results to say of us grasp eagerly at whatever makes for concentra¬ I find the use of varied rhythms is in all technical takes away in time value from one place by playing it tional poetic value but also for certain useful technical 1653-1713. that if tones of the same loudness are produced by tion of mind, but we can discuss this- specific relation forms, makes them not only infinitely more useful in more quickly one should add in time value to another problems contained in them. One can incite the pupil Cornelius, Peter (Kor-imy-lee-oos) German composer, striking a single key of a piano with a variety of increasing one’s technical ability, but it conduces to place within the same section of the work and thus bal¬ of intellectual effort to technical study a little later. touches, the tones are always and necessarily of identi¬ greater concentration of mind. to construct miniature etudes out of these problems, ance the parts. An example of well balanced rubato is 1824-1874. cal quality; or, in other words, a variation of artistic In the Good Old Times Modern educators are laying more and more stress varying the rhythms and dynamics, and taking them in given below: The opening phrase of Chopin’s C# Minor Couperin, Francois {Koop-e.-rang, last syllable nasal), touch cannot produce a variation in tone quality from different accents, etc., a procedure that not only pro¬ Nocturne, Op. 27, No. 1. French composer, 1668-1733. In the good old times piano teachers when they met bn the desirability of practicing technical problems, one Cramer, Johann Baptist {Krah-mer) German composer, one key, if the resulting tones are all of the same were often prone to discuss the shortcomings of the (land alone. In playing scales or arpeggios both hands motes concentration of mind but also holds the interest of the pupil in a superlative degree. 0# 1 1771-1858. loudness. From this principle it follows that any tone fourth finger, or perhaps the best fingering for the together, the strong fingers of one hand bolster up and Cristofori, Bart (Kris-to-/o/i-ree) Italian composer, quality which can be produced by hand playing can double thirds in Chopin’s Berceuse, while in some help conceal the inadequacy of the weak fingers of the Help from Bach, Haydn and Mozart 1653-1731. be identically reproduced by machine playing, it being instances nowadays in a friendly conference it is more other hand. As helping the emotional development in a high degree Cui, Cesar A. (Quee) Russian composer, 1835. necessary only that the various keys be struck auto¬ likely that they will discuss some such subject as the Encouraging Signs let me recommend the proper study of Bach. By the Czerny, Carl (Tschair-nee) Austrian musical pedagogue matically so as to produce the same loudness as was alleged influence of Esoteric Buddhism on the oyer One of the m'ost encouraging signs of the improve¬ proper study of Bach, I mean a selection of the more and composer, 1791-1857. obtained by the hand, and be struck in the same time soul! One is sometimes asked whether a college edu¬ ment that has been made in modern pianist develop¬ D’Albert, Eugen {Dahl-bair) Scottish composer and melodic movements from the suites and partitas and relation to one another. There are factors involved cation is advisable for a young man or woman con¬ ment on its technical side is the increase in the number Of course the hastening and retarding is extremely pianist, 1864. the teaching of the intespretation of them in a sympa¬ in the time relations of beginning the several tones of templating the career of a professional musician. It Of teachers and students who understand the proper slight and subtle, but the phrase is thus well balanced. Dancla, Charles (Dahnk-lah) French composer, 1818- thetic way, declaiming and singing the lovely phrases a chord or combination, which are not often taken into seems to me that while there are undoubted and most use of relaxed muscles in piano playing. It seems but This is a very crude and elementary expression 1907. not in a metronomic way, but as strophs in a beautiful account.” beneficent advantages to be derived from a college a few years since those who strove for recognition of of the idea which most great pianists and teachers Dargomyzsky, Alexander S. (Dahr-goh-ratjr/i-kee) song, and they are full of so many wonderful, beautiful, education, opportunities for breadth of culture, of get¬ the principles underlying the proper use of the muscles that I have known agree upon with regard to Russian composer, 1813-1869. chastely emotional, song-like phrases. It has been ting a respectable smattering of a large number of -were like voices crying in the wilderness. A rather rubato. But if the student keeps it in mind, even David, Ferdinand (Dah-veed) German composer, 1810- too universally a practice in the past for teachers to though never attempting to follow it rigidly (anything subjects, I think it is the conviction of a good many lonely little group of John the Baptists, jeered at by the 1873. confine the Bach selections for their pupils to the 'in¬ rigid in rubato is impossible), it will help him to avoid educators that a college education for a professional reactionaries and thoroughly misunderstood by the Debussy, Achille Claude (Deh-Mi-see) French com¬ ventions and to use them more as finger exercises than those exaggerations which always weaken expression of poser, 1862. musician should be undertaken early in life, say be¬ musical public. Of course, there are still many teach¬ By Gertrude Eleanor Baker as beautiful music; this is really a species I am almost true feeling. Delibes, Leo (Deh-leeb) French composer, 1836-1891. tween the ages of 17 and 21, or 20 and 24 years. , Of ers who have not yet had the opportunity of studying tempted to say of blaspheming against the works of the Avoid Exaggerations DeReszke, Jean (Deh 7?Booker T. Washington once said in one of I greatest of all composers 1 Speaking of exaggerations, that is another thing to be vocal teacher, 1852. visability, of a certain amount of breadth of culture in grace, 1916, are still teaching their pupils to hold their famous addresses that he taught the colored childr sedulously avoided by the earnest student. It is a fault Dohnanyi, Ernest von (Doh-mm-yee) Hungarian pianisi the education of a music student. The reproach is wrists as still as possible when playing scales and first of all the “gospel of the toothbrush.” Why shot New and Better Editions given to youth, and yet in listening to the masterful and composer, 1877. still even to-day only too well merited, that musicians arpeggios (and therefore of necessity as stiff as possi¬ not piano pupils insist upon clean fingers and especia Another encouraging sign of the progress in artistic interpretations of a mature artist one cannot but real¬ Donizetti, Gaetano (Doh-nee-faet-tee) Italian composer, are often very narrow specialists, and I want to make a ble), who are still teaching their pupils continuously to clean keys? It is the experience of many teachers pianistic development is the increase in the number of ar¬ ize that power is infinitely more effective than violence, 1797-1848. special plea for this very thing, greater breadth of cul¬ Jift their fingers as high as possible and therefore in tistic editions of the classics. Their fingering and expres¬ and that restraint to a certain degree lends a nobility to Dubois, Theodore (Du-bzoo/i) French composer, 1837. encounter in studios, conservatories, public schools a ture. On the other hand, I want to voice also a definite many cases unduly to strain the extensor muscles; sion marks are generally to be recommended, but the interpretative art that cannot possibly be had in any other Dussek, Johann L. (Doo-scheck) Bohemian composer in some private schools pianos with keyboards that lo protest against the American fault of making this very 1761- 1812. who are still teaching their pupils to hold the hand at phrasing and the pedalling still often leave much to he way. Eccentricities of rhythm and phrasing, exagger¬ as though they had not been cleaned for months breadth of culture so broad that it has neither depth ated pauses and accents do not make for the highest art. years. desired. They are often not conceived in the modern nor height at any point. We know too many things Let the student of music who is anxious to develop his spirit. In the matter of pedalling I refer especially to First of all, for sanitary reasons, if for nothing el superficially in this country. sense of artistic fitness study the effects produced upon Musical Facts of Human Interest the surface of the keys should be as clean and shini Maxims for Parents of the proper indication in the pedal marks of the sustain¬ him by other arts; let him compare a gaudy modern Probably the greatest orchestra the world has ever as the china on your dinner table. Keys should alwi General Education of the Pianist ing of a deep bass note which has superimposed on it piece of porcelain with the wonderful simplicity and Musical Children known was supported by Solomon in his temple. Ac¬ be cleaned at least once every day. A cloth moistef To be a successful musician, let us say pianist, one a rich harmony, and that in turn has superimposed on depth of coloring of the old Chinese ware; let him study cording to Josephus, there were 20,000 harps and it man/ passing notes in the upper register of the piano. slightly with alcohol is a good cleanser. There is should be master to a reasonable degree of one’s own By S. Friedman into painting and realize the restraint and yet wonder¬ psalteries of solid copper and 20,000 trumpets of stiver. I feel it my duty often and repeatedly to urge the ne¬ ful power of the old masters. Nothing is so broadening antiseptic superior to alcohol. This is especially nee language, and of at least one other modern language, cessity in this fevered and hectic age of ours, especially to any artist as to study the interpretations of artists The manuscript of “Home, Sweet Home,” is said to sary in studios where there are a great many childr preferably either French or German; one should have a Put an interest in your child’s work. now when the world is convulsed by hideous war, of in other fields. It takes genius to make it possible for one be buried in a grave in a little Southern “garden of No one knows what germs could be communica fair, or at least a commercial knowledge of mathe¬ Teach him to love music from the beginning human being to master several arts as did Leonardo da rest.” The grave is that of Miss Harry Harden, at from one child to another by means of a piano k matics, and let me emphasize this, an ever wider and by taking him to hear good music. the more frequent study by students of the delicious, Vinci and other great masters of his. period, but with¬ Athens, Ga. She was the sweetheart of the composer, board which is fingered over and over by numberl deeper knowledge of good—nay, the best literature, in¬ Above all, encourage him: that is what a child normal, lovely, symmetrical and altogether delightful out aspiring to any such heights as that it is perfectly John Howard Payne. children. cluding poetry and dramatic literature. Also an intelli¬ needs most. sonatas of Haydn and Mozart. Their effect on the possible for an artist to make himself acquainted to a For a similar reason children should be encouraj gent appreciation of painting, sculpture and architecture. Do not grieve over what he canndt do. Find emotional nature of young students is especially desir¬ certain extent with the works of other arts, and to my The first musical magazine is believed to be one to wash their hands before a lesson and even af It is also surely wise to lay a special emphasis on a interest and pleasure in what he can do. able. The young teacher may say, “Shall we not study started in Germany in 1722, called Music a Critica. The good knowledge of general history, and of specifically mind it is of inestimable value to him. If one has the the lesson This may seem carrying the thing a li A child cannot take lessons t{>o soon, but do ourselves and give to our pupils some ultra moderns first musical magazine in the United States was Andrew good fortune to discuss such matters with some of the musical history, and biography. If we know intimately not hesitate to give an older child lessons. like Debussy, Ravel, Schonberg, et al?” Yes in some Law’s Musical Magazine, founded in 1792. too far. However, it is always better never to t; world’s great artists in fields outside of music, one is any risks. Beethoven’s personal characteristics; including the petty Don’t try to tell your teacher what to give instances and to certain pupils. We certainly would surprised to find how much the problems of all interpre¬ and the great, the grave and the gay, the violent and your child. The teacher knows what is best not think it reasonable for young parents to feed their Schubert did not live to see the publication of more Again, freshly polished piano keys are an incent the passionate, abruptly contrasted with the gentle, the tative arts are alike. This is but natural when one real¬ than a few of his works. Many of his important works for him. immature offspring with much spiced cake, red pepper, o better work. Clean keys encourage the sense eivigweibliche of that great soul, it surely enables us to izes that all the arts are but different expressions of the were in manuscript when he died. The teacher need, not be a brilliant player, but chili sauce, and indigestible sweets, etc. 1 The Haydn touch rather than discourage it. There is someth interpret with greater fidelity such a marvelous poem as same fundamental feelings and ideas. They all go back must be able to correct faults and occasionally and Mozart, not only on the esthetic but on the tech¬ to Nature; and Brahms certainly was right when he about soiled keys which makes the sensitive per his Sonata Appassionato, for instance. Probably the highest salaried musician in the oast show his pupil how to play. nical side, furnish such splendid normal material for said: “Seek your inspiration in the woods. If you ^<7 T*lere can be little doubt that many teach Parents often wish their children to continue the was Farinelli (1705-1782), the male soprano, who cured The good teacher must have a contagious the before-mentioned little original etudes which I have a problem of interpretation, go out into Nature King Philip of Spain of his melancholy. The king re- who have not been sufficiently careful upon this pc study of mathematics for the concentration of mind passion for music. have suggested that the teacher and the pupil work out and you will find the solution.” tained.him at a yearly salary of 50,000 francs. PUfils' The “gospel of clean keys” « it develops. Well and good, but if the stuiJgQj in together. P i one for all who love the piano to spread. THE ETUDE 13 12 THE ETUDE Have You These Five Qualities of Berlioz’s First Meeting with A Fountain of Inspiration for Masters the Progressive Teacher? Mendelssohn—And Its Sequel By Alfred A. Kahlens By Paul Horowitz No two composers could have been further apart temperamentally than the precise and exacting Mendels¬ Where does music come from? Where do the beau^ sohn and the extravagant-minded Berlioz. The two tiful melodies that composers put on paper arts • The piano teacher who would succeed must possess Causes of Some American Opera Failures first met in Rome, and while they were outwardly they in the air? Are they brought by spirit voices. certain essential qualities, and every day he should good friends there was an undercurrent of mutual Most composers who have given the Su 1 do something to make himself just a little stronger By the Distinguished New York Critic thought would probably tell you that they ar irritation, if we are to believe Berlioz, which provides in those qualities. They are about through a highly excited imagination, tec > W. J. HENDERSON entertaining reading in Berlioz’s biography of himself. 1. Intense Concentration. “Mv relations with Mendelssohn in Rome,” say Ber¬ more than anything else, unless it be Nature itse , lioz in a letter to Stephen Heller, “had been rather responsible for great musical inspirations. , 2. Infinite Patience. The most fervent asseveration of the claims of the ody “stile parlante,” and they kept ever in mind the forerunners. There is. much to be learned thereby. 3. Invariable Strictness. curious. At our first meeting I had expressed a great Among the poets who have inspired masters 9 American composer will not make him great. It will fundamental fact that they were seeking to create a For example the veriest tyro in listening to music might dislike to the first allegro in my Sardanapalus. immortal works none has done more than He nrtch 4. Immense Industry. not even make him commercially successful. The very novel illusion, namely that of lyric dialogue. be impressed at times by the splendor of Handel’s ‘“Do you really dislike it?’ he said eagerly. ‘I am Heine (1801-55). In the Heine Kalendcr published in 5. Initiative Plus. women’s clubs which are now uttering'such noble sen¬ Peri studied the tones and tempo of voice in ordinary English declamation in the Messiah. Now Handel was. a German, and his understanding of the genius of the so glad. I was afraid you were pleased with it, and I 1910 there are listed over 2500 settings of his various Intense Concentration timents will refuse to buy tickets at the box office if speech. He tells us in the preface to Iluridice that in think it simply horrid.’ poems. Among the composers he has inspire they hear that the music is not beautiful. The Ameri¬ composing recitative for a dispassionate utterance he English tongue was acquired. But he approached it There is no musical problem too insignificant for “Then we nearly quarrelled next day because I Franz, Mendelssohn, Schubert, Schumann, Weingartner, can composer will have to justify the advertising which employed slow movement and a narrow scale. For agi¬ by the avenue of a long course of study ef the secrets concentration. The teacher must put his whole soul spoke enthusiastically of Gluck. He said disdainfully: Liszt, Brahms, Rubinstein, Lowe, von Billow, Grieg, the present propaganda is making for him. In certain tation he used wider intervals and a swifter tempo. of recitative. '“Do you like Gluck?’ as much as to say, ’How can Hummel, Joachim, and many others. The estimate is and his whole heart into his work. Few laymen fields he is doing fairly well; in others he has never In thus approaching the way of the speaking voice he Handel’s Mastery of English a music-maker like you appreciate the majesty of probably very low and there is little doubt that hun realize what a sev.ere strain the really conscientious accomplished anything, and never will until he seri¬ was obliged to treat the words conversationally. In¬ Gluck?’ I took my revenge a few days after by putting dreds of other settings of Heine’s songs have been teacher undergoes when he is giving a lesson. It ously examines the reasons for his failure. It is in deed the defect of the first “stile parlante” was its sac¬ Some of the most important years of his life were on Montfort’s piano a manuscript copy of an air from made that are not in this list. In the case of Du Bist takes almost as much concentration to steer a mu¬ the theatre that the deserving patriot lacks glory, and rifice of musical to literary rule. Monteverdi, who had passed in Hamburg, where the shadow of Reiser rested Wie Eine Blume (“Thou Art so Like a Flower ) the over all opera. If Handel had had no other incentive, Telemaco without the author’s name to it. Mendels¬ ■ sical career as to steer an ocean liner and the great is the to-do made about it. But the discussion a far greater musical genius than the first opera wri¬ number is very probably much nearer 500 than 217, the the practice of this famous master would have urged sohn came, picked it up thinking it was a bit of Italian teacher’s responsibility is quite as great since failure avoids the cardinal points. ters, came close upon their heels with a musical dialogue opera, and began parodying it. I stopped him in aston¬ him to give profound consideration to those pages of number given in the Heine Kalender. often means the wreck of a career. The teacher It is not essential that the American composer of which disclosed an almost perfect balance of the lyric ishment, saying: opera'in which the majesty of utterance was to be.ob¬ who can look around the room and speculate upon opera should find a good American subject. The com¬ and literary elements. Monteverdi was the first Italian ‘“Hello, don’t you like Gluck?’ tained by the use of the declamatory style. Romain the mysteries of life while the pupil is playing had posers of other countries have not felt bound by any composer who perceived the aesthetic nature of the “ ‘Gluck?’ Mozart’s Appearance and Personality Rolland has called attention to this in his biography better take up philosophy and abandon music as he requirement of this kind. Gounod adapted Faust from “ ‘Why, yes, my dear fellow. That is Gluck, not of Handel, of which an English translation has recently With Artistic Supplement and Original Framing Method is slated for failure. Concentrate to the limit or a German masterpiece and made Romeo et Juliette Bellini as you seem to think. . You see I know him from a Shakespearian drama. Massenet evolved Thais been published, Rolland after praising Reiser’s orches¬ better than you do, and am more of your own opinion stop teaching. tration, continues: When Mozart was a young man he was very slender, from a Greek tale as told by a Frenchman. Rossini than you are yourself.’ “He was, moreover, a true master of recitative; ^pne but as the years went along he became somewhat stout. Infinite Patience wrote II Barbiere di Siviglia on a French play with “One day speaking of the \ es of the metronome, he might say that he created German recitative. He at¬ His height was estimated at five feet, five and one-half Nothing makes more demands upon the patience a Spanish story. Verdi’s Aida deals with an Egyptian broke in- subject, and his later works rest on Shakespeare. Puc¬ tached extreme importance to it, saying that the ex¬ A musician who can’t inches. His head was well shaped, although somewhat than music teaching. Just when one thinks that “ ‘What’s the good of one cini treated two French subjects. And so one might pression in recitative often gave the intelligent com¬ it sight is a duffer.’ large in proportion to his body. As a boy his hair was the pupil is going to play very successfully a mis¬ guess the time of a piece of continue citing to the number of several hundreds of poser much more trouble than the invention of the air. quite light brown; as he grew older it became dark. take comes in that knocks out all the work for the “I might have replied, but did not, that there wuc operas, some of them among the masterpieces of art. He sought to note with exactitude accent, punctuation, lots of duffers. Soon after he asked to see my King His nose was aquiline, although it "has been pretty defi¬ entire afternoon. No wonder the teacher is a little nitely determined that he Was not of Hebraic descent. What the American composer has to combat is the the living breath itself, without sacrificing anything of Lear. He read it through slowly, then, just as he was bit exasperated. The average business man under the musical beauty.” His blue eyes were clear, sharp and sparkling. (Two want of an artistic basis for public judgment of his going to play it (his talent for score-reading was in¬ such a strain would literally "blow up.” The artists painted Mozart portraits with brown eyes, but work. The opera-goer does not care a rap whether Matheson, who, as students know, was a contempo¬ comparable), said: teacher, however, must let his tired nerves relapse this is believed to have been in error.) The shape of the story is laid in the United States or in ancient rary of Handel, holds that Reiser anticipated Bach in ‘ ‘Giv e the ti and patiently and often laboriously set to work Egypt. What he demands is a drama of emotional the style of his recitative. Again one may profit by '“What for? You said yesterday that only duffers his ears were abnormal. In his left ear the outer con¬ building all over again. force, communicated to him in emotional music. the example of a much later master^ the great Gluck,. needed to be told the time.of a piece.’” volution, kpown as the concha or shell, was missing. His early successes were more or less superficial. They These little tiffs, which Berlioz recounts with such Mozart was very fond of dress. Embroidery, jewelry, Invariable Strictness meant only that he had learned the trick of the schooi. relish, however, were merely superficial, for as Berlioz lace and various little fineries were of great significance What Our Opera-Goers Expect So many teachers mistake strictness for unkind¬ He himself was disillusioned when he visited London remarks later in the same letter, over music Men¬ to him. He was so over-dressed upon one occasion that When this drama is presented to him in a foreign and found a discouraging chill in his reception. He delssohn was “a regular porcupine ; you could never u 11 dementi mistook him for a member of the, royal court. ness. Strictness does not mean obstinacy nor does tongue, he does not care whether he understands its returned to Vienna, but by way of Paris, where he where to have him. In every ®tlier respect he was per¬ His life was a joyous one in every way, except that of it mean severity'. It means that the teacher must dialogue or not. He does not try to do so. He is con¬ heard some operas of Rameau. The quality of these fectly charming and sweet-tempered.” providing for the real necessities. Dancing charmed patiently and positively insist upon the highest at¬ tent to hear the lyric publication of its deeper thought. Twelve years after this meeting in Rome, Berlioz was him greatly, and it is said that he was the personifica¬ tainable standard for the particular pupil. The If that is beautiful, he is made happy. But when the masterpieces which most struck the future composer on tour in Germany and was surprised to receive from tion of grace upon the ballroom floor. He-was “open- teacher must be strict in all things and he should musical drama is offered to him in his own language, of Alceste was their dramatic sincerity and the direct Mendelssohn a cordial invitation to come to Leipzig. hearted,” and had hosts of friends and companions. seek to cultivate the same habit in his pupil. Any he is bound to understand some of the dialogue, intensity of their lyric expression. He forthwith set himself to an examination of the means by which these This he accepted, and reached that city in time to hear Fun, frolics and jokes were a part of his daily program. let down in one branch of the work is likely to be whether he wishes to or not; and at that instant, per¬ Billiards and skilttles were his favorite games. ends were reached and discovered that one of the most the first performance of Mendelssohn’s Walpurgts reflected in some other branch of the work. The haps unconsciously, he begins to demand that he shall His generosity and improvidence kept him in hot important, if not the most of all, was the eloquence Night. He was profoundly impressed by what he teacher who neglects to insist upon strict time understand all of it; and he often discovers that most water most of the time. He was in debt almost always, of the just and lifelike treatment of the language. heard, and what followed may well be told in his own keeping will find that the pupil soon fails to play of it is composed without any respect for natural ut¬ and notwithstanding the fact that his wife was eco¬ The spectacle of the immortal composer of Orfeo ed words: the notes accurately. terance. People who have heard songs in English ever “As Mendelssohn came down from his desk, radiant nomical, the struggle to get along was severe. since their childhood none the less experience an in¬ Euridice and the two Iphigenies resolutely returning Anyone who thinks that music teaching is an with success, I went to meet him. It was the right definable mental shock in the first utterance of oper¬ along his own path and beginning once again at the occupation in which hard work is not essential will moment for our greetings, yet, after the first words, the atic dialogue in English. They have perhaps never narrow gate is one which should have a deep and abid¬ same thought struck us both—‘Twelve years since we How to Use “The Etude’s” Educational surely find that he is greatly mistaken. The teacher before been brought to a sharp realization of the fact ing significance for young composers who aspire to wandered day-dreaming in the Campagna!’ Supplement must work everlastingly to give more and more that Italians, Germans and French are continually listen¬ move audiences with their settings of stage plays. But “ ‘Are you still a jester?’ he asked. service every moment of the day. Very few one need not go so far back as the time of Gluck to ing with equanimity to cotpmonplace remarks delivered WilliaM James Henderson. “ ‘Ah no! My joking days are past. To show you Realizing the need for an appropriate portrait to teachers grasp all of their opportunities and laziness in more or less pompous recitative. It becomes, there¬ obtain insight into the secrets of success in opera com¬ how sober and in earnest I am, I hereby solemnly beg supplement the foregoing study of Mozart, we present is the reason why many fail. What if it is more fore, most important that the American composer secure position. Richard Wagner furnishes the information with this issue a portrait which may be framed in a a priceless gift of you.’ work to conduct a class in history, harmony and a libretto possessing distinctly literary quality. The relation of poetry and music, and who was able to and the proof. His prose works abound in passages “ 'That is-’ very ingenious and original manner at slight expense. theory. If you don't do these things or have some language of the dialogue should be poetic, not familiar. make the short but vital step from spoken verse to which satisfy us that he made a searching study of the “ ‘The baton with which you have conducted your new Simply procure a good piece of window glass measuring one do them for you, your competitor will, and yon In time, the latter may be employed; but we shall be song-speech by the elemental process of delivering the German language, not only as medium of poetic ex¬ work.’ exactly eight by ten inches; a standard size that can be will “pass along.” compelled to do precisely as other nations had to do vowel sounds on sustained tones instead of in the in¬ pression, but also as a vehicle for song. His writings procured in any store where glass is sold. Place the “ ‘By all means, if I may have yours instead?’ Initiative means starting things. What most before us, namely, to begin with serious operas on finitely small gradations of the portamento of common on this subject are among the souridest on the philos¬ glass over the face of the portrait; fold over the edges “ ‘It will be copper for gold, but you shall have it.’ teachers need is a self-starter—initiative. They poetic themes and with poetic texts. Some’well meant conversation. ophy of lyric utterance to be met in any language. In of the paper so that.the plain border on the back of “ ‘Next day came Mendelssohn’s musical scepter, for seem to he quite capable when some one else stark efforts have been made in this direction. Bryan Every American composer who really intends to mas¬ his explanation of the nature of what he calls song- the portrait covers the edges of the glass all around. which I returned my heavy oak cudgel with the follow¬ them. If you have not initiative, learn through the Hooker's poem, “Mona,” was at any rate a piece of ter the system of opera composition, should saturate speech Wagner summarizes all that had been learned Neatly remove unnecessary white paper margin and ing note, which I hope would not have disgraced the musical papers what the other teachers arc doing genuine literature, capable of standing on its own feet himself with the scores of Monteverdi. He must of about the nature of recitative in the two centuries and paste down in passe-partout fashion. A hanger may Last of the Mohicans: . and start some of their ideas in you own work without the assistance of music. course first learn to understand what the man is doing a half of analysis and experiment previous to his time. be made in the shape indicated above the biography “ ‘Great Chief! To exchange our tomahawks is our A pupils’ recital given every now and then, a suit¬ But nevertheless the responsibility for most of our fail¬ with the Italian tongue. Most American opera writers But vital as the continuous melodic song speech of from tough paper and pasted on the back. Schools, word given. Common is mine, plain is yours. Squaws able prize for the best pianoforte playing, an an¬ ures rests chiefly with the composer, not the librettist. study the scores of Italian operas in a vain attempt the modern opera is, it is not the end of all. The conservatories, private teachers and students will thus and Palefaces alone love ornament. May we be nual pupils’ recital in r. big hall, all these thing’ There is as yet no’independent American musical style to get at the secret of Italian melody, which, if dis¬ young student of stage composition, wlio is in haste brethren, so that when the Great Spirit calls us to the obtain a most excellent framed portrait at the cost of a must pay or teachers would not do them year in and fitted perfectly to the genius of our language. covered, would prove to: he hopelessly unfit for Eng¬ to reach the golden goal of success, can triumphantly happy hunting grounds, our warriors may hang our few cents, supplementing the study of Mozart in this year out. They are not new ideas, but they may lish verse. Let them direct their attention to the mas¬ point in the scores of such a master as Puccini to page issue of The Etude, and providing the reader with a tomahawks side by side in the door-way of the Long |jc.Iiew to you. Anyhow make a start. Be “up ant ter’s dialogue. They will thus learn that the recitative beautiful decorative picture for the study and home. How Peri Went About It after page in which the genius of the Italian language is the trunk of the operatic tree, and the melodies the has been affronted. False emphasis and incorrect ac¬ This is the true reason for continued want of success. leaves and blossqrns. With English words we try to sing to our hearers in cent, inflections wholly inconsistent with the Italian You cannot practice the process of grafting success¬ manner of speech, and other violations of the funda¬ A Charming and Practical Supplement Italian, French, German, Russian or some other foreign fully in the lyric drama. LTpon the Italian trunk you musical accents. No searching study of the genius mental canons of lyric art are frequent in his music must grow Italian fruit. But you can learn the philoso¬ Nevertheless, by virtue of what some one has called Every reader of this Holiday ETUDE receives with the copy a fine Supplement, a portrait of Mozart The nicture can be of the English language is made. Yet such study phy of the Italian master’s method. From it you can created the demarcation of national styles. When Peri his “streaming” melodic' phrases he has cast a spell framed in the popular “passe partout” fashion at the expense of a few cents for glass and a Iitrio ZZ i 1 p , pluit derive pregnant suggestions as to how to attack the over the entire world of opera. bent himself to the task of composing Euridice, he problem of setting English dialogue to music which this is the first time any publication has presented its readers with an attractive picture Supplement ^ W°rk' rWdhen It is not necessary to attempt an evasion of this candidly admitted that he must treat his recitative as shall not be foreign to the genius of the tongue. them what is virtually a frame. The idea is original and exclusive with THE ETUDE PPIf at the?a?"e tl.m% point. All that need be said to the student is, “If you issues, send a postal, “Please Continue Portraits.” U ^ 11 you Wish more of these in future a type of speech, The young Florentine comrades, of One is led often to wonder whether aspiring com¬ can write like Puccini, go ahead and disregard artistic whom he was one, christened their newly invented mon- posers ever take the trouble to reacl biographies of their law as much as you please.” Even Wagner offended

. THE ETUDE THE ETUDE M How Brahms and Liszt Welcomed upon their countrymen. But the true masters of I y against his own rules at times; but he was Wagner. were students of their craft. They mastered the school Their Friends If you desire to be careless about your treatment of the'text, be sure that your luscious melody will distract of the soldier before they attempted field, operat ■ In an interview in the New York Times. Dr. Cor- the auditor’s attention from your errors. You may be But I have been amazed on certain occasions ' . nelius Riibner, Director of the Music Departmem The Composer quite sure that all the Italians hear Puccini’s bad dec¬ how little preparation some of our composer r at' Columbia University, recently told an interesting lamation, but they forgive him because of his melody. entlv had made for the business of writingsopier • story illustrating the loyalty of Brahms toward his And you may possibly notice that he eludes any ap¬ seemed indubitable to me that they thought an «* fridnds: "It is undoubtedly a fact that Americans A Powerful and Fascinating Romance of Modern Musical Life tic result could be brought about by any manwho can be and have been welcomed abroad as musicians proach to the purely dramatic recitative style. He is o orchestrate well, always serving up dainty bits of tune. One would never how to compose pleasing melodies, in a way they would not find possible here. Then By the distinguished writers n a sounding < dream of finding in a score of Puccini a single page and to gather his voices at times is so much more production of new works there, of the supreme tragic utterance of Verdi. The "Swan due to the number of orchestras, that a new face AGNES and EGERTON CASTLE Some of these scores disclosed half a dozen different of Lucca” would never have attempted Otello. or a new composition does not acquire the alarming Authors of “The Pride of Jennico”, “The Bath Comedy”, etc. And this invites us to a consideration of one other styles in the course of three acts, and betrayed a - plete absence of coherent design. Others had well d .- significance that it does here. 1 have sent singers point in which sotne American opera composers have who have tried to get a footing here and failed erred. They have seemed to fancy that an opera could fined purpose, but the purpose was fatal. A reso vc - the domain of pure abroad with letters, and they had little difficulty in be constructed entirely of recitative. They have even > avoid every temptation i and .; getting operatic engagements. asserted that Wagner’s works, at any rate his later lyricism was unmistakable in at least < ones, were thus constructed. Again the lessons of his¬ score which contained recitative of original and noble “How willingly a newcomer is welcomed abroad tory should not be disregarded. Peri, Caccini and character failed of success because its emotional cli¬ irito musical camaraderie I can testify from my their associates in creating the sttlc parlante were con¬ maxes went unsung. own experience. In my early years I went to vinced that an opera of dialogue was the true type. It is not always an intentional abstention from the Baden-Baden. I had a letter from Adolf Jensen, They wrote endless recitative, noble, beautiful, and at lyric that spoils operas. Sometimes the writers appear the song composer, to Brahms, but, happening upon times touching in its expressive quality, but wanting to be willing to sing, provided they never employ one a. party of musicians which included Brahms, in of the common cadences. As well might an author en¬ the vital qualities of a musical form, and wrecking itself the midst of a lively gathering. I did not interrupt deavor to escape using any of the familiar phrases of upon the sands of monotony. Hardly had they offered o • by presenting the letter, but was in¬ their first scores to the cognoscenti troduced about through some of of Florence before Monteverdi en¬ those who knew me. raptured the brilliant and cultivated “Gradually everyone left, until 1 court of Mantua with his Arianna was alone with Brahms. We walked and his Orfeo, in which he demon¬ toward his home and on the way he strated for all time that the dram¬ asked me what I knew about this atic climaxes of a lyric play must be young conductor, Riibner, who had lyric in their musical investiture. been recommended to him by his Monteverdi’s practice .was based friend Jensen. In those days I was upon the indisputable principle that never above a practical joke, so 1 said: the fundamental situations of opera ‘Riibner is a young fellow who knows are emotional and that the true nothing about music, and is very ar¬ musical expression of emotion must rogant and conceited.’ be in extended lyric form. “We had reached Brahms’ home An Important Law by this time and he turned very an¬ No successful opera has ever been grily to me and said: ‘I have every written in defiance of this law. The confidence in Jensen as a judge of early masters in their quest of a men and I am surprised you would mould for their high songs of pas¬ talk this way about a friend of his. sion hit upon the da capo form and I will have nothing more to do with in it cast the great lyric outbursts of you. Good night.’ their dramas. But their instinct for "The next day at dinner I was a j artistic verity was speedily checked little late. As I came in I heard him I by the growing public demand for inquiring from others who a man j opportunities for the display of the singer’s powers. When Monteverdi could he who had spoken very dis¬ penned the immortal “Lasciatemi courteously of his friend’s friend. morire” of Arianna, the lyric solil¬ PHILIP SOUSA, WORLD FAMOUS .BANDMASTER, VISITS THE PRES5ER HOME Then he saw me and pointed at me oquy, delivered in.heart-moving mel¬ RETIRED MUSIC TEACHERS AT GERMANTOWN, PA. MR. SOUSA IS IN angrily, roaring, ‘That is the man'' odic phrase, promised to be the sum¬ THE CENTER OF THE ■ GROUP IN RIDING HABIT. When the others saw me, they laughed mit of every peak of dramatic ascent, and told him what I had been up to but it was soon leveled to the amusement of an idle and speech. One of the joys of listening to Montemezzj’s and he never held the joke against me. L'A more dei Tre Re in its first hours was the reali¬ unreasoning public. Yet the basis 'of operatic construc¬ “While I atn telling anecdotes about the reception zation that the composer was not afraid to modulate tion in the Cavalli era and its immediate successor was of strangers into the musical life abroad, there as sound as that of Wagner himself. The method rested from the dominant to the tonic and that the ancient is one I can include of Liszt. I went one day to on the delivery of all the explanatory dialogue in either progression from the leading note had no terrors for dry recitative or the more oratorical stromentato. When 'him. Schubert and Schumann were not afraid to" write his apartment in a house in Munich, and, to my the situation had developed a tense emotional state, pure tunes and they never dodged the inevitable. If some surprise, found him half dressed and showing evidences lyric music assumed her natural function and the actors of our opera composers would consider the funda¬ of having been up late the' night before. He finally expressed their inner life in the impassioned strains mental qualities of the methods of great masters, and told why it was. It appeared that about midnight of song. not only their mechanics, they would learn much to the night before some one knocked at the door With all his superbly unpremeditated facility Mozart their advantage. of his house, and when Johann, his valet, re¬ sought for no new method. In the profundity of his turned from inquiring who it was, Liszt learned almost agonized study of means Gluck arrived at the that two American ladies, who inform.ed him they same goal. Rameau and even Lully before'these two John Philip Sousa Inspects the Home must leave, for home early next morning, were out¬ had trodden the same path as their successors did, and for Retired Music Teachers side and demanded to see the 'master' once b.ef°rc when the two great fathers of the German lyric drama, they left. Liszt had them admitted. Fortunately During the month of November Mr. John Philip Weber and Beethoven, came upon the theatre of action, for them, he was just in the right mood. He or¬ Sousa, accompanied by the solo cornetist of his band. again we find recitative and aria in their familiar places. dered Johann to prepare tea. Then he astounded The aria acquires a larger and more elastic form, but Mr. Herbert L. Clarke, and Mr. William G. Stewart, a them by asking if they would like him to pby in the so-called “dramatic scena” we have no new well-known opera singer, visited the Presser Home for When they answered in a delighted affirmative, he elements. Abscheulicher, Ocean, thou mighty mon¬ Retired Music Teachers, at Germantown, Pa. Mr. ster, Leise, leise are all governed in their essentials by Sousa inspected the large modern building and the sat down at the piano and playpd for two hours- the same laws as the Ottavio, son morta of Mozart spacious grounds. He expressed himself as being de¬ Then he gave them his autographed photograph, or, further back, the Figlio! Tiranno! Oh Dio, of Scar¬ lighted with every detail. After the inspection, the and the ladies left at nearly three A. M. after a latti. residents of the Home presented Mr. Sousa with a memorable experience. The composer who labors under the delusion that he beautiful bunch of large chrysanthemums. Then Mr. This valet, Johann, is the same who abrogate can sit down to write operas without even a super¬ Herbert L. Clarke, whom many call the greatest of great importance to himself. Agents would come ficial acquaintance with the philosophy of the music living cornetists, played two solos, one accompanied by to him when they wanted to engage Liszt to plW one of the residents of the home. In the accompanying- drama is pretty certain to come to grief. It is true that One day at a reception Liszt overheard two agents picture Mr. Sousa may be seen in the center of the many of the prolific Italians have possessed a very asking Johann whether his master could appear at slender equipment of learning of any kind; but on the group in riding habit, at his right side stands Mr. Clarke, a certain concert. other hand they lived from their youthr up in the at¬ and back of them Mr. William G. Stewart. On the ([ ^0’’ said Johann, ‘we cannot play.’ mosphere of the theatre. An ease almost flippant steps behind the group are some of the residents of coupled with an assurance not readily discomposed the Home. There are now 29 residents in the Home, Jannl’ shouted Liszt across the room, ‘be sure aided many of them in imposing a temporary conviction although provisions for about 35 more are still open. ’ that the next time you do play there you take me with you.’” Copyright MDCCCOXI 1 16 THE ETUDE THE ETUDE through the dark side Alleen to the patk -I... inclusion of the second act. Lady bock to the well-defended solitude of t|s Merehaven asked me to meet her daughter- CHAPTER XII Caroline decdlred that ^had in-law the other night. She's trying to make The Frankheim Opera House was packed There was silence between the two men the best of her, poor thing; and, oh, my to overflowing. Besides the subscribers from senns’mvethae naturebloabe’ subjected to ■»<* Iteinhardt was aware that, in the Master's dear boy! there she was—she was Zarah the town—not at all inclined, to cede their present state of nerve tension, even a look privileges even to the wealthiest and most might be more than he could bear, it was the Merehaven diamonds on her tousled, distinguished guests—there was the influx M ngTmelody only when the great man was seated in tls dyed head, and a lovely French dress on. from all parts of the music-loving world. however,Wshe ^rew quite cheery again, ^re¬ Hints for the Singer’s Daily Practice Oh, yes, pretty enough In her painted way; No paper of note but had sent its critic; padded armchair, bis long, irritable lingers but it wasn't that. Lots of people paint and there were the many amateurs who really calling her favorite airs from *J“l“ne“r absently filling the china bowl of a pipe that conversation began again. The tenor’ From an Interview Secured Expressly for with the Famous Prima Donna Contralto dye 1 Johnny,” she leaned forward and cared; the many more who pretended to l!i^b'enefit'when tCligh.Twent down again, The Etude touched him impressively on the arm—“her care; the idle rich and the "up-to-date « excellent fellow, was secretly longing for ^ and Johnny's neighbor cried "Hush ! own cozy nest and the dutiful ministrations hands, Johnny1" “Thank goodness, this is the las . “Oh, I say,” said Johnny, goaded. “It eluded a young Prince of the Empire. The of his Bertlm. But the tie that bound him MME. ERNESTINE SCHUMANN-HEINK isn’t anything of that sort. It’s—Lady War- second Mosenthnl boy, Chopin, had traveled to Lothnar was one of paramount closeness borough started her; had her taught, you from Berlin, and found a seat in tile gal¬ *$£ ;itf, r ass srx he knew himself needed. Only to him would last such a simultaneous burst of acclama- the genius unburden ills mind of the hundred The first section of this interview appeared in THE ETUDE for December. know. She's not got any dye in her hair, lery. Madame Costanza, her handsome coun- fi-nm everv part of the house, that it nor paint on her cheeks; she's quite young, and one causes of exasperation which th( ‘ fioke upon the ear like an explosion. Men triumphant performance of liis work had This part may however be read as an independent article. eeal the seething excitement within her and women stood up ; some sprang on their time he had stared longingly at those slen¬ dramatic soul, sat Sphinx-like in the stage seats, calling, clapping, waving handker- produced in him to-night. The bassoon that der, pale hands of Sarolta's, with their vivid box. Frau Ilegemaun’s aged visage might had been half a second late on the great Preparation for Heavy Roles Daily Exercises of a Prima Donna Above this I invariably use what is termed the trick of gesture, and that way they had of he seen on the right * ’johnny gaped dumbfounded; then sud¬ blast; the flatness of a certain violin pas. folding themselves fiercely one across the ed, pre and sage; the want of perfect unison in the “The voice can never be kept in prime condition, if it “Daily vocal exercises are the daily bread of the head tone. Female singers should always begin the t Pa; denly the frenzy seized him, too, and e singer. They should be practiced just as regularly as head tone on this degree of the staff and not on F other as if she were clasping destiny! How pale: Sady Sell shouted his English “hurray, hurray. — sweeping accompaniment of the seven harps. is obliged to carry a load that it has not been prepared often he had wanted.to take them into his— much as a soldier will cheer in the charge And Agamemnon- to carry. Most voices that wear out are voices that have one sits down to the table to eat, or as one washes and Ft, as is sometimes recommended. those disdainful delicate hands. which he knows means death to him. "Agamemnon leaves me singularly doubt¬ been overburdened. Either the singer does not know one’s teeth or as one bathes. As a rule the average “I always use the Italian vowel ah in my exercises. “Iler hands are all right,” he went on ful. The Kerl lacks classic dignity: he re Suddenly the purple velvet curtains were how to sing or the role is too heavy. I think that I professional singer does not resort to complicated ex- It seems best to me. I know that oo and ue are lamely. "And she's not been on any stage flung apart. The young man held his breath ; mains German. A German paterfamilias.'' yet.” He winced as he spoke, as if the word Lothnar’s fierce gaze softened. may be forgiven for pointing out that I have repeatedly recommended for contraltos, but I have long had the hurt him. “She's going to be an opera Saroltas's Debut hut instead of the frail, lovely figure he Johnny Holdfast, piloting Lady Caroline expected, there rushed to the front a tall, "Thou?" he said, with a chuckle. “As sung the heaviest and most exacting roles in opera. firm conviction that one should first perfect the natural ungainly man, with death-white face, dis¬ thou art, thou art dear to me.” Then sar¬ He drew a printed announcement from his toward the seats he had secured (by a My voice would have been shattered years ago if I had vocal color through securing good tones by means of cheque that would have made that lady- hevelled hair and beard. While you could donic laughter shook him. "Free? Poor the most open vowel. After this is done the voice may breast pocket and laid it on Lady Caroline's soul . . . your little fat wife could pop not prepared myself for these roles and sung them lap. “Her name Is there—Sarolta Vaneck." gasp, had she known), felt, as kfc told count ten, this strange being stood facing himself, “jolly wretched.” Although it was the clamor of applause hurled at him with you into her oven,, if she had a fancy to see properly. A man may be able to carry a load of fifty be further colored by the judicious employment of But Lady . Caroline caught up the an¬ you brown ” He leaned deeper back into his pounds for miles if he Carries it on his back, but he other vowels. Sopranos, for instance, can help their nouncement with a staccato cry, as certain like wine to his starved heart to be once much such a countenance of defiance as a more in the same town with Sarolta, lie had man might have opposed to execration. His chair and drove his fingers into bis forked will not be able to carry it a quarter of a mile if he head tones by singing ee (Italian i). words in large print caught her eye. "Loth- hands were clutching the curtains on either beard. “Women,” lie growled, "women are nar!” “Iphigenia !” “Frankheim !” "But, something of the sensations of a man about holds it out at arms’ length from the body with one “I know nothing better for acquiring a flexible tone to attend his rival’s wedding. IBs only hope side of him ; his eyes, looking out across that the Devil." heavens, Johnny, you don't mean to say” swaying crowd, flamed and yet seemed to see arm. Does this not make the point clear? than to sing trills like the following . . . she fumbled among her laces for lay in the girl's public failure, and it was CHAPTER XIII t in Johnny to wish for such an advan¬ nothing. “Somfe roles demand maturity. It is suicidal for the her eye-glass, and, after a closer Inspection, Four or five wreaths came hurtling to¬ Up into the meagre bedroom, the ban- proceeded : “My dear boy, this is positively tage s that young singer to attempt them. The composer and the t' i 1 , 'i r-r-r-n 1 11 Tberfe was a sudden stir through the chat¬ ward him ; the next instant he was gone. aimed Tienchen brought a basket of roses, thrilling. Everybody’s talking about it! As Lothnar strode back across the stage, the sight of which almost made Sarolta's conductor naturally think only of the effect at the per¬ Every one wants to go. They say it's al¬ tering audience—a hush, and then the simul¬ taneous lowering of all the lights plunged Webel and Reinhardt—still in his glittering heart stop beating. She was still in bed, formance. The singer’s welfare with them is a sec¬ most impossible to get seats now for months! meet the building into a darkness full of mystery, though it was past ten o'clock; but she ondary consideration. I have sung under the great Lotlinar! Count Wenndorf was talking I them lioth without a wrord; then thought that she might henceforlh brave and at the same time preserve a gentle, smiling expres¬ about him last night. I’d give my eyes tense with expectation. From the invislb' composers and conductors, from Richard Wagner to e first n s stole It cried out—loud enough Frau Ilegcmami's rules. Last night might sion. Smile naturally, as though you were genuinely to go.” e clamor ringing on the < side still seem a dream, the future might still Richard Strauss. Some of the Strauss roles are even They seemed like a far-off call of triumph. urtain, while the tears tha amused at something,—smile until your upper teeth Unrequited Love Then the beat of drums, muffled in un¬ he wrapped in mystery; nevertheless, be more strenuous than those of Wagner. They call for are uncovered. Then, try these exercises with the tween tile Sarolta of yesterday and the Sir John Holdfast dropped hack into his. broken rhythm, like the tramp of marching great energy as well as great vocal ability. Young vowel ah. Don’t be afraid of getting a trivial, colorless moody attitude. "I'd give something to go, feet. Louder the trumpet's call and nearer, Sarolta of to-day there lay a difference so too. But—she wrote and told me not to. with the added voices of many other in¬ singers essay these heavy roles and the voices go to tone. It is easy enough to make the tone sombre by And now she won't answer my letters at all. struments ; rushing murmurs among the not ignore it. She knew flow she was of pieces. Why not wait a little while? Why not be willing it so, when the occasion demands. You will strings, light of piping flutes, clash of those whom fate had picked out to rule; patient ? be amazed what this smiling, genial, liebenswurdig ex¬ cymbals—a sense of hurry and confusion .Suddenly he caught the young giant to and knew it as truly as if she had been “Perhaps it's just as well,” said his god¬ “The singer is haunted by the delusion that success pression will do to relieve stiffness and help you in mixing with an ordered, marching lilt. him again ; his ice-cold fingers gripping the horn on the steps of a throne. placing your voice right. The old Italians knew about mother consolingly. “After all, Johnny, The overture to Lothnar's "Iphigenia” naked, bracelet ed arms. So she had lain in bed, and ordered her can only come to her if she sings great roles. If she you'd only make a fool of yourself! You had begun. A web of sound, subtly barbaric, “Mein bcsscres left—my better self!" he coffee and brbdchcn to be sent up to her! can not ape Melba in Traviata, Emma Eames as it and advocated it strongly. There is nothing like it yet rich with the endless resources of the to keep the voice youthful, fresh and in the prime of “Can’t i ? I jolly well would—If jfiie’d muttered through his teeth. “Thou, too, old Tills return to the independent ways of Elizabeth in Tannhduser or Geraldine Farrar in machine,” he said, turning then ou Webel 1’aris was the first sweet of her great tri¬ Butterfly, she pouts and refuses to do anything. condition. Sir John Holdfast, in spite of his recent and patting his shoulder as if he were a umph, and she was tasting It luxuriously, “Is it as bad as that?” child. ."I am content with thee." Offer her a small part and she sneers at it. Ha! Ha! “It could not he worse," said John Hold¬ assiduous attendance at Covent Garden, had when yet another followed in quick succes- The Singer Must Relax fast solemnly. "Look here, godmother; the certainly no aptitude for appreciating such The storm rose and fell behind the curtain All my earliest successes were made in the smallest first instant I saw her, I knew it. was all up music as Lothnar’s. Had he attended the more fitfully—there was less clapping but •‘Prach troll 1” said Tienchen, dumping kinds of parts. I realized that I had only a little to do “Probably more voices are ruined by strain than first night of “Iphigenia" out of mere curi- more shouting. with me. And for two years there has not them on the bed. Then she caught up the and only very little time to do it in. Consequently, I through any other cause. The singer must relax all been an hour—upon m.v soul, I know what "They call for the artists," said stolid ably have been, "Rummy kind of stuff" ; but tray and departed. gave myself heart and soul to that part. It must be . the time. This does not mean flabbiness. It does not I'm saying; if I do sleep, I dream of her— Magnificent they were; Sarolta lay and as It was, he had no eyes, no ears, no senses done so artistically, so intelligently, so beautifully that mean that the singer should collapse before singing. think of her. I'd have cut my right hand contemplated them. Deep, crimson, glow¬ Relaxation in the singers’ sense is a delicious condition The feelings that gripped his'heart when ing things, wllli a scent so rich as to be it would command success. Imagine the roles of Erda off to keep her from the stage. But she- of buoyancy, of lightness, of .freedom, of ease and have you ever been to that ‘King’ thing? I the slight figure in its white draperies first Reinhardt at his shoulder, he went, grun almost too mueh to bear. Such roses as a and Norna, and Marie in Flying Dutchman. They are entire lack of tightening in any part. When I relax I suppose you have. Well, there’s a woman ran In upon the stage, arms outstretched to 1'”", up the Stairs that led to the dressinj lover would offer to his beloved 1 From the so small that they can hardly be seen. Yet these roles singing in it now. She’s doing Brunnhilde, greet Agamemnon, were all pain. lie felt moment that her eyes had caught sight o! feel as though every atom in my body were floating in were my first door to success and fame. Wagner did a kind of goddess, you know, with her hel¬ those hundreds of eyes fixed upon them, a wild thought had sprung Into her space. There is not one single little nerve on tension. loved and resented them as a persoi cell. not think of them as little things. He was a real mas¬ met and her breastplate, who comes flying brain. Was anything too beautiful or too The singer must be particularly careful when approach¬ down the rocks. Well, she reminds me of It was the girl herself who opened; s! astounding to he real now ? Who but one ter and knew that in every art-work a small part is Mme. Ernestine Schumann-Heink. Sarolta—not in face, because she’s red hair There was a rustle of emotion through stood on the threshold pale and tremblin ing a climax in a great work of art. Then the tendency the house, as the first notes of her voice indeed in all Frankheim would dare send just as important as a great part. It is a part of a and all that, and Sarolta’s dark—but there’s Lothnar halted before her, staring at her f flowers to her at Frau Hegemann's—in all ercises and great c; : is taken to avoid strain, to tighten up is at its greatest. This must be antici¬ a kind of fire about her. . . . Oh, I can’t rang out. Little as he knew about music, an appreciable time in silence ; then, witho beautiful whole. Don’t turij up your nose at little Johnny realized that they were extraor¬ Frankheim, save he who hitherto had sternly perfectly easy for n a contralto, to sing C in alt pated. explain! And, you know, she hates the making the slightest movement to touch h( things. Take every opportunity, and treat it as though thought of love, at first-” dinarily pure. He knew no German and prohibited any such tribute? And if they “Take such a case as the following passage from the He broke off. Lady Caroline was listen¬ had very little notion what the drama was were from him 1 ... She hardly dared it were the greatest thing in your life. It pays. -famous aria from Saint-Saens’ Samson et Dalila, “Mon about; hut from his Eton days there re¬ inhale the intoxicating fragrance; hardly ing in amazement, open-mouthed. “Everything that amounts to anything in my entire coeur s' ouvre a ta voix." The climax is obviously on “Why won't she have you?” asked the old mained a vague memory of Agamemnon's These were the words he had spoken. dared pursue a thought so fraught with un hideous sacrifice, and he wished uneasily career has come through struggle. At first a horrible the words “Ah—verse moi.” The climax is the note lady, not without indignation. When Madame Costanza and Sady rush believable joy. Yet he had caught her to but do you suppose I sing it in my daily exercises? they had not given her such a part. In the struggle with poverty. No girl student in a hall bed¬ marked by a star. “Just because—oh, she says because of In upon Iphigenia, they found her sittli his soul last night, with a look, with words It is one of the extreme notes in my range and it the career and all that. But it Isn’t that. first act, however, the music allotted to her with her hands clasped, a smile upon t of intimate spiritual union ; and if she might room to-day (and my heart goes out to them now) was all descriptive of innocent joy, virginal might be a strain. Consequently I avoid it. I also It’s just—well, I might try forever.” He hopes, filial trust. The pathos of this was l?8.' thelr embraces «"il acclamatioi bo that to him—-something that his soul went through more than I went through. It was work, gave a rueful smile. “I can’t get through their kisses and tears, she had scarcely caressed, what more could she ask of life? sing most of my exercises messa voce. to her, you see; she’s on a rock like Briinn- a little lost on Johnny; nor had he the least word of response. work, work, from morning to night, with domestic realization of the art that could draw so She put out her hand and timidly touched “There should always be periods of intermission be¬ hllde.—But I’ll never give her up.” it was a velvet petnl; and as she did so the thought cares and worries enough all the time to drive a wo¬ through his clenched teeth that the last piercing a contrast between the gaiety of the Sarolta’s Success tween practice. I often go about my routine work words came, scarcely audible. cheated girl and the agony of doubt in Aga¬ She. went through the rest of the even! came upon her; might she not discover » man mad. Keep up your spirits, girls. If you have the while on tour, walking up and down the room, pack¬ Lady Caroline sat, absorbed in reflection, memnon’s moody soul. as one in a dream. Afterward, looking ba card, a letter perhaps, hidden among the right kind of fight in you, success will surely come. When the first act was over, there was glory. She sat up. scarlet-cheeked; and. ing my trunk, etc., and practicing gently at the same one plump, jewelled hand softly beating her upon it, she could remember nothing defin Never think of discouragement, no matter what hap¬ no applause: this was by Lothnar’s strin¬ beyond that moment lh which Lothnar h true enough, there was the corner of a while time. I enjoy it and it makes my work lighter. knee. Her kind heart was stirred. gent rule printed in red on the programme. She could not, of course, approve of looked at her, had pierced her to the s< envelope visible between the crimson and pens. Keep working every day and always hoping. It “Of course I take great pains to practice carefully. The lights were lowered and the hidden with those blue flaming eyes, and had spok the green 1 Again that sensation, as If ber will come out all right if you have the gift and the Johnny wanting to marry out of his class. orchestra again broke into a loud lament. My exercises are for the most part simple scales, ar¬ But, nowadays—and it wasn’t as if the girl Johnny sat on resolutely. His first sen¬ mytsour°rBettab ° thIng: "I kiss you heart had stopped beating, came upon her perseverance. Compulsion is the greatest element in peggios or trills. For instance, I will start with the as she drew It out. “When I am singing the last notes of the previous wanted him either. And, after all, if it sation of cold misery was giving way to ir¬ the vocalist’s success. Poverty has a knout in its hand following made the poor boy any happier to go to repressible hopes. If the whole business was ,t,nAlV'r:J,C0Ut.e~i’ fald Mftdame Costanza But the first glance at the bold, black phrase to the word “tendresse,” anyone who has Frankheim, why should not she hold out a the appeals of Sady, backed by those of driving you on. Well, let it,—and remember that under observed, me closely will notice that T instinctively let the "frost” Lady Caroline averred—and in¬ effusive young Chopin Mosenthal “lea handwriting brought a revulsion of feeling helping hand? She could not afford the deed It seemed like it—by George, he had so keen that she could have screamed like that knout you will travel twice as fast as the rich my shoulders drop,—that the facial muscles become tickets herself, nor the journey on the top her alone, the poor little one. she is not never come across such a thing in his life; an angry child. It was Johnny! . • girl possibly can with her fifty-horse-power adtomobile. relaxed as when one is about to smile or' about to of them; but it would mean nothing to the silence had been deadly! Might not is01ulhna^nOwitO-nl8ht' But first’ wbl only Johnny 1 She flung the letter, Johnny to take her, and it would be a Keep true to the best. Muss,—“I MUST,” “I will,” yawn. I am then relaxing to meet the great melodic Sarolta take an immediate disgust to such angeirangM? bnallShall fI nott embrace1S„that hlm'Jdemo “. T «♦ opened, from her. Had she not forbidden This I. sing in middle voice and very softly. Thereby delightful and amusing experience. thankless work 1 Nay, it seemed to him the mere necessity is a help not a hindrance, if you climax and meet it in such a manner that I will have “Well,” she said at last, with the air of you I will embrace him. Run Chn him to approach her? Ilow dared be thrust I do not become tired and I don’t bother the neighbor¬ that, had she been personally a success, they Mosenthal, my son. Find out for me if th himself upon her 1 have the right stuff in you. Learn to depend upon your¬ abundant reserve force after it has been sung. When one sacrificing comfort, and even principle, must have applauded her if not the music. is still a morsel of him left to nbru hood. If I sang this in the big, full lower tones and for friendship's sake, “I can’t bear to see . . . There had been a lot of whisper¬ It was upon this storm of angry disap¬ self, and know that when you have something that the one has to sing before an audience of five or six thou¬ pointment that Madame Costanza and Sady sang loud, my voice would be fatigued rather than you like this. I am an old fool, 1 know. ing and jabbering when the curtain fell, but eeuerrle?10sPevernIlOSent1tai’ the Grand-Duk public wants it will not be slow in running after you. sand people such a climax is immensely important and But there, you shall take me to Frankheim. equerries, several excited criHr-a from t broke into her room. benefited and the neighbors would hate me. itiis I no one as much as dropped a single hrava, Don’t ask for help. I never had any help. Tell that it requires great balance to meet it and triumph in it. If you like. And you shall see your singer— and some paralyzing sense kept him equally don, Paris, and New York, not to °neak “Roses!" cried madame, halting midway, continue up to D or E flat. at least from the stalls.” dumb. lie told himself now that it had been compatriots, wore to hunt in vain that nl. with her histrionic gesture. “That coul to the American geese who think that I have some “I say, godmother,” he cried suddenly, lucky : even unanimous silence is better than not fail! Alia, little prima donna, have a magic power whereby I can help a mediocre singer to “I’ll keep you to that.” one unsupported effort. care 1 Roses have thorns, sometimes." It i: only Reinhardt beside him, driviniT aw success by the mere twist of the hand. 19 18 THE ETUDE THE ETUDE “The Persistent Purfesser” In After Years Neat Method of Binding Sheet Music By Ben Venuto By Theodore Stearns By William E. Warner, A.R.C.O. The title professor with its provincial pronuncia- If a man drive to town in a wagon, the wagon will, All musicians know something of the difficulty of tion “purfesser” has gradually become less fre¬ The “Elocution” of Melodies of necessity, leave tracks behind it. The man does not keeping sheet music tidy and in good repair. Cover quently heard in America, yet the term has not drive for the purpose of leaving tracks. His purpose and middle leaves seem to have a knack of parting yet come to be used with proper precision. is to get to town. Looking backward along any pupil’s company in a most exasperating manner. This is es¬ By CONSTANTIN VON STERNBERG Some years ago, while teaching in the musical pecially the case with songs, which very often come in progress, few instructors sense the importance of the department of one of the smaller western colleges, many influences they have left behind in that pupil’s for a great deal of rough usage. . I chanced to have need at an unusual hour of that A Little Lesson in Interpretation fropn a Virtuoso Pianist Who is also Gifted with Keen Wit The following method of binding sheet music is not path. Still less, probably, does the pupil realize just worthy and useful individual who attended to the how or when he or she was particularly influenced at so well known as it deserves to be. It is cheap, durable furnaces and sidewalks. One of the students kindly Everybody has heard or read the sentence, “Music is avoid to remain music, because definiteness of thought— the meter of this melody would be equally well fitted some turning of the road. and neat, and well repays the little time and trouble volunteered to go after him, but not knowing his the language of the soul.” It cannot be said that this as stated in print by a speaker—claims only our assent by very prosaic words: The track remains by which the final result may be expended on it. exact address, was obliged to make a few inquiries thought is particularly new, inasmuch as the Chinese or dissent; while music, by expressing musical thoughts, pretty well traced back to the cause and source. Moth¬ in th.e quarter of town where he was supposed to Emperor Tshun expressed it 2300 years ago, and in purposes to generate thoughts in our mind, thoughts ers, for instance, follow these tracks oftener than any live. This student came back quite amused at a exactly the same words. Carlyle, too, called music “a which, if you will, are the re-translation of the musical one else. Sitting at the sewing table or bending over a discovery he had made—the man’s wife and neigh¬ kind of unfathomable speech which leads us to the edge into verbal language. Still, these “unfathomable” musi¬ hot oven or garbed in the gossip of an afternoon tea, bors were accustomed to speak of him as “Pur- cal thoughts must be so articulated as to contain all of the infinite and lets us for a moment gaze into it.” their virile, maternal minds are constantly and sub¬ fesser,” presumably on account of his connection those elements of human speech mentioned above. And Pages upon pages could be filled with the mere names consciously flashing along those winding wagon roads with an institution of learning. This was rather this is neither impossible nor even difficult to achieve, if of recognized thinkers that spoke of music as a lan¬ of progress and their hearts beat' with pride and droll, but only one short step more absurd than we will only put our mind to it. guage; and when we—you, dear reader, and my humble anxiety as, in their mind’s eye, they see Willie or Lucy many of those in our own calling who assume that self—when we recall what thoughts were generated in To compose such highly poetic (!) words is a talent triumphantly “driving into town.” title without due reason, under the wrong impression The Earliest Element in Music our minds when music addressed the best that is in not given to everybody—I know it; but jesting aside, Until those records are finished—until the pupils that it adds to their dignity. We know that the earliest element in music was us_thoughts that dwell as yet in our feelings and tarry dear reader, do you not think that anybody could get a seem to pass beyond the influence of their teacher— The title of professor, in this country, is by Rhythm. Very well, then; let us take a pencil and tap at the threshold of our understanding for the want of few words together to fit a given meter? And is it not they are bound to reflect back to the instrument that rights confined to such as hold chairs in the higher the rhythm of a melody—say of its first phrase—on the words subtle enough to voice them—when we recall a great help in doing so that one can see by the bar caught and gathered the colorful incentive towards institutions of learning, and in the larger and more wooden part of the piano and repeat it with all its ac¬ lines where the principal emphasis—the “essential” them. And yet the pupil never entirely passes beyond conservatively organized universities, it is restricted such inspired moments, we cannot help admitting that, cents until we feel the rhythm clearly. Then let us put word—is to be placed? far beyond its merely sensuous appeal to our ear, music the teacher’s influence. Remember that. almost entirely to heads of departments, the rest of our mind to work, to find a few words (in verse or By and by, as we gain some facility in suiting the has spoken to us; spoken, I say, in terms which the No pupil really forgets the music teacher. He may the faculty being composed of “associate pro¬ prose) to fit the rhythm oi the melody. At this point it meter with oiir words, we will be able to consider the not recollect the name in after years, but some of the fessors,” “assistant professors,” “instructors,” and language of words was only too poor to translate into should be remembered that every sentence has an “es^ character of a melody as well. If we should lack in association is never lost. k 2. 3 4 5. “assistants,” ranking below “professor,” in the order verbal equivalents. Yet there is nothing regrettable in verbal inventiveness—a lack more often noticed The most curious feature about teaching music is named. Of course, the general public cannot be ex¬ this paucity of word-language, because the various among the male than among the female students—a We will suppose the piece to be dealt with is an ordi¬ pected to appreciate all these fine distinctions of branches of art are not to substitute human speech, but good book of quotations would be of good service, that portions of it often lead the pupil later on into nary four-leaf song (i. e., two double sheets). First scholastic etiquette, but is it asking too much to to complement it; they are to say what is unsayable such as those by John Bartlett, H. P. Jones, Robinson entirely different paths of successful endeavor quite cut the double sheets through along the back, thus mak¬ disassociated from music. suggest that the title should not be cheapened by Smith ct al. What words could fit Mendelssohn’s ing four separate sheets. Next take a piece of ad¬ Some people deny to music the quality of a language; I know pupils who can trace certain talks and “minute being applied indiscriminately to all adult male Spring Song better than those from James Thomson’s hesive tape, such as may be obtained at any music school-teachers, hypnotists, sleight-of-hand per¬ they plead its indefiniteness. But if it so appears to rests” during long-ago music lessons right up to their “Seasons.” supply house, and cut off a piece as long as the sheets formers, dancing masters, theater-orchestra leaders, them, it is because they are unfamiliar with its idiom. present prosperity as electrical engineers or as execu¬ to be fastened. The tape should not be less than an etc., with occasionally an over-ambitious barber, A book or a speech in any other language equally for¬ tive heads in large mercantile affairs. . inch wide. Fold it into three, as shown by the dotted bootblack or janitor? For a musician or music eign to them would be just as indefinite, if not more so. These results are by no means unexplainable. Such lines in Fig. I. Mark out the middle part into six teacher to use this title in connection with his name, Yes, more; for unless some natural defect makes us cases are the outcome of incidences like this: It often flaps, as indicated by the thick line {Fig. 2). Cut along unless he is actually a member of a university or impervious to music’s intimate addresses, it really says happens- that the teacher, in order to sustain interest in this thick line, thus separating the strip into two sec¬ college faculty, puts him in the dubious company of the same to all of us. It only becomes indefinite when Such lines should first be spoken a few times with a restless pupil, resorts to wayside means to whip the tions {Fig. 3). Next interlace these two pieces (Fig. 4), charlatans, and makes him somewhat of a laughing¬ every one of us tries in his own way to clothe the emo¬ proper accents, etc., then sung to the melody for which and affix the small flaps marked 1 and 6 to the opposite flagging attention. Perhaps a story is told, an illus¬ stock among people of good education. To be tions and thoughts it awakened in him with some con¬ they were selected (if too high, take an octave lower), strips {Fig. 5). The hinged back is now ready. Take tration reined in, to fix the interest. The wheel had to sure, if people insist on addressing you as “pro¬ crete subject: when he tries to make a fixed substance and then thought of while playing the melody. It is the four sheets of music; fix the first sheet to the long be jolted out of a rut or over a stone. When that fessor,” it is usually more tactful and wise not to of the volatile essence of music; when he attempts to one of the best means I know to cure false declamation outer strip AB, and the fourth sheet to the strip CD occurs the slipping wheel is bound to leave a broader say in words what can be expressed in music alone. of melodies. And if the melodies of good or classic (see Fig. 5). Sheet number two can then be stuck to' reprove them openly, but it is not necessary to use track than usual. And, let me ask, are words so very definite? If every¬ compositions are thus properly played, the humblest the small flaps 3 and S, and sheet number three to the the word on your cards, your programs or circulars, Very frequently that jolt was the one big, prismatic body could read the Good Book with perfect under¬ listener will like them and never say “this music may flaps 2 and 4. The whole copy will then be held firmly or in newspaper annoucements. I remember one ray that left an indelible impression in the youthful standing (it contains definite words, does it not?) why be very fine, but it’s above me,” as so many people say and neatly together, and the back will be quite flat young man, whom we will call X, who started as a mind. are its sentences expounded by pulpit orators every when hearing an amateur ruin a fine melody. when the copy lies open or closed. music teacher in one of the best cities in New The story of a dynamo used to illustrate the value Sunday? Has the question whether Hamlet is or is not Pieces with more sheets can be fastened by this England, and the first thing he did was to have a The theme of Beethoven’s Sonata in A-flat, Op 26 of a quick staccato in playing turned a boy’s interest insane ever been settled? Yet Shakespeare wrote in method; but in that case more flaps must be marked out large rubber stamp made bearing the words "PRO¬ could well be fitted, metrically as well as in regard to to electricity. It did not in the least detract from his words, did he not? When Raphael painted the cherubs at first. A six-sheet piece will require 10 flaps, an FESSOR X,” which he used on all his own sheet music, its character, by Shakespeare’s words from “As You music lesson—in fact, helped it splendidly—and his at the feet of the “Sistina,” had he found anything in Like It”: eight-sheet piece 14 flaps, and so on. Pieces with a as well as on all that he supplied to his pupils. musical progress increased. Boys invariably work for the visible universe that could have served him as a large number of sheets are not so conveniently bound Though his musical equipment was really quite a person who interests them. model? And do not these cherubs, nevertheless, ex¬ by this method, but for ordinary sheet music it would thorough and genuine, his circle of .patronage, as Later, this boy pursued the aroused attraction for long as he stayed in that city, was among the press the feeling of the superterrestrial, of the celestial? be difficult to find a neater or more economical way. Look at any great painting or sculpture of an animal: electrical science and eventually became a high-salaried ignorant, cheap and shoddy-genteel. No wonder we know nothing of its inner life and yet the figure ex¬ expert in that line. that Carlyle, the rather crabbed Scotch philosopher Another boy, studying violin, was similarly led presses a feeling of some sort and a human feeling to and historian, onc.e alluded to musicians as “a wind- towards literature, specialized in it, and is to-day pro¬ boot, for we could not understand any other. Just so While Longfellow’s lines from “Maidenhood” would baggy sort of people.” In general, the more famous fessor of modern languages in a famous university. Rubinstein and the Modernists Raphael gave human shapes to his cherubs. be a fa>dy good text to Rubinstein’s Melody in F: ‘ a man becomes, the less use he has for any honor¬ Were their two teachers failures? While Rubinstein was himself considered a modern¬ ary titles. One who seeks to apply them to his Not a bit of it. Something Human in Every Melody ist, he had little respect for the composers who do out¬ own name, practically admits that he is a struggle! They were immensely valuable. rageous things simply because they are outrageous, and By the same token there is something human ex¬ They simply started in to make dough for the cus¬ There was once a romantic and somewhat scan¬ thereby attract attention to their perpetrators. One day dalous episode in French history, involving a dia¬ pressed in every melody; and I venture to say that tomary biscuits, and those two boys decided to use it whenever a melody fails in its human appeal to an he remarked, "A sail condition has arisen in the' musical mond necklace, and a letter alleged to have been santial word,” of which the emphasized syllable should" for pie! auditor the failure is due to a fault of the player. The world; composers who desire to say the most ordinary written by the queen of France. The letter proved fall upon the first note at the right of the bar. This- These are not exceptional cases. They i>jp \>+ || stand out, thus J') F-f i m_ _ 1# 1 | 0 m at a 0 etc. A Russian section in E flat is of pastoral character. This section also imro. hfcH-yj duces a “drone bass’.’ In the Coda the “drone bass”is inverted,ap¬ — 1 composition without some sort of a “drone bass” would hardly be pearing first in the upper voice and then in the tenor. A firm, al 3 3 *1 V -1 thought Russian at all. Such a bass begins at the end of the eighth most rugged style of interpretation is called for. Grade 5 P. TSCHAIKOWSKY, Op. 10, No. 2 Allegretto scherzando m.

Prize Composition FIRST THEME Etude Contest from ETUDE DE CONCERT

a) The thumb of the right hand crossing over the thumb of the left hand, b) Thethumb of the right hand und^T JANUARY 191? Page 28 THE ETUDE JANUARY 19i7 THE ETUDE Page 29 ECHOES FROM THE ALPS UNITED STATES OP AMERICA Characteristic both in melody and rhythm. The yodlxng effect so inseparably connected with the music of the Alps is introduced very Introducing OLD BLACK JOE,etc. cleverly but not overdone. Grade 3 In this interesting teaching piece one finds three familiar melodies,together with some attractive original material. This number is CARL MOTER, Op. 18, No 1 particularly adapted for small hands. Grade 2

Copyright 1916 by Theo. Presser Co. British Copyright secured British Copyright secured JANVAKtu11 Page 30 THE ETUDE JANUAPY 1917 THE ETUDE Page 31 FLIGHT OF THE CORSAIRS ra.TU FLIGHT OF THE CORSAIRS GALOP nf about equal importance and of equalint This is an original four hand number, not an arrangement.lt will be seen that the two par s themes standing out strongly. Grade/1 This composition must be played in the style of a Concert Galop, with fire and vigor, and with an me

SECONDO

International Copyright secured Page 32 THE ETUDE JAN UA JANUARY 1917 THE ETUDE Prge 33 CAMP OF GLORY J CAMP OF GLORY GRAND MARCH EDUARD HOLst GRAND MARCH EDUARD HOLST The compositions of Eduard Holst are allnoted for their brilliance and melodic interest. The four hand version is the original form of Ca,llprj PRIMO GlarVy but this number has also been arranged by the composer for two hands, six hands,and eight hands.lt is a stirring Military March.Gr&de3 Tempo di Marcia m.m.J = 126 A,'.

J t) p ■ • • ■ 5# m > 3 i tefe mm m i*1? i1 >4>

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frarr"— frttt J B i : -41- 3 rJ 1 7 J 7 r Jj£ribL TRIO 1 ■ a §{2*marcato il cpnto Il .1 k-A k-«~1 1-

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* From here go to and play to Fine; then go to Trio Page 34 THE ETUDE ■IANVARY 1917 THE WHIRLWIND

This lively Intermezzo movement will afford brisk fingering practice In either hand, calling for speed and smoothness tnroughout. The middle section in F introduces some ovnArmnliAn in ilia nnnnlan mnriftvn mannon Grade 3i.

MILITARY MARCH

British Copyright secured JANUARY inn Page 36 THE ETUDE NAPOLITAINE

A lively folk dance in the rhythm of a tarantella or saltarella. One can almost hear the shuffling feet of the dancers. Grade

REST LOUIS A. BROOKES Rest is a tuneful little song without words, with the melody all in the left hand. Too much.attention cannot be paid to left hand practice, and to the development of the singing tone in the left hand. Grade 8g.

kj Lm 4 »: * * 4 • J *: J .. j. espress p Jr mf THE MERRY ELF FREDERICK A.WILLIAMS The elf depicted by this music is a merry elf indeed,full of quips and smiles. Characteristic pieces of this type are most useful for study ^last time■to Coda/fu purposes, affording at the same time recreation and opportunity for real musical advancement. Grade 2\ M m §0 / A.# _ jj _ -T gg 0 0 g ft gg a g ,

I »>f~ irtEfrV ikifTrl *Tff ^ m

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Copyright 1916 by Theo. Presser Co. British Copyright secured British Copyright secured JANUARY THE ETUDE Page 39 Page 38 THE ETUDE JANUARY 1917 VIVIENNE PETITE CAPRICE RODOLPHE J. VANASSE An entertaining’ caprice, somewhat in the style of a waltz movement, but with frequent changes of pace. Mr. Vanastse is a promising young com. poser, new to our ETUDE readers. Grade 3.

An easypoloimixe movement, correct in form and' in rhythm. Note the effect of the first theme closing on the third beat of the measure, and the second theme closing on the second beat . Grade 3| Moderato m.m.J=ios

8 l£ 1 1 -I~r jTl iJ?ll ri iT /r r ] r

L 9 Fine -k—•£—•£-

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iqff f t-J' l ' British Copyright secured Mm Page 41 JANUARY 1917 THE ETUDE Page 40 THE ETUDE JA XUARY tin MESSAGE OP LOYE A BOYS ON PARADE VALSE Arr.by Albert Franz emil Rhode In the original concert waltz these beautiful themes appear in a guise too difficult for even the moderately advanced. As transcribed A lively and attractive military number with some verv useful educational features. The rhythmic treatment must be crisp and exact bv Mr Franz they are brought within.the reach of all. Grade 3 3 Poco moderato m.m. j- = 48 ^—. Mr. Emil Rhode is a successful American writer who makes his first appearance in the Etude. Grade Z.

Alla Marcia M.M.J = 108

4__ 5

Copyright 1916 by Theo.Presser Co. British Copyright secured THEETU™ OCEAN SPRAY JANUARY t9i? WALTZ A«running” waltz movement, affording good finger practice. Play it at a rapid pace and with automatic precision. Grade III.

A brilliant postlude or recital piece suitable for festival use. A Grand Choeur (grand chorus) is intended to display the full power of the organ and the resources of the separate manuals.The pedal obligato in the Finale is not difficult, but chiefly heel and toe work. JANUARY % Page 44 THE ETUDE JANUARY '1917 THE ETUDE Page 45 TRAUMEREI R. SCHUMANN Page 46 TEE ETUDE MALEANA .. # A Love Song from the Hawaiian THURLOW LIEORai*, Chas.F. Horner „ h»» caught exactly the proper .pin. .ndtk. lbl|l A very timely number, in view of the present popularity of Hawaiian music. Mr. u acteristic musical coloring. Moderato

WHERE THE ROSES WERE Alfred H. Hyatt G.JMARSCHAL LCEPKE A very artistic song, rising to a fine climax, demanding fervor and tenseness of expression.

ach-ingvoid of years; Lovewaits to dry our eyes that now have wept a - far too long, less with-out love’s guest; To reach it, break each bar-ri-er, down each bar, And know of all life’s

#NOTE-Pronounce the name Maleana like-Ma-la-ah-na. Kapiolani lik^ v NOTE-Alohaoe is the Hawaiian word for “Farewell Forever.” pe-o-la- CoPyright MCMXV- by G. Marsciial Loepke Copyright 1915 by Theo. Presser Co- Copyright transferred 1916 to Theo. Presser Co. International Copyright secured THE ETUDE 49 Jaevary m Eage, 48 THE ETUDE __ »--»«--ttirTTTir-r-. When Homer Nods YOU SING TO THE WORLD OF A SU^EJM’LMlS By E. H. Pierce Elizabeth K.Reynolds ^ Many teachers still make great use of time of the composers, and know that in A vhpv nr fit. tv mftnt.. in an ftfffifttivA modern muainal cat.t.inrr This would make a fine 6TIC0V6 the sonatas of Haydn and Mozart as their day these forms were all new and teaching material, in some cases, in a unhackneyed. Exercises and etudes were carefully designed progressive order. In devised by later composers, to develop my own student days at the Leipsic Con¬ ability to play the sonatas. It is very- servatory, one of the two leading piano far from the truth to imagine that the teachers ran chiefly to Mozart, the other sonatas were made up of exercise figures, to Haydn. With the growing interest in or were designed in any way as exercises. more modern schools of composition, and the emphasis placed on acquiring the nec¬ This is a false impression that the young essary technic rather through a limited student, who pursues a graded course of number of well chosen technical exercises sonatas such as we alluded to in the first than by going through a huge amount of of this article, is apt to receive. graded “material,” such a course is be¬ Third: The piano of Haydn and Mo¬ coming more and more out of date. zart’s day was a very different instru¬ Nevertheless, these compositions occupy ment from ours. In most respects, it was such an important place in musical his¬ far inferior, but not in all. It has been tory that to ignore them entirely is cer¬ my privilege to play on several well-pre¬ tainly to go too far to the other extreme, served or carefully restored old instru¬ and to make one’s musical development ments, including one which actually once sadly one-sided. Certainly every player belonged to Mozart himself—(now in should be familiar with at least two or the Mozart Museum at Salzburg)—and to three of Haydn’s and two or three of observe that their sweet light tinkling tone Mozart’s sonatas, but these should be is specially pleasing for the rapid runs chosen from among the best of their and ornaments of Mozart’s piano style. works, not from among those which in Our own pianos have a richer, yet after sporting parlance we might call the “also all, a duller tone, and the action is deeper and harder than in the early instruments. Let us “tell the truth and shame the Fourth: The Minuet, an old dance- devil”—any very voluminous writer, in form which finds such frequent use in either music or literature, will occasionally the works we are discussing, without have his sleepy hours in which he brings doubt impressed the hearers of that day forth something dull and trivial, and in a way we fail to realize. It was the Haydn and Mozart, geniuses though they popular dance of the day, and its rhythm were, form no exception. The ancients had connotations of gayety and gallantry. used to say, of some of the less inspired To us it is merely a classical convention, parts of the Iliad and Odyssey,—“Good and to tell the truth, sometimes a bit Homer nods.” tiresome. Beethoven possibly felt that, There are certain' other facts, not as too, when he began to write Scherzos in¬ widely known as they might be, which stead of Minuets. It merely goes to would aid the student to a right apprecia¬ show how the fashion of the day vanishes, tion of both the good and the bad in generation after generation. That which these classic works. Haydn and Mozart wrote, merely to suit First: The very trivial finales which the taste of their own day, has become, we sometimes find, made up of a sort of or is becoming, almost obsolete: that in quadrille tunes, and divided into short which they followed the guidance of their repeated sections, were a concession to own genius, and brought forth the best the taste of the day, now long since out¬ they had within them, is still fresh and grown. Some of Haydn’s sonatas, in beautiful. It was my intention, at first, that day, in their elaborate first move¬ to give a list of what I considered the ments and adagios, sounded as deep and most worthy of study among the sonatas complex as Brahms’ sonatas do to us. of these old masters; but on second Good old Papa Haydn would close with a thought that would seem to be too much light finale in the then popular style, to a putting forward of my own personality. leave his audience good natured. The Any good musician, if he does not allow same is true, to some extent, of Mozart. himself to be blinded by a false and super¬ Second: There are certain conven¬ stitious reverence for great names, can tional figures, especially the so-called “Al¬ tell in which numbers a composer is at berti bass,” which now strike us as being his best, and which, on the other hand, somewhat bare and ’ e^ercise-like. We had better be passed by in charitable should put ourselves, in thought, in the silence.

Hoping Against Hope

By Ethel P. Ware Write for Story of “The Nine Muses”

One of the blessed things about man often very lonely when they have climbed KRANICH & BACH is that he is capable of being developed to the top. On the way up there are 235-245 East 23d Street New York City through his own will. Native gifts do thousands fallen by the wayside. of course play a large part in the success It is very necessary therefore that we of the music student yet the educated should all consider our possibilities very THE MUSICAL BOOKLET LIBRARY will can work wonders. The cultured seriously. Do not be deceived. Find out , LIST OF SUBJECTS-Price per Booklet 10 Cents. 1 How MacDowell Taught the Piano. By 6 Physical Exercises for Piano Students man is one who has fertilized and tilled what you really are. Determine whether Mrs. MacDowell. By Dr. W. R. C. Latson. ’ his mind as the farmer tills the soil. He you have the gifts that will enable you 2 Securing New Pupils. By J. Eastman. 7 Passing the Dead Line. By T. Tapper. 3 Success in the Pupils’ Recital. By P. V. 8 Peer Gynt. A Dramatic Prose Reading. can make himself productive or unpro¬ to do what you propose to do. Most of ductive just as he understands his soil the disappointments in life come from 9 HowtoU°eIthe0MeStronomear Bylw'c.' G. Hamilton, M.A. and as he industriously works upon it. failing to identify our gifts in good sea¬ There are. however, certain students of son. It is human to want to be some¬ THEO. PRESSER CO., PHILADELPHIA, PA. music who are so constituted by nature thing that one is not. The hen is a most that it seems hopeless for them to suc¬ useful bird and its usefulness would not ceed. Fortunately they are very few. be nearly so great if it were the peacock Music is an art which almost anyone with his gorgeous plumage. There is an ZABEL BROTHERS may develop and enjoy if sufficient time old English proverb which we all should •s given to it. This, however, is quite know full well, MUSIC PRINTERS and ENGRAVERS different from aspiring to be a great vir¬ Send for Itemized Price List and Samples tuoso or a great singer. The heights are The Ass who goes a-traveling COLUMBIA AVE. AND RANDOLPH ST. PHILADELPHIA, PA. kept for a few solitary talents who are Will not come back a horse. Please mention THE ETUDE when addressing our advertisers. 50 THE ETUDE THE ETUDE 51

How to Study a Song a.ggvwa,iy/,e> nsJ, ' Much has been written upon “How to These passages must be practiced ten - Study a Beethoven Sonata," or “How to times as much as the rest of the song, Department for Singers Study a Chopin Etude." Edition after with great care not to force the tone but edition of the piano classics has been pub¬ to place it with economical control of Editor for January, Mr. NICHOLAS DOUTY lished, indicating clearly the phrasing of the breath- The singer has the satisfac¬ each passage, the fingering, and the pedal¬ tion of knowing that after mastering this ing. Famous pianists have issued their recitative, other things of the same kind favorite pieces, with copious explanations will be easier to him. showing how each difficult passage The aria “Every Valley” has three of Vocal Resonance? should be practiced. or four pas-sages of extreme difficultv. Where is the Seat Scarcely anything of this sort has been Bars 14 to 19, 21 to 24, and 27 to 51 are . pven in the antrum of resonance sounds thick and ugly; jn a attempted with songs, because in the first practically coloratura passages for tenor. The Need of a Resonant Tone Smore and the" frontal sinuses) and by singer's parlance it ig “too far back." i place it is more difficult to do, and in The advice given in the case of similar Of resonance, .however, there is com¬ needs mouth and head (nasal) rei#, the second because the technical pianist passages in “Rejoice Greatly” applies here Mr. Nicholas Douty the resonance of the bones of the face. paratively little mention in the singing nances to give it bite and brilliance. works with a visible instrument, and can both as to separate practice and to the Mr. Nicholas Douty, who edits books. And yet a resonant tone is a sine This eternal principle is so old indicate readily just what he wants done, change of vowel sounds. They are more The Etude Voice Department for qua non nowadays, when orchestras are always seems new with each new g Voices Need Upper Resonance while the instrument upon which the difficult than the roulades in the former tion. The old Italians insisted upon it this month, is one of the most growing larger, and auditoriums vaster Most voices need the upper resonaim vocalist plays is hidden in his throat. piece, because they are written around distinguished American musicians. and vaster, strongly, although they used other words most. Jean de Reszke, a supremely gmt I shall endeavor to suggest a method the break of the voice. Bars 30 to 33 He is an excellent organist and to express it. It is practiced by every First of all the singer must be heard artist, wrote “La grande question * of .studying two famous arias from Han¬ and 36 to 40 contain another kind of dif¬ pianist as well as the composer of ragman, every huckster, every ltineran thirty or forty published part before one can judge whether one likes chant devient une question de nez”~“u, del’s Messiah, “Rejoice Greatly,” for so¬ ficulty. The production of these long- preacher, every railroad train-announcer, prano, and “Comfort Ye” and “Every songs and songs. It is, however, him ot not. It may be a fault of the great question of the voice becomes a sustained tones (again B the fourth every public speaker, every newsboy, in- Valley” for tenor. The two numbers are space) must be free from throat, jaw as a tenor and teacher of singing present age, which the future will rem- question of the nose." Pol Planqon, on. that Mr. Douty is best known. deed every man who uses his voice forc¬ very different, the first presenting techni¬ and tongue stiffness. Nor should they _ edy; but at the moment every public of the greatest vocajists that ever lived He was born in Philadelphia, and ibly and continuously. These men learn cal difficulties only, while the second is be forced. Economy of breath is very singer must have a resonant voice. used to spend hours in soft practice to gei is a pupil of Osgood, Dexter, to use their resonances, or they get extremely difficult from both the stand¬ important here, or the tones cannot be Castle, Randegger (London) and Resonance, according to Webster’s dic¬ the resonance of the cavities of the fas points of interpretation and technic. held out to the end without losing Sbriglia (Paris). *He has ap¬ tionary is “the state of being able to hoarse, lose their voices and must seek and head. To sing “Dans la masque" j, quality. peared as soloist with almost sound loudly; to reverberate; to be filled other occupations. Swifts Four Cut out Calendar Dolls a great thing; no singer can be pa “Rejoice Greatly” Passages of this character tire the voice every great Choral Society in the with sound or ring." Every instrument Send to-day for your set East and in the West, and has. without it. Anc? yet to sacrifice the chest “Rejoice Greatly" is a florid aria which very quickly; they must not be practiced been the tenor soloist in every is made up of two parts—first, the sound resonance for it is to fail to use the com¬ must be sung with a dear, light tone too often or too long at a time. Sing producing part; second, the resonating These big darlings, each with four fetching than her red, blue and green costumes. festival of the famous Bach Choir plete vocal mechanism. production, with the attention concen¬ them twice or thrice, with the whole at¬ Everyone loves Sweet Sylvia for her dewy of Bethlehem,—Editor op The medium. For example, the drum con¬ beautiful costumes — all sixteen richly A celebrated throat doctor once told tit trated upon economizing the outflow pf tention concentrated upon the production violet eyes, and hair as golden as her nature. Etude. sists not only of a tightly stretched skin. colored—are more than 18 inches tall, big How pretty she looks in her white, rose, blue writer of this article that the quality o; the breath. Two very difficult passages of the voice and the control of the as live new babies, can stand alone! Each and red costumes! The resonance chamber beneath made, in a man’s voice was determined by ft present themselves instantly, both of breath. It is in just such passages that doll is worth 25c. You will say you As for Merry Myrtle, her brown hair and the kettle-drum, of metal, and in the them long roulades. They are between twinkling blue eyes are irresistible. In a pretty shape of the bones and cavities of his the control of the voice by the mind plays never saw such unusual calendars, even blue or pink or tan or scarlet costume she is All books upon singing contain endless snare drum of wood, is a resonance bars 18 and 23, and between bars 71 and so large a part. in the famous Swift “Premium” series. nose and face. This is undoubtedly tint, discussions upon breaks, registers, head chamber which greatly increases and im¬ 75, and both are sung upon the word It is difficult to speak about the inter¬ How your children will love them! It is also true that the quality and range voice, mixed voice, chest voice, high proves the tone. The violin, the king of “Rejoice.” These passages must be prac¬ pretation of the recitative and aria. How their little hearts will thrill with of his voice are determined by size and larynx, low larynx, stiffness of the jaw, instruments, is but a curiously shaped ticed separately (just as passages are These words are the words of God, and joy, when they dress and undress these Swift’s “Premium” Ham condition of his larynx and size and tongue and throat. wooden box over which catgut strings taken separately in piano practice), from the recitative must be sung, therefore, big beauties! and Bacon strength of his thorax. You too must be stony-hearted if you Whole libraries are filled with books (one wound with metal) are stretched five to ten times as often as the rest of with great dignity, authority, and control. It is all the man that sings. He needs will not find yourself smiling.every day on breathing, reanis of paper are used up and are set into vibration by rubbing with the song. If the voice is not flexible No super-sentimentality, no emotional indeed to be the “Mens Sana*in corport enough to sing them at the proper speed, slopping over, no purely human passion of 1917 as you look at these winsome in discourses upon enunciation. Inter* a horse-hair bow, The strings themselves little faces, and enjoying each season’s sano.” This article deals only with the they must be sung slower and, if neces¬ pretation is written about in terms of produce little tone. It is the co-vibration or hysterja; no operatic theatricisms are change to a gay new costume. sary, divided into sections. The speed allowable. Yet the tone must be warm such obscurity that we are left quite in (resonance) of the wood and varnish, often neglected subject of resonance. The must be gradually increased until they and compassionate with something of the dark as to what the author means. and the air contained in the fiddle, which charming differences of timbre which« Their Characters and Costumes give the instrument its characteristic notice in the voices of the many singers aan be sung up to time. divine tenderness. The secco recitative, Who could resist Dashing Donald, the hand¬ Psychology—the control of the voice some boy doll, in any of his three gay sporting beauty and richness of tone and its It is good to try various vowel sounds bars 30 to 37, must be declaimed with by the will—is the latest panacea invoked before the public are as characteristics- suits or his surprise costume? carrying power. their faces or their figures. upon these passages. For instance, a power and sonority. Coy Clarabel with her bashful brown eyes, by the theorists to cure all vocal ills. Last red lips and curly black hair would melt the McCormack’s silvery, lyric voice, Ca- darker voice may find the vowel sound The tone quality in the aria “Every of all, we have the printed wail of the EE helpful, both to bring the voice for¬ heart of an iceberg. Nothing could be more Forms of Resonance ruso’s darker colored, tragic tenor, Ami Y’alley” must be light and clear, so that conductor that the singers cannot sing ward and to economize the breath. A the somewhat old-fashioned roulades shall' In the trumpet, the air is put into vibra¬ to’s rich and Ruffq’s brilliant baritone Swift & Company, 4246 Packers Ave., Chicago in time and tune—in a word, that they bright, clear voice must not use the Ell sound neither smeary nor ponderous- It tion by the action of the lungs and the Gluck’s warm timbre, Hinkle’s voice, col¬ are not musicians, Mr. Nicholas Douty. sound but must stick to AH. is a difficult aria for a robust voice to lips. The resonance of the metal tube ored like moonlight, Emmy Destinn'sand The truth of the matter is that the gives the resulting tone its tremendous Another difficult passage is on bars 62 sing, but practicing with a light flowing Geraldine Farrar’s tones—the one impas¬ to 65,—“He shall speak peace unto the singer who makes a public success must power, and peculiar penetrating timbre. Giuseppe Sbriglia, an Italian who spent tone and not too much force will make sioned yet clear, the other sweet life heathen.” The difficulty here is almost have a practical working knowledge of It is not so much the microscopic inden¬ his later years, in Paris, was perhaps the its execution possible. Do not plod honey—each voice owes its characterise altogether one of breath control. It, too, through it like an old horse pulling a all these things, and more. He must con¬ tations upon the rubber plate of the rec¬ most, famous exponent of this principle, Mastering the Scales and Arpeggios charm and quality to the peculiar shape should be practiced separately, and great loaded cart up a hill. Do not use too trol his registers sufficiently well so that ord which makes the phonograph an in¬ although it is very clearly shown in the there will not be a marked break between and individual use of the resonators, ptf care should be exercised that the neces- big a tone in it. Rather let the clarity strument of happiness or of torture. work of almost every one of the great By JAMES FRANCIS COOKE fary crescendo and diminuendo should be and ease of the tone, and the consequent them. He must evolve for himself a sys¬ modern teachers. notably Marchesi, nature and part art. They are, indeed, the “personal record” made without loss of breath. As far as carrying power which this method of tem of breathing which will enable him Stockhausen, Lili Lehmann and Randeg¬ Price $1.25 of the voice of a man or the sound of an interpretation is concerned the words singing gives, produce the effect of buoy¬ to produce and control his tones, and to orchestra. Without the resonance of the ger. Sbriglia was neither a fine musician make clear just what the song means. ancy and freedom which the song de¬ Scales have been the backbone of nearly every Virtuoso’s career. make dynamic changes which the music cabinet of wood, and the horn of metal nor a remarkable scholar. He had, how¬ Some Excellent Principles The first and last portions of the song mands. Above all, it should be sung with This book is strongly endorsed by such eminent artists as demands. Whether his larynx be high or or of papier-mache, the sound of the ever, a marvelous feeling for tone, and low makes little difference to his audience, of Voice Production should be sung with the bright, brilliant many changes of dynamic force, and not MORITZ ROSENTHAL * OSSIP GABRILOWITSCH record would be almost inaudible. Sea an uncanny instinct which led him un¬ tone quality usually associated with col¬ in one long monotonous forte. but after many experiments (if he thinks Dr. Thomas Fillebrown. in his vet)' TERESA CARRENO KATHARINE GOODSON captains and baseball announcers know erringly to the obstructions which pre¬ oratura singing. The tone should never It is confidently hoped that the study of the matter at all) he will find out for and thousands of successful teachers to whom it has become the stand¬ r that the megaphone not only concentrates vented its proper emission. The singing excellent little book, "Resonance in Sing¬ be thick and somber or heavy. The of one of these famous songs in the man¬ himself the position of the greatest ease ard book upon this very important subject. the voice, but helps to give it carrying worid owes him many a debt, but perhaps ing and Speaking," lays down the follow- whole middle section, being more ex¬ ner suggested here will give to the stu¬ and comfort. Nor can he hope to sing power and volume. Is there not, then, h s insistence upon the triple resonance ing rules: pressive and .sustained, must have, by It is without question the most complete and comprehensive book very long with a stiff jaw and tongue and dent a method which, with modifications, some resonance apparatus connected with of the chest, mouth and nose (headl 1 The singing and speaking tones a'1 way of contrast, a somewhat darker will apply to the study of every song, on the scales and arpeggios. throat. He will soon tire, end his enun¬ the human singing voice? Is Nature cavities ,s h,s greatest legacy to posterity identical, produced by the same organ» quality of tone. ancient and modern. ciation will be bad. Send for circular such a bungler that she must learn from t is not meant by this statement (nor did the same way. and developed by the same In the recitative for tenor “Comfort He must have enough interpretive abil¬ the mechanician and the physicist? he teach it) that the amount of co vibra training. Ye,” several difficulties are immediately ity to interest his audience and enough The Timid Singer I am not speaking at this time of those t.on remains constant in each of the th,T II. breathing is. for the singer, W recognized. In the first place there are THEO. PRESSER CO. Philadelphia, Pa. psychic control to hold both himself and marvellously delicate and dexterous ac¬ resonators with every „o?e of the 1' ^ the amplification of the correct ®- many long-sustained tones on E (fourth By Amelia L. Cranford them well in hand. If he fail markedly tion of the muscles, of the tongue, lips, habit. space), a very difficult tone in the tenor in any of these things (or in.one or two jaws and soft palate, which produce those every nLyte ThPrOP?rti0n Changes vvith closdi voice. The long crescendo and diminu¬ Timidity -and vocalism often go to¬ others which I have not mentioned) the III. Head tones, chestcnesi tones, . | gether. I know of a singer whose voice modifications of tone called words. I am tones, open tones, as confined to sp«» endo on the first syllable of the -word great American public will cure him of resonance onV/Lgh^sb^riXs't is as beautiful as any grand opera prima speaking of the tone itself, uttered upon resonance on the lower ones. * parts of the range of the voice, »re ® "Comfort” (bar 8) is particularly trying, his ambition to be a singer by the simple and tenors breathe a sigh of relief when donna I have ever heard. Moreover she a pure open vowel sound. Each singer must find out bv i trading distinctions, arising h°m tV5 BEGINNER’S BOOK expedient of staying away from his con¬ it is over. These tones, E, Et, and Ft, sings exquisitely. Much of this is wasted education. ., certs. The managers will not give him The Human Voice and the passages connecting them, in the because she has' no confidence whatever. School of the Pianoforte IV. Resonance determines the anything to do, and he will be literally so-called break of the voice, present a All of her expensive musical training By THEODORE PRESSER Price 75 Cents The human voice is produced by. the and carrying power of every tone, an ■ starved into another profession. He will very interesting problem. Should they be has been wasted because she is really action of the breath upon the vocal therefore the most important eleinen then become a lawyer, a clerk, a plumber, bands. Its tone is greatly reinforced sung “open” or “covered,” to use the afraid to make the necessary effort. hi* >'»»! with onl, ,h,* the study and the training of the yolC' an insurance agent, a tramp, a clergyman (even as the phonographic record is re¬ singers’ slang? It depends on the voice, Often poor health is at the base of V. The obstacles to good singi»f or a writer of articles on the voice, as inforced) by the co-vibration of the air of course, and after all each singer must timidity. The singer should do every¬ psychologic rather than physiologic- Fortune and circumstances may decide. in the cavities of the chest, mouth and choose for himself, but it is safest to thing to build up the body and build up VI. In the nature of things, the t THEO. PRESSER CO., 1712-14 Chestnut St., Philadelphia, Pa. -y. A iow\^roVVEiX“ use a “covered” or “mixed” tone, with the will power. Only by such means way always is the easy way. Plenty of head (nasal) resonance. can timidity be combatted. Please mention THE ETUDE when addressing our advertisers. 52 THE ETUDE THE ETUDE The Composer Vowels and Consonants (Continued from, page 16.) Sarolta, who had tried to smile welcome Every language contains some vowel ening it a little, except on a few tones ^ “I won’t go to his tea,” snapped Sarolta. at their entrance, had now, somehow, so She was slightly out of countenance over the and consonant sounds which are difficult his middle voice. Ay sounds (as m y’ much trouble to keep herself from tears that the unardent contents of the scorned letter; to sing. Italian has the fewest; French Say, Day) are plentiful in English, lneY any. attempt at looking cheerful was beyond Madame overruled her peremptorily: her power. She sat upright against her Wise is next; and English and German follow are very ugly if they are sung exact y as “Ta-ta-ta!—Of course you’ll go. And so possibilities of in the order named. they are spoken, with the upper tip little bard pillow, a quivering underlip be¬ tween her teeth, staring fixedly into space. shall I. Mon Dieu, nion Dleul Idiot that Among singers, too, there are personal raised and the corners of the mouth ex¬ “You think Dr. Lotbnar Is satisfied?” she I am!” She thumped her solid chest, rose artistic expression, idiosyncrasies. One has difficulty with tended. . _ faltered. from her chair, and rushed for the door. Women the Aye sounds, another with the Oh Both OO and the vowel sound in Pew, She had had his Intimate assurance that “The papers!” shrieked Costanza. To think on the and OO. One person cannot sing EE Jew, Stew require such a contraction ot he was so; but, after the fashion of the I have not yet seen a single paper.—The upon the high notes, another cannot sing the lips that only a few voices can sing feminine heart, she hungered for more. Frankfurter Zeitung, the Munchener Allge- it on the low. Some composers take cog- them without producing a stiff, small, “Satisfied?” screamed the lady, taking the meine, the Tagehlatt—they’ll all be coming Emerson question In a general sense. “When was in now, besides their local ‘cabbage leaves.’ who nizance of these peculiarities. Puccini, somewhat muffled sound, Sady, my lamb, let us run, run. We will re¬ for example, in La Tosca, writes two sets Slovenly habits of speech and collo- that master ever satisfied? I saw Reinhardt Synchrona this morning. He tells me they sat up all turn to the prima donna in a minute. Ah, of words for a difficult passage for the quialisms spoil many an otherwise beauti- night, and that there was not one Instru¬ heaven, your first press-notices—does not tenor voice, giving a choice between ful voice. The somewhat hard, pinched ment nor a passage It played, from begin¬ that spell life!” Stay are only _ Costane” and “Vita” upon the high tone, vowels of the typical Yankee, the curious ning to end, which the extraordinary being If one’s press-notices spelt life, waiting R. Huntington Woodman, in his popular slurred R of the dweller in '.Manhattan, did not discuss, dissect, find fault with. for them was, Sarolta found, a very un¬ limited by the song, A Birthday, allows the singer to .the ugly twang of the Philadelphian, and Susanna Cocroft And, by the way, you are to have a new pleasant process. Lothnar, and Lothnar Dept. 29, 624 Michigan Avenue, Chicago maman Clytemnestra for the next perform¬ only, had hitherto hounded her horizon; ’ use either “Come” or “Me” upon the long the languid drawl of the Southerner have ance, and Reinhardt says you may be sum¬ Young high F which ends the song. But com- no place in artistic singing. It is part of she had scarcely cast a thought upon the musical taste moned any hour to-morrow to rehearse her. opinion of the rest of the world. posers are not always careful to put the the business both of student and teacher Yes, la Volga goes. Volga, with that voice easiest word—the word which gives the to free their voices from these purely of glory 1 The only contralto In the world ; The two beaming faces that, after an in¬ of the KindergartenTeachers tolerable delay, shone once more Into her best and most effective tone—upon the local peculiarities. With a purer speech has any one heard such folly ?’’ C VER true is the say- Have you not always wanted a boot of shon, room, with the papers in hand, dispelled her best notes in the voice. It is not fair to will < i easier emission of voice, and Sarolta went white to the lips. ' ing that “A woman one who plays it RHYTftMS^c’h w£ldVA&REST'the cMta' sick anxiety at one glance. It hardly ask the composer to be a voice specialist a mo e beautiful and expressive enuncia- “Did Reinhardt say nothing about me?” she faltered. needed Sady’s tremulous congratulations, or who always loves never as well. The technic of composition is so tion. thern^^Resporis^in'CraatHreAction. m madame’s full-blooded chant: “Io tri- The AccompanO at¬ very complex that it takes a long time to The Book you want is called Sady, for once qulcker-wltted than Madame umphe!” grows old”—but equal¬ Helpful Rules Costanza, flung herself upon her friend’s learn it. And composers claim, with “You are made! You have arrived, my tachment is of special ^__ _ __w l A few simple rules carefully observed Rhythms for the Kindergarten bed. ly true that “to keep : justice, that the attempt to bring the Music by HERBERT E. HYDE dear,” cried that lady, scattering newspapers “About you, honey!—X should think he young you must keep healthy.” steadily I find myself able to enjoy both interest to singers best tone upon the best word would'ham- w.iU make the whole subject much clearer, PRICE, *1.00 did! My word! . . . Iphigenia, the broadcast. per their' inspiration and make the writ- Single consonants, and combinations of JUST PUBLISHED BY gem of the whole thing! Why, you’re In Then, unexpectedly, even to herself, Sa¬ For youth and beauty are but the work and Play again—to do as much of ing of a good song even more difficult consonants, must be enunciated lightly everybody’s mouth. Fact is, I believe you rolta’s soul was filled with disdain. She Dealers in principal CLAYTON F. SUMMY CO., Chicago outward signs of inward health,— botb as * ever d’d‘ cities and towns than it is at present. The poor singer, and loosely, with the least possible effort 64 E. VAN BUREN STREET have made that opera. Madame may say smiled without replying. Had she not al¬ what she likes . . . ’tis a bit beyond however, is “between the devil and the the tongue, jaw and throat muscles, Send fc. _ ready received the only testimony she cared with nerOCS unworn. For, remember, Sanatogen is a natural, Illustrated catalog sent free on request this NEW BOOK. most people’s comprehension. But, from the for? Did it need a German paper to tell deep sea.” He finds himself unable to They must cause the shortest possible in¬ moment you came—you darling little white her that she had succeeded? pure food-tonic which supplies the system sing a passage as effectively as he and the terruption of the flow of the tone com- thing, with your darling sweet voice, and “God forgive me,” thought the music- Wise women the world over turn to with exactly the elements needed to fortify composer desire it, because his patible with distinctness of pronuncia- the pity of you, and the prettiness of you, and the real right-down human nature of mistress, “the little one • is already beyond Sanatogen to protect and strengthen their and rebuild. Medical men everywhere rec- Emerson Piano Co. not utter a good tone upon the word Mame Barbereux Parry herself 1” Established 1849 which is given him. If he changes the AUTHOR OF you—why, you were Iphigenia !” nerves amid the stress and strain of modern ommend Sanatogen and more than 21.000 Beauty of tone is the first considera- V#w»ol ^ Limitation and 1 Price At the Schone Aussicht word, he does violence to the poem; if he Sady slid from the bed, and feigned to be life. Lady Henry Somerset (quoted by haye stated jn writing thejr confidence in Boston, Mass, U. S. A. sn. . The vowel sounds must be sung VOCdl | Its Elimination / $1.00 engaged in straightening the roses. changes the music, he gives infinite pain Sir John Holdfast’s teh party at the permission) in writing to a friend said. “I ;ts beneficent effects. purely as possible, but beauty of tone A Definite WAY to develop RANGE Schone Aussicht duly took place. He secured -to the composer. .,.T „tvvl “Of course, poor Johnny gave you these,” never be sacrificed. Rather the and RESONANCE said Sady presently, in a tone of exaggerated the whole of the small veranda. The June have proved that Sanatogen is an ideal Inevitably, therefore, he adopts other vowel sound very often be unnotice- Studio: 514 FINE ARTS BLDG., CHICAGO cheerfulness. “He supped with us last night. weather was glorious ; 'the Russian tea was food-tonic and I strongly urge you to adopt FREE SAMPLE OFFER expedients to enable him to overcome the ably modified Why—this Is his letter, ain’t it?” She all that was expected ; the Sandtorten and to free the muscles this simple means of recovery.” On request we will send a 25-gram Sample difficu ties that are forced upon him. Con- of the throat and tongue, and produce picked up the despised document that lay, Mandelnkiichen upheld their reputation; age of Sanatogen. also Richard Le Galli< NEW VOCAL MUSIC “ON SALE" face upward, on the floor. “You haven’t sciously or unconsciously he begins to finer, more resonant tone. Have your name entered lor the receiving of i Sady declared that the raspberries and booklet, “The Art of Living,” touching on even opened it, you hard-hearted little cream were beyond dreams—-and Sady was a You should heed this advice if you wish A Course in Vocal Training modify the vowel sounds, so as to make These gentle, tactful, careful relaxa- few small packages of new music ON SALE during togen’s kindly help and giving other aid connoisseur. All his guests, moreover, ap¬ FOR to be able to say with Mme. Sarah Grand, better health. Address The B: toTstenm Ordin T h"4 m°re bearUtf“' tions\ which ™Prove the tone without de- “I don’t want to,” said Sarolta. “I told peared, including an unexpected one in the Cp °Ty He ma,y Say Can *’ str,oymg the word, belong to the higher him not to plague me here.” shape of Chopin Mosenthal, brought by the famous author: “After taking Sanatogen 29G Irving Place. New York. SINGERS Grass, Pass and many other similar art of singing. They can scarcely beVt tal card will stop the sending sny time. Thousand “That poor Sir John,” said madame, sit¬ Madame Costanza. of teachers receive piano music from us in thisway; Sanatogen is sold by good druggists everywhere, words with the short sound Aye, but he tempted without the aid of a eood ting down weightily upon Sarolta’s solitary This lady herself arrived at the rendez¬ they say if as most convenient to have 8 or 10 nt» in three sizes, from $1.00 up who desire to teach. Beginning will invariably sing them Can’t. Grass, teacher Thev nro . go?d chair—“one must pity him, all the same! vous in a heated, panting condition, but In Pass, with the broad sound Ah. Nor will work of all vL ° d’ ho,wev.er; in the Yon need not accept him, my child. But high good-humor. She was so full of the June 15 th. Address he sing the sharp sound EE (as in Peep "°Jn° g°°d SmgerSsingers :; mdeedindeed the best you need not despise him either. A faithful, news she had to impart that beyond a side- scarcely be possible without Deep, etc.) without deepening and dark- them. THEO. PRESSER CO., Philadelphia, Pa. humble love! Allez, it is not a bad thing flung, “Bonjour, madame," she took little Geo. Chadwick Stock to have it at the back of one’s life. For this notice of Lady Caroline when Johnny cere¬ is a very treacherous world, my little one, moniously introduced them to each other. SANATOGEN Voice Studio Harry Munro. baritone as kings and queens and artists find out Lady Caroline instantly conceived a strong Y. M. C. A. Bldg,, New Haven, Ct. sooner than most.” dislike to the genial artist; and included in The Sound-Reproducing Machine as an Aid Sarolta shifted her head irritably, without her disfavor the long, slender, dark lad, ENDORSED BY OVER 21,000 PHYSIC IANS Author of Guiding Thoughts for Singers—$1 Teacher of Voice and Singing from to Music Study the Mental standpoint reply. whose black curls actually fell over his face “You may read the tiresome letter. I when he bowed—which he did with prepos¬ Author of" Voice Ms Origin and Divine Nature" won’t,” she said evasively to Sady. terous frequency. When she discovered that For Teachers New Piano Music SINGERS—READ By Rena Bauer CARNEGIE HALL, NEW YORK “Read another's love-letter!” screamed he called Sarolta by her Christian name, and further beheld him sitting by her side, hold¬ Special Introductory Offer Voice Fundamentals madame. ing her hand, she Instantly and irrevocably A recent symposium in The Etude in “Then tear it up!” said Sarolta. IDYLLIC TONE PICTURES. By R. M. Stults. By HAROLD HURLBUT decided that Johnny was not going to marry which certain noted teachers discussed the found this method excellent for pupils to Arranging and Correction of Mss. “I guess I’d better read it,” said Sady, in Into “that crew” ;—not If she could help it. Ten Rustic Sketches; studies in Rhythm and Expression, carefully A SPECIALTY phrased and fingered for pupils. Price, 75 cents. See Special Offer. musical significance of the sound-repro¬ her pretty, quiet way. She broke open the Johnny himself was not very comfortable Xut° £caCTTPanin,entS With and envelope, perused, and gave a sudden little NATURE SKETCHES. By C. Kohlmann. ducing machine was of great value. The A. W. BORST, Presser Bldg., Phila., Pa. in his mind over this familiarity, though he mocking laugh. “Listen, Sarolta !” A Suite for Piano. For the Pupil or for Concert Use. Price, 75 cents. writer has found that these instruments was mighty scornful with his godmother on the subject later on, protesting that one See Special Offer. can be of much help in various ways. Sir John’s Letter would have “to be jolly Silly” to attach im¬ PIANO GEMS. By C. Kohlmann. By giving pupils an opportunity to hear ms *> READ ■ LUDENS Stop“Tliroat Tickling “My deae Miss Vaneck.—I came to hear portance to a cousin. Four Compositions. Grades 2 to 3. 30 cents each. the better class records, much can be done the opera. I hope you don’t mind. Every¬ “None of you will guess where I have body was coming. I liked It awfully. I To introduce to those not using them, we will send one of each, six Systematic Voice Training to cultivate intelligent listening to music. pitch ever afterward • , f tle Pr°Per been . . . tais-tol, Chopin.” . Students can be trained to listen for and thought you awfully good. I wonder if shouted Mme. Costanza. “My friends, I numbers in all for 50 cents. The value s $1.35, net—all for 50 cents By D. A. CLIPPINGER you’d come to tea with me to-day. I hear recognize the various musical instru¬ “tune up”. If 7esSdWthrVhring to come from the Altscbloss!” Seeing no en¬ HALL MACK CO., Publishers of Music. It Will Interest You in His Special Work in Voice there’s a place where they do you awfully 1018-1020 Arch St., Phila., Pa. ments in the orchestra. Thqy can also gain additional priSJta “n lightenment in Lady Caroline's severe gaze, Production and Interpretation. Circular. altering the speed nf th ansP°slng by well In the Park. I 'am going to ask nor in Sir John Holdfast’s blank one, she Address 1210 Kimball Hall, Chicago, Ill. listen for various interpretative effects, Madame Costanza and Miss Sehreiber. the music can'be halfTt" proceeded with gusto; “To Lothnar! T such as “attack”, “tempo rubato”, phrasing Rather like the old days in Paris—what? have been to Lothnar ! He sent for me ; Concert Singers and Vocal Teachers! and countless other details. Often several down. Naturally this aUerV h T U]> °r 1 should be awfully bucked up if you came. what do you think of that?” the music, so for nmoG • the teit,P° of Are You Using Our Successes BIND YOUR ETUDES records of the same work are available, “Yours very sincerely, “Yes; he sent for me, and you will never IN A it is better to reduce the1" tra"Sp0sing’ “John Holdfast. guess what for . . - to offer me—me!” as is the case for instance with Dvorak’s than increase it t speed rather “Big Ben” Binder Walter L. Bogert Humoreske. As this work is extremely “P. S.—The name of the cafe is Schone she struck her bosom with an open palm— WHEN SHADOWS Aussicht—I hope I’ve got it right. I forgot “the part of Clytemnestra! Conceive it popular, many students aspire to play it - to say I’ve got a godmother with me. Her And the most comic of it all is FALL mur*c^erof’rHEi'’njDEC.r Opfns they will find it of great value to compare Improvisation, or extern^ ■ • name is Lady Caroline Pountney. She hopes that for two minutes . . . two minutes! Fectly flat c Teacher of Singing the art of creatine and « T ?at,on- Now being sung inthe Opera of “Martha” -m be readily inserted each month as the interpretations of different artists. you’ll come.” I was on the very point of consent.—All, ce by Elaine .DeSellem, leading Contralto received. No complicated parts. Back and front No. 114 West 72nd St., NEW YORK CITY at one and the same ..perfornilng music They will be greatly surprised to find how Sady paused. Lcthnar! ‘It’s settled, then,’ he says. ‘Set¬ with the Boston English Opera Co. neatly lettered in gold. wide a divergence there is in the inter¬ the combination of wefl’h i As ™l,sic is ’“I thought you awf’ly good’ ... ‘I tled?’ X ory. ‘Nothing is settl.ed but that BRILLIANT LITTLE 101 cal Phrases, welded ^ !!]Ced rhyth- you are mad, and I very nearly so. No— ENCORE SONG PRICE, POSTPAID, $1.25 ••JjpswjhAmotmcements, *5.40 pretations offered by various prominent thought you awf’ly good!” said madame, in DARLIN’ NOW SO POPULAR symmetry 0f form so^hl g hef by the a rich, sing-song imitation of Johnny’s ac¬ no, my friend,’ I said to him; ‘I grant you Some readers prefer the binder which we formerly from chord to chord cent. “Oh, ces Anglais! Well, my dear, that I would not make you a bad Cflytem- Ask Your Dealers, 30c, or Send to furnished, and which we still send for *1.00, postpaid. ua.EoyalEkgrsvingojfsH-Wwil’nntsr For several years I have enjoyed play¬ with that lover you have my permission to nestrn. Ah, pour ca non. The whole world ing along with disc records and have s^, « not extemporization1 m °r d"' spend a month on a desert island !” would have talked of it. But, saperlipo- Chicago McKinley music co. THE ETUDE, Philadelphia, Pa. notmusic.-FRANKj°rSAw^(S,nce * is (Continued on page ;r.) Please mention THE ETUDE when addressing our advertisers. Please mention THE ETUDE when addressing our advertisers 54 THE ETUDE THE ETUDE 55

Some Suggestions on Pedaling

-^L&J f»»»i)i.Yft ss VAAv3.>V»l The first and most necessary element so-called “practice organ.” This is in good pedal work is to be absolutely frequently an instrument of ancient vint¬ for Organists sure of the exact position of each note age and quite often has 27, 25, or even Department of the pedal board. There is only one 21 keys in the pedal board. In addition, Editor for January, CHARLES M. COURBOIN way in which certainty in this respect can the pedal keys are often so narrow and be acquired. The teacher must insist so small and the intervals are so different Porto that the pupil should invariably get his from those on the present standard pedal body in the correct position, as described board that practice upon it is almost in the article on “Relaxation” and then useless. It might be said, in passing, Relaxation in Organ Playing hold that position throughout. The posi¬ that the idea prevalent in many churches One of the most important yet most izing that this state of tension will de¬ will find it impossible to relax properly compelled to pull stops, move couplers tion of the body must be fixed first; then that it will injure their organs to have sadly neglected principles of the mastery feat the very object for which he is striv- until he changes to correct position. If push combination buttons they lost their the pedal keys will be in the same relative pupils practice upon them is most harm¬ of organ playing, especially concert play¬ 'n8—a clean-cut delivery of the trouble¬ he maintains an incorrect position, the poise and equilibrium, their technic be¬ position every time, and the pupil will ful to the ^cause of good organ work. ing, is that of complete, scientific relaxa¬ some passage. strain on his shoulder and arm muscles came muddied and insecure because the soon be able to touch any key without As a matter of fact, the organ would be tion. Much of this trouble can be traced to will certainly interfere with his technic. muscles were being cramped and strained errors. If he sways to the right or left much better off if used through the week By relaxation and repose is meant a errors or neglect in the fundamental After getting into correct position the they lost their bearings, control of their on the bench so as to move the position than it is to be shut up from one Sunday careful and scientific training of mind piano education of the organist. As a performer should relax the whole arm work, and their self-confidence, and fin¬ of the hips, he will be sure to lose his till the next. In many cases the tender A JOURNEY of indescribable charm — sixteen days of and body, particularly of the body, so rule the organist’s piano foundation is from shoulder to finger tips. There ished their performance badly. All this bearings in regard to the pedal notes. care bestowed upon, these church instru¬ delightful cruising through the vivid blue waters of the that the organist may play without any -inadequate or of the wrong sort. How should be absolutely no sense of strain could have been avoided had they studied A good exercise to use in this connec¬ ments is out of all proportion to their Atlantic and the Caribbean. Visits to the quaint old sense of strain, tension, or nervous stress many are mastering Bach’s Inventions in anywhere along the line from the shoul¬ and practiced the principles of scientific tion is the following. After settling his value. cities of Porto Rico; glimpses of the picturesque life and build¬ relaxation. whatever. There is perhaps no other Two and Three parts, and the Preltedcs der to the finger tips, but every muscle body in correct position, the performer In regular pedal work the right foot ings of the romantic Spanish period. You explore ancient one thing that does more to render the and Fugues of the Well-Tempered Clavi¬ should be relaxed and free. The same should reach to the extreme right end should always be slightly in advance of forts, ramble through narrow, foreign streets and revel in the organist’s work ineffective than the fail¬ chord, so essential in securing good or¬ Organists of Different Countries thing should be true of the back and leg of the keyboard with his hands, then the left, the difference in position being scenes and atmosphere of the tropics. ure to study and observe this one prin¬ gan technic? Bach should not merely be muscles, and the performer should feel Many of the English and German to the extreme left, rotating the trunk at about four inches. There are two rea¬ ciple. played over until the pupil gets a general his whole body at repose. He is then organists are as a rule stiff and awkward the base of the spine without turning the sons for this. First, particularly in the 16-DAY CRUISE idea of his compositions, but his works Undue tension,—the failure to relax,— ready to begin. But he must continue in pulling stops and moving other acces¬ body on the bench or sliding it in any case of men, when one is called upon should be thoroughly mastered. The or¬ sories, and this tends to make their play- is the cause of much of the stammer¬ to watch himself constantly and to stop way along the bench. He should practice to strike two contiguous notes such as ganist must, as a rule, do even more ing cramped and lacking in ease The Expenses ing, muffling of tones, “muddy” technic, the moment he detects the least strain or this exercise on each manual, being sure C and D, one with one foot and one with *94.50 “d and inability to bring every passage out with the left hand than must the pianist, attitude of the body is reflected in their to move the right elbow well away from The steamer is your hotel for the entir< om i>ew i one to ana arouna rorto mco, and his left hand must become as highly- tightening on the muscles at any point. the other, the foot striking last is apt to stopping at principal ports and return. inch vesselsdj 10,000 tons, especially fitted clean-cut. Many organists go “all to playing. The French organist, on the the body when swinging to the right, the trained as his right if he is to meet the overlap and strike two notes instead of _ Saturday at noon. Write For illustrated pieces” and are in a state bordering on other hand, is apt to be afflicted with too left when swinging in that direction. l°or± felr C°^°r.‘ requirements of many of the classical A Great Organist’s Method one. This is much less likely to happen booklet. “Through Tropi Address: Cruising Department, nervous exhaustion following a difficult many mannerisms, although this fault organ compositions. There is nothing in One of the greatest organists and or¬ This exercise will do much to develop if the feet are separated as suggested concert recital because of failure to re¬ has been considerably modified in the last _ PORTO RICO LINE all classic piano literature which will do gan teachers of recent years was Al¬ flexibility of the body so that passages than it is if they are both extended the lax. They use up nervous energy in fifteen years. Perhaps the average Amer¬ 11 Broadway New York more to train the left hand than Bach. phonse Mailly, head of the organ depart¬ lying at the extremes on any manual same distance. A second reason is that straining muscles which are not needed ican organist combines the faults of both IAunebIh DISTRICT PASSENGER OFFICES The study of Bach is also most excel¬ ment of the Royal Conservatory of may be readily taken without disturbing one gets a much better support for his in the performance of the selection, and classes. Through the failure of the BOSTON PHILADELPHIA WASHINGTON NEW YORK lent training to secure independence of Music in Brussels and Organist to the the position on the bench. body and is less likely to lose balance and 192 Washington St. 701 Chestnut St. 1306 F Street, N. W. 290 Broadway the resulting nervous tension leads to a teacher to watch for tension and stiff¬ the hands, a thing even more necessary King of Belgium. He used to lay great One great fault in present-day organ general nervous disturbance which-is very ness in playing, or failure to realize that poise temporarily with the feet unevenly to the good organist than to the pianist. stress on relaxation and repose in play¬ harmful and trying. there is danger in such conditions, and teaching is the custom of some teachers advanced than if both are equally ex¬ In addition to performing the music, the ing. The moment he noticed the least through the faults in piano instruction of allowing their pupils to depend too tended. We have all had the unfortunate expe¬ organist must draw stops, change coup¬ evidence of strain or nervous tension, he mentioned above, many American organ much on “feeling” for their pedal notes. The pedal clavier, while good for the rience of listening to the public speaker lers, push combination buttons, etc., all would quietly stop the pupil, get him to students are seriously handicapped. The For example, the pupil if he wishes to beginner, is very poor for continued prac¬ who was embarrassed and ill at ease, and with the left hand equally as well and as center himself on the organ bench, relax writer has had American pupils in play F will “feel” with the toe for Ft, tice, because one must watch his feet to we all know the strain under which his rapidly as with the right. To play Bach every muscle, and then tell him to pro¬ Europe and in America who had not been or if he wants B, he will feel for Bb. audience labors for fear he will break vyell the pupil must understand relaxa¬ ceed. In this way he soon brought his know whether he is playing the correct properly trained in this respect and whose As a matter of fact, there is really no down entirely and retire in humiliation tion, and the teacher should watch the pupils to the point where it became almost notes. One should not look at his feet in instruction had to be begun all over more reason why one should “feel” for and failure. Much the same feeling is pnpff with great care and patience from an instinct with them to relax the muscles playing the pedals if he wishes to gain developed in the organist's audience when the time he takes up the study of Bach. upon beginning to play. again. They would start off well, but the a note on the pedal board than there speed, because it takes time, makes one the performer appears to be playing un¬ moment they had a change of stops to is for him to go through the same pro¬ One device of Mailly’s in this connec¬ lose his place in the score, tends to lack der a strain and to be forced to great Proper Position of the Body make they would lose their poise, become cess on the manuals. No piano teacher of confidence, and is fatal to successful tion will be of interest. He would usu¬ nervous and confused, and perhaps not efforts to perform the composition before The first essential for relaxation of would think of allowing a pupil to do concert playing. him. But if the artist appears quiet, re¬ ally have the pupil balance the trunk recover themselves before another change body in organ playing is proper position of the body perfectly erect, place the left this with his hands. Much of the poor Another absolute necessity for good laxed, and fully at ease, the audience has of the body. The organist should first came and the same condition was re¬ pedal work so often seen is the result nothing to disturb its repose of mind, foot on lower C note of the pedal board peated. Such a condition and habit is one pedal work is looseness and freedom of ORGANISTS, PLEASE NOTE! seq that the organ bench is set perfectly and the right foot on upper D and cen¬ of this “feeling” process. A great num¬ and its attention is focused fully on the very hard to break up and one which the knees. The foot should move across November issue of THE DIAPASON contained— straight, that is, parallel to the keyboard ter himself to these notes. Then he ber of unnecessary movements of the feet ^Austin Qrgans] composition being played. An audience requires a great deal of long and patient the pedal board freely, the knees being Recital Programs from 68 prominent organists. of the organ. He should then seat him¬ would ask him to reach out the hands to are made, each of them taking time and moved apart as far as necessary to fol¬ will listen fairly spell-bound when it has self at the center of the bench and make work on the part of both teacher and Unexcelled reviews o^orgarfmusic! Vafuable^ovlni the great organ and hold there a chord pupil, energy; the pupil has no confidence that low the foot. Never should the knees picture organists’ department. And Other Features absolute confidence that the artist will sure that the bench is moved forward to not stumble or fail, and when he can he can strike the right note without fail, be held closely together. The knees and Information regarding accommodate itself to the height of the !LtH?l! °{F’ 'Vhe middle °f keyboard’ One other American fault,—that of de¬ THE DIAPASON, 212 S. DespIaineT^t.? CHIC AG ( hide himself, as it were, behind his and ‘hen test his position, moving the and the resulting nervousness and lack large o r small organs performer and the length of his limbs manding results too soon,—of trying to thighs should swing outward and apart message. body a little forward and then a little of self-reliance invariably results in in¬ available as a guide to pros¬ and the reach of his arms. The trunk run when one is only able to walk, and so that hip, knee and foot are always in SUBSCRIBE NOW FOR THE back, and moving the feet from the outer different and inaccurate playing. One pective purchasers. In Bayreuth the movement for the should be held erect and the organist of trying to play a movement rapidly by an approximately straight line. The foot positions to the center of the pedal must train himself so that he can strike elimination of every abstraction and im¬ should then test his position by placing forcing the muscles through the work should never be turned on its side so that O Af^TI M E manual and out again several times until any note within the normal range of each pediment to the enjoyment of the music his hands on the Great organ manual. instead of patiently training them to it, one strikes the note with the edge of the THE CHOROPHONE two R EVI E W the pupil found his position perfectly foot from any other position of that foot, n has gone so far as to place the orchestra If he. is sitting too far back on the seat, is responsible for much difficulty and shoe. manual pipe organ answers out of sight of the audience. natural and relaxed. In other words the do it with absolute accuracy, and without he will find a tendency to “reach” for trouble later on. The keys should be pressed down by a the problem of a moderate pupil was instructed to be perfectly nat¬ the loss of any appreciable amount of A lack of relaxation also appears in the the keys; if he sits too far forward he ural—one of the movement of the toe or heel from the priced instrument for home, difficult achieve- rime. CHRISTENSEN^ SC1IOOL ^OF POPULAR MUSIC undue delays, uncertainty, and hesitation will find instead a tendency to push down ments possible. Mannerisms ankle joint only. Never should the hall, church or auditorium. in changing hands from one manual to on the keys or to push away from the The writer has . ®ne other evidence of lack of repose knees be moved up and down in a pranc¬ It is consistent in materials, another, in shifting combinations of stops, body. In either case the position is one many performers Arpeggios the Best Exercise of great repute start is the mannerisms which so many organ¬ ing style in playing the pedals. This re¬ solidity and enduring tonal and in other manipulations of the acces¬ of tension and not of relaxation and he a selection very i You Can Have wel! indeed, and the mi^e To secure this independence and ac¬ and mechanical quality with sories of the organ. ™ ists, many of them of the highest type, quires great energy, is slow, uncertain, a ow themselves. Wild and uncalled for curacy in pedal work, the best exercise and awkward. In good pedal work the the largest of our organs. * Beautiful How Some Pupils Fail motions, upward waves of the hand in for the pedals is to play arpeggios in all movement all centers about the ankle Eyebrows pulling stops, allowing the hand to fly scales as high as the pedal board reaches, joint, the feet being flung easily up and Failure to understand or practice this CHARLES M. COURBOIN. >§Ji in the air at the end of a rapid then play them back to the other end of down with no tension or strain anywhere and Eyelashes great principle of organ mastery is read¬ Austin Organ Co.l _ J They give charm, expression, upward passage, and all similar gyrations the board, always going from one ex¬ along the line. Care should he taken not ■ - If loveliness to the face, adding ily seen in the pupil who has not been P’ZZnt iTttJ/e^lFeZZr. not only disturb the audience but seri¬ treme end to the other. If the pupil does 1171 Woodland St. Hartford, Conn, j Jr wonderfuUy to your beauty and properly instructed. He will seat himself to let the feet tap the key so sharply that v / attractiveness. Society women and Mozart Concertos ani the Haydn Symphonic fVen he couM P^V the ous y interfere with the balance and the not possess a good ear and can not tell actresses get them by using on the bench with little or no attention to the noise is audible. The foot should Belgian composer, became his teacher La°h?UT°*- Jan Bloekx- Poise of the player. Sometimes they ap¬ by listening to the notes whether he is the proper position; he will draw him¬ ^ 2V?r flVe vears at the Antwerp Conserva^r,, s sLstudied p{ann and first be gotten in position over the key great Belgian organ virtuoso™ Mr.TZhmwent to th~ p —> 07 pear to be a cheap attempt of the per- playing the various arpeggios correctly, self up to a more or less tense, strained a.JLorgan virtuoso, Mr. Courloln, went to'thi,'nsi',^nce of the and practically resting upon it; then the 1j) .- ,r.L MS*eI* Conservatory this exercise should be done on an organ ! only organ blower to receive state of mind and of muscle, and will “so". Edgar Tina • ?rmlr to imPres-s the listeners with the note should be pressed with a quick push It promotes in a natural manner the Growth of eye- 1 . that the artist has a wonderful tech¬ with a tracker action so that he may THE MEDAL OF appear to have gathered up all his pow¬ fugue, and the same year he won the IntJatlZ^’J* CoZpZu^pT of the foot,—not a blow upon the key. nic requiring such absurd motions. It watch the manual keys to see that no HONOR ers and summoned his will power to the It should be borne in mind that in the must not be forgotten that the real artist errors are made. This practice work, and task of forcing every muscle to do its i thehibIowJnratdth"°r8an is the one who can do something tech- for that matter all pedal practice, should modern organ with electrical action the Maybcil Laboratories, 4008-«InJitM Ave.,1‘>Cllica,» work properly. He will attack a difficult ert^^Z^n^arUof mwp Peopfe.’ PANAMA PACIFIC no done so far as possible on an organ note is just as loud when the key is run or pedal passage with a sort of in¬ ' * y really very difficult with such con- INTERNATIONAL barely pressed down as it is if the key is EXPOSITION voluntary stiffening and rigidity of the

The Best Shoes for Pedaling slides off the keys whenever the player For good pedal work, the best shoe is tries to do heel work. Furthermore, the organists in one with a straight last, a heel moder¬ player may very easily “turn over er ately high and not too low, and with a ankle” if she tries to play wearing such prominent New good flexible leather insole and upper. a shoe. York Churches Flexibility is important in order to allow A careful observance of the sugges¬ today owe their freedom of movement. Shoes with heavy, tions made above will do much to better thick soles, extension soles, and unnec¬ the pedal work of any conscientious and appointments There essarily broad lasts should be avoided. faithful student. Nothing but persistent to their studv Either high shoes, oxfords, or pumps (if and careful practice will break up bad at the Are the latter are provided with a strap) will habits in pedaling and substitute good give satisfactory service. In the case of ones in their place. The gain resulting When the Band Begins to Play ladies’ shoes, the chief thing to avoid is from following these suggestions will, Guilmant Organ School DR. WILLIAM C. CARL, DirectorDir, Reasons the high French heel. This style of heel without question, amply repay the pupil Boom ! boom! It’s the big bass drum ! than the E fiat clarinet, and the bass B flat most important instrument, with a beau¬ Drum, Drum, Drum Send for Catalog 44 W. 12th St., New I»l is so narrow and small that the foot for the effort expended. VVliat joy that sound carries 1 Somehow clarinet, an octave lower than the B flat tiful tone of tenor quality. It is used for How many know the glockenspiel—the For Sore Throat the boom 1 boom! gets into your legs be¬ clarinet. The lower register is in some solo passages and also for filling in’mid¬ liclls of the band? The instrument con¬ fore you know it and away you go ! This respects the finest part of the instrument, dle harmonies. The B flat baritone is sists of steel plates attached to a frame¬ The Overbearing Attitude of Some Organ Builders time it was Mildred and her Auntie the tone being rich and full, but rather also used for ‘Tilling in.” It is some¬ work and struck with a hammer. Per¬ somber. This register is known as. the One of the most annoying things with Some time ago I was called to inspect Marsh who were carried off by the big times called the “altliorn.” Now comes cussion instruments are the timekeepers. Overwork—draft—impure “ehalumeau” (pronounced shah-lu-mo). which many organists have had to con¬ an organ which the organist did not ex¬ HUTCHINGS bass drum, and they spent the whole the euphonium in B .flat, an instrument The side drum or “tambour” is the most It is named from an older instrument of which plays with the deeper bass instru¬ air. tend is the attitude taken toward them actly like and which she would not her¬ afternoon in the city park listening to difficult to play. It requires a large the clarinet type, which lias now passed ments in the same way as the ’cello does by some organ builders in attempting to self accept. The organ was a divided in¬ its hearty, wholesome voice. Perhaps you amount of practice to do it well, and is ORGAN out of use. with the bass of the orchestra. This is impose their terms upon the organist, no strument, tubular-pneumatic, and the are not all so lucky as Mildred; perhaps an effective member of the band, as it lhe next’in order are two oboes. The the chief bass solo instrument in the mili¬ adds crispness and life to a composition. matter how well he understands the con¬ tubes leading to the pedal organ were some of you don’t have a city park with Coating the throat with oboe part is in every way similar to that tary band. The tenor drum is larger and deeper tlian struction of an organ or how carefully fifty feet long, on four inch pressure, COMPANY a bandstand. If you don’t happen to played by the same instruments in the the side drum and resembles the timpani sweet preparations acts the specifications have been drawn. In know about a band, wouldn’t you like to without relays, a condition which made BOSTON NEW YORK orchestra. The oboe-Ts useful as a solo The Slide Trombone or kettle drums in tone. As it is more some cases this dictation on the part of hear about one? I mean about the in¬ the pedal organ very slow. When the at¬ instrument, but it. also is used in con¬ Of trombones, there are usually three, convenient to move and carry, it often only as a temporary relief struments. Mildred always found the the builders amounts almost to impu¬ tention of the organ builder was called Plant at Waltham, M«„. junction with the other wood wind instru¬ two tenor and one bass. The tone, like takes the place of the kettle drums. The band much more interesting after she and upsets the stomach. dence. I venture to say that not one' to this defect, and I had demonstrated to ments. It is often tised in pastoral music that of the trumpet, is martial, brassy and bass drum is not so easy to play as you knew the instruments and their voices. organ builder in ten knows how to play him the impossibility of playing a rapid to suggest the shepherd’s pipe. In slow penetrating. The “valve” trombone is might imagine. First, one must be. an ex¬ an organ with any degree of skill and run on the pedal staccato, he had the First of all, Mildred wants you to know passages there is no instrument which can .easier to play than the “slide” trombone, cellent timekeeper and count all the rests how can they be expected to know the re¬ audacity to tell me that there was no such that there are three kinds of bands : (1) give the effect of pleading or beseeching though its tone is somewhat inferior in accurately. Then one must practice to quirements of a modern concert organist? organ playing possible, that you could not New Organ Music “On Sale” the orchestra, (2) the military band, (3) so perfectly as the oboe. If < you have quality. Cavalry bands always use the get the proper “stroke.” It is used in Dioxogen Yet they will say to the organist, “You do expect an organ to respond as quickly as Have your name entered for the receiv¬ the brass band. It is the military band ever heard the soft tenderness and pathos “valve” trombone. both forte (loud) and pianissimo (soft) ing of a few small packages of new music not need this; you do not need that. Why that Mildred wants to tell about. You that, and that there was no necessity for ON SALE during the professional season, passages and is most effective. The .cym¬ do you want so many couplers? Why do anything any quicker in responding than no guarantee as to amount to be kept; must understand that the military band bals are generally attached to the bass you ask for so many combination but¬ that which he had already built. The discount the best obtainable; the only re¬ does not always march at the head of its drum and played by the same player. as a gargle or spray, tons ? Why do you want the great organ music committee came near accepting his sponsibility the small amount of postage; regiment; it sometimes plays in parks and Sometimes,, for special effect, they are in a swell box if the organ has only two statement, but he was finally compelled returns of unused music to be made once at garden parties; but no matter where struck with the drumstick. scientifically removes the manuals ?” each year; a postal card will stop the to make the necessary changes. it plays it always brings the same kind There are other percussion instruments: Such an attitude on the part of the sending any time. Thousands of teachers the triangles, castanets, tambourine, whip, cause of irritation without On the other hand I am frank to say receive piano music from us in this way. of enthusiasm. No one can resist it—no, builder is absurd. It is true that many not even a wooden Indian. railway whistle, bells and popguns. These of them will give as a reason for their that some organists will require nonsensi¬ THEO. PRESSER CO., Philadelphia, P». are used for special effects, and if well upsetting the system. There are usually thirty or forty play¬ opposition the fact that these attach¬ cal things when making out the specifi¬ played are .very useful, but if badly ers in a military band. The voice of the ments and arrangements are Seldom used. cations of an organ, and naturally the STEERE ORGANS played they are the source of the great¬ organ builder should have the right to each one built to order for those who desl greatest brilliancy is the piccolo. This While this is more or less true, it is and appreciate the beet est annoyance to bandmaster and audi¬ equally important, on the other hand, that object to such unnecessary attachments. T „ notable organs recently built voice is shrill and used sparingly. Then ence alike. Can you doubt Mildred’s en¬ Bailey Hall, Cornell University, 19U. comes the soft, smooth voice of the flute. the organist should have these accessories My advice to organists and music com¬ Springfield, Maas Municipal Organ, 191S. joyment of the military band when she THE ART OF at hand when he does want them. Fur¬ mittees about to purchase an organ is for Woolaey Hall. Yale University, 1916. If you have ever heard cooing doves, knows all about the instruments and can ther, if his style of playing does not call them first to seek some competent man to then you know the voice of the flute. Its pick out the special “tone color” of every for them, that of his successor may find draw up the specifications. Very few or¬ beautiful mellowness has caused it to be one of .them. I hope you will learn to them very necessary. We might as well ACCOMPANYING ganists are competent to do this. They called the most “vocal” of all wind in¬ know them as she does and that you will BY say that we should build our pianos with can not tell why one kind of magnet is struments.’ not miss a band concert whenever you only four octaves■because the upper two better than another or why one alloy is The Clarinet Family have a chance to go to one. or three octaves and the lower octave of Si Bennett Organ Co. superior to another. Many of them know ALGERNON H. UNDO a piano are seldom used. ORGAN BUILDERS Then comes the family of clarinets. very little about the interior construction There are two main reasons why there ROCK ISLAND - - ILLINOIS The B flat clarinet is an important instru¬ Excuses Price, Cloth, $1.25, NET of an organ or, if they do have a general are so many poor organs in our churches. The organs we build are es near perfection ment in the military band. There are The first is the fact that the average knowledge on the subject, thev do not usually three parts written for B flat By Maude B. Allen THIS valuable work is literally the organ committee knows nothing about an appreciate the fine points in construction clarinets and several players to each part. first book to deal with the subject in organ, is inclined to rely upon the maker which make the difference between suc- The tone is rich and mellow. The most "I cannot count aloud,” she said; a practical manner. And the subject alone, and will swallow anything he says “"and'ailr 'n the COmP,eted instru- rapid passages are played upon the clari¬ “It mixes me to play; is one of vital interest, not only to the ment. They know that they do not like student accompanist but to the singer— without hesitation. The second reason The Hall Organ Co. net. Practically all violin music consist¬ The notes don’t sound, not near so nice, for the accompanist may make or mar lies with the profession itself. There are, but featT6 ab°Ut an 'nstrument, New Haven, Conn. As they did yesterday. . but theyZ do not know its cause or how ing of single notes can be played upon a song. Mr. Lindo’s book will enable it is sad to say, altogether too many the clarinet. The early composers, Bach them to be specific and secure that ab¬ the defect may be remedied. But if an organists who will accept some gratuity Modern PIPE ORGANS and Handel, used the clarinet not at all. “I lose my place ’most all the time, solute unity of effort needed for artistic such as a free trip to the factory, a pres¬ expert in drawing specifications is en- ’Three,’ I forget to say; interpretation. Haydn used it very sparingly. Mozart of the oboe you will never forget its dis¬ : The bombardon in E flat is another im¬ ent oi some costly nature, a “commis¬ "I cannot play so quick,” she said; was the first to give it a leading voice in tinctive “color.” portant member of the military band. The work covers everything essential sion” on the instrument, or an; honor¬ I’ll never leam to play.” the orchestra. Beethoven rarely wrote a Two parts for bassoons are found in Sometimes it is called a “tuba.” Its tone to the equipment of a competent and arium for their services, in return for artistic accompanist: ability to transpose single work without the clarinets. Men¬ the score of the military band.. The qual¬ is full and sonorous,'and for such large which they will complacently recommend “I. cannot play so quick,” she said; . and read at sight, knowledge of the tra¬ bond for half or more of the cost of the delssohn seems to have reveled in clarinet ity of tone is of tlie same character as instruments it is surprising what brilliant ditions associated with opera, oratorio, an instrument which they know at heart GEO. KILGEN & SON “I have to count so fast new organ and they can then be made to and classic song, skill in varying style in is faulty and not worth what the maker tones, and Weber, too, shows a peculiar that of the oboe, but much deeper, for the passages can be played. In cavalry bands It almost takes my breath away; • playing, as the music may demand, and asks. con-eot such features as the expert mav Pipe Organ Builders love for them. bassoon is a bass instrument of practically it is circular in shape, and, by resting the find unsatisfactory. P may I hope this will not last.” special gifts required in accompanying ST. LOUIS. MO. But, notwithstanding its great scope as the same register as the ’cello. In the instrument upon the shoulder the player violin and ’cello solos. To each chapter One of the nn.1 complete Pipe Orpin Plant. In the VMtrf a solo instrument and its facility, it is a military band the bassoons are chiefly use¬ is relieved of much of the weight. “Oh, mother, are the cookies done— is appended a suggested repertoire of stand¬ ful as forming the bass of the reed in¬ The contra bass is larger than the E flat ard works every accompanist ought to be Musical Encouragement tricky instrument to play. First of all, it The sugar ones, I mean? familiar with. Mr. Lindo’s book covers is extremely sensitive to atmospheric struments. bombardon and usually of the circular Oh, no 1 I talk as well as not. • its subject in a thorough and interesting By George Henry Howard changes. When it is too warm the pitch Now we come to the brass instruments. form. It occupies the same position as I’m playing like a queen. manner and presents valuable information moller pipe organs First comes the cornet. Its full name is the double bass of tlie orchestra or the Encouragement is the sunlight in laws of health , , Over two thousand in use. Strictly rises, and the player has to tune up. Pos¬ in an altogether readable way. “cornet-a-pistons,” and it is the coloratura pedals in the pipe organ. “Just let me look inside the stove. • which many musical successes have been he can afford ^ the beSt food high grade. Gold Medals and Diplomas sibly the most disconcerting thing about made. Encourage the student. If he is - afford, the best beverage" pure at Six International Expositions. Specifi¬ the instrument is the proper management voice of the band. Florid passages are Now we come to a group of instru¬ My practicing? Oh, dear! ments quite distinct and forming together For Sale By AH Music Dealers unfortunate .show him that out of the cations and Estimates on request. Write of the reed. The whole beauty of tone readily ' playable upon the cornet and I know just where I stopped, -you know, worst slimes some of the most beautiful lor catalogs. depends upon the reed. A bad reed will song-like melodies are also effective. Two a complete family. The saxophone, a I stopped to rest right here.” M. p: MOLLER, Hagerstown, Maryland parts are usually written for cornets, the brass instrument with a mouthpiece like blossoms spring and let him infer that no _ __ , _ not qnly produce a bad tone, but it is second part being an alto part. Trumpets the clarinet, with a single reed. The tone G. SCHIRMER(inc) matter how heart-breaking the conditions bathing, sleeping and fHIlRfH flRfANS— liable to utter a horrible shriek, a noise “You think I talk too much?” she said; JLxercise, -ESTEY is beautiful and forms a link between the of his musical life, noble experiences and Third he must not neio ll, ,play' _ tHUKCH ORGANS—] called "couac” (quack) by the French or appear to be neglected in band music, But counting is so hard. 3 East 43d Street Eatey standard maintained. though they are sometimes used for spe¬ “reed” and the “brass” instruments. The splendid achievements are ahead of him. creation of all kinds Fourth a fe' a goose” in English, and this is almost I wish I could just see from here Maximum facilities. cial bugle-like passages.- The tone is saxophone takes its name from its in¬ NEW YORK The piano student needs a large fund important of all he must hav^ d m°St Highest grade of product impossible to conceal even when many are Whose dog is in our yard.” of vitality, brain power, nerve force, ment from intelH^T ha\e “courage- Pioneers and leaders always. Playing. brilliant and the instrument is treated ventor, Adolph Sax. The instruments are Publishers of the Musical Quarterly Examine stop action and wonderful reedless Beside the B flat clarinet, we have in with great importance in continental in seven sizes; sopranino, soprano, alto, “And teacher is just awful cross, W ?ain it? He must never Lrrv^T*^6"^ Oboe, Saxophone, Clarinet, etc. tenor, baritone, bass and contra bass. The First through hygiene, regard for’ the look" n thnTr rW°rry- He must always the military band the E flat clarinet, bands. And snaps, ‘play that once morel’ “ the bn®ht side of things. y ESTEY ORGAN CO., Br.Ul.boro. Vermont. U. S. A smaller in size and higher in pitch, and There are four French horns in the “alto” saxophone is the favorite solo in¬ It takes' an awful lot of brains the alto E flat clarinet, an octave lower military band. The French horn is a strument. To count one, two, three, four.” 58 THE ETUDE THE ETUDE 59'

linist has, for the most part, only single tice. It is much the same as in the case OUR “SPECIAL” notes to commit, with here and there a of professional actors, who at first re¬ Modern Second and passage in double stops, or broken chords quire much time to memorize their parts, OCp 10 Tested Lengths, of three or four notes. but who after a year or two are able to £DUSilk Violin E, for 25c Pupils have varying degrees of talent learn a part in an incredibly short space Send for Violin and Cello Catalogue of time. No violinist need despair, even Third Grade Studies for memorizing. Some memorize very MUSICIANS SUPPLY CO. if he finds memorizing almost impossible. easily, by simply playing the composi¬ If he will make it a point to do a cer¬ For the Pianoforte tion over; others seem unable to recall a tain amount of memory work every day, piece which they may have played as he will soon gain facility. Even the most VIOLIN INSTRUCTION Repairing the Violin must be absolutely free from open cracks, Chromatic Scale, Glissando was electrical. From the nature of thi many as fifty times. Such pupils have to backward pupil can learn one measure; Victor Kuzdo scale, it is only effective when playeJ Second Grade Study The violin is a very fragile instrument, and ev;ery Part.must be tightly glued. If memorize a composition two or four if he can learn one, he can learn two, and rst authorized exponent (in America) The chromatic scale, glissando, exe¬ fast, as it loses all its characteristic ef Ten Characteristic Studies in measures at a time, slowly and painfully. later on eight or sixteen, and finally a of the system of and is liable to meet with all kinds of v‘o1i° a sklllf,uI repairer1 f°r cuted with one finger on . a single string feet when played slowly. A chron,atjc Rhythm and Expression There is this to be said, however, with whole composition. It is the students Leopold Auer her of Elman, Zimbalist, Parlow, Eddy Brown accidents. The most frequent source of the vio’lin ,"y ^ neck ^fth his finger and of the vioIin’ is on=e of thoSe sPeftacular scale in slow tempo is always fingered jn By R. S. Morrison violin^ students learning to play from who are always making spasmodic at¬ 560 West End Ave., New York trouble is the opening of cracks in the thumb, and rap with his knuckles on the feats of sol° vlohn playmg whlch ,never the ordinary manner. memory; the faculty improves with prac¬ tempts, and giving up, who never learn. top. This may come from many different top and back to see that there fails to excite wonder-j|| and admiration in This scale with one finger is used ex¬ One of the most interesting sets of ?t°the the audience. Such feats, like left-hand second-grade studies it is possible to find. causes, the most frequent being from vari- cracks, and that everything about the clusively in solo playing, and is never They are similar in style to the well- NEW VIOLIN MUSIC ous accidents, from the violin having been violin is tight, and nothing loose 01 pizzicato, double harmonics, passages exe¬ met with in orchestral work, where the known studies by Streabbog, but they are Vast Sums Spent on Music cuted col legno (with the stick of the far more musical. Young students will “ON SALE” made of wood not thoroughly seasoned rattling. ordinary fingering would be used. It ;s enjov playing these studies and will de¬ Have your name entered for the receiving of bow, instead of the hair) and others, are Not so long ago professional musicians leagues and who earn from $10,000 to or the subjecting of the violin to violent Value of the Top rarely used in serious compositions'for rive’much profit therefrom, thus lighten¬ few small packages of new music ON SALE durin, the froth on the cup of violin playing, ing greatly the burden of the teacher. in the United States found it hard to $12,000 a year in teaching, we can see that extremes of temperature. Old violins The top (frequently called the belly) is uu[ n the violin, its place being in showy, bril¬ but nevertheless often win more applause make more than a precarious living out it is a profession which is quite worth with very thin wood are especially liable tbe n?ost important and valuable part of " liant^ pieces with plenty of technical fire- Time Studies i average audience than the finest of their work, excepting, of course, in a while, and when, too, we take into con¬ to cracks, and the owner of an old violin t le vl°lin, and it is the principal source of exhibition of solid violin playing, By Sidney Steinheimer few special instances. The single finger used in executing the sideration that the United States spends must figure on expensive repairingpairmg as tone- Thisis.thlT easily LTTc apparent when, , itV® legitimate character. This being the case, Grades II t III Within the last twenty years, however, chromatic scale in this manner is used In these studies various time problems the sum of $600,000,000 annually for part of the cost of owning old*' violin.' ™ that the feet.of the bridge greatJL vioUnistsviolinists do not hesitatehesitate to olayplay music teaching and the general profes¬ only until the first, second or third posi¬ are exemplified in a musiciauly and very On account of the violin being so liable rest <^rect|y on the top, and communi- compositions introducing such feats, for attractive manner. The studies are al¬ sion of music has advanced so that it is music, we might well stop to notice that it tions are reached, when, if the scale con¬ to accident, and getting out of condition, ca*e the vibrations directly to it. It is “art follows bread,” »as the saying goes, most like pieces, yet each one serves to now recognized as a) fine calling. has passed the stage where it might be only in the rarest cases that expert violin tinues to descend, the ordinary fingering bring out some particular point in time or violinists, especially those owning valu¬ and they find it wise to play a certain rhythm. All of the studies are admirably When we have vocal and instrumental reckoned among the despised vocations repairers advise discarding the old dam- is used, the exact point where it com¬ able, old instruments, should have a gen- number of such compositions, mingled suited for small hands. Young players masters who rival their European col¬ for our men.—Chicago American. eral knowledge of violin repairing, not aged toP fnd putting on a new one; and mences depending on the nature of the will enjoy them. Some of the points with compositions of a more solid char- covered are triplets and couplets, alter¬ Ovide Musin’s Edition ' n order to do the work, as this should be rf8 °nly ’n. cases where the top has been passage. Some violinists commence to nating, various syncopations and dotted hopelessly injured. The cases i. . . , acter, so as to please their hearers of all notes, singly and in combination. “Belgian School left to an expert, but so that he may wh‘c> .classes. use the regular fingering at a somewhat know in a general way how the violin ail old top cannot be restored a higher point than others. The Four-footed Violin Bridge The Etude often receives letters from Etudes Melodiques should be repaired, and can talk the mat¬ readers of the violin department, asking By Geo. L. Spaulding The violin bridge with four feet in¬ that the improved tone of the A and D ter over intelligently with the repairer, The individuality of the violin lies how this one-finger _ chromatic scale is Price $1.00 Grade II to U% stead of two has had quite a vogue with strings, when this bridge is used, exists and also know how to choose a skillful lbe. toP> and a new top would make played. An example is given below : Playing From Memory An admirable set of studies for small violinists who are looking for novelties, only in the imagination. They claim that repairer. Thousands of fine violins are entl.rely different instrument, just as if hands of about the same grade of diffi¬ especially in England and some countries whatever string of the violin is played The following is the etiquette among culty as the well-known studies by Burg- all but ruined every year, because their a different vocal apparatus should be put of continental Europe. It is claimed by sets the entire bridge in vibration, and professional artists in regard to playing mulier, Op. 100. These studies are very owners either try to do the repairing ’nto tbe throat of a human being. I melodious and are modern in musical its adherents that the bridge, in order to that this vibration is transmitted com¬ from memory: structure. Each study bears some charac¬ themselves or take their violins to car- bave seen violins sell for large sums on conduct the entire amount of sound from pletely to the belly by the two feet, mak¬ Orchestra players almost invariably teristic title, but each one serves to exem¬ penters or cabinet makers, who know tbe strength of the fact that they had plify^ some special technical or rhythmical each string to the belly, should have four ing the addition of extra feet unneces¬ play from the music, although Hungarian nothing of the art of violin repairing. genuine Cremona tops taken from some feet, one under each string, and that when sary. Whatever the merits of the dis¬ In this example, the fourth finger is orchestras, as a rule, play from memory, A correspondent writes to The Etude genuine Cremona, the other parts of Rhythm and Technic the four-footed bridge is used, the tone cussion may be, the two-footed bridge placed on the second E above the staff, even the instrumentalists having the bass that the top of his violin has become wb'cb had been destroyed, or which had Melodious Studies for Special on the A and D strings is much fuller was designed by Stradivarius, the greatest badly crackedH_ MLthrough an accident,.. „anduu been taken apart___ and the other tparts,„, „„ lost, or some prefer to play it with the third or accompanying parts memorizing their master of violin construction the world parts. Purposes and richer, from the fact that each of wishes-a ' know whether‘ the‘ cracks_ could The backi of-* a- violin is of very slight value b”ger on account of its greater length. these strings lies directly over one of the has ever known, and the most famous By M. Greenwald be repaired_ fired without injuring the tone of comPared with the top. If a violin should J note may- ke P^* ay- ed- either- harmonic The members- of-- -.string quartets and •extra feet. Other violin authorities de¬ violinists, from Paganini down, have, 0 Price $1.25 Grades II to III the violin, or whether it would be neces- be taken apart and re-built, the belly or firm- The best results are obtained by other chamber music combinations,—quin- almost without exception, found the two- A set of eighteen splendid studies which clare that the advantages of the four- sary to have a new belly put on the bein8 retained, but .all the other parts piaymg the Passage with the up bow. The tets, sextets, etc.,—almost invariably use may be taken up to good advantage by footed bridge are merely theoretical and footed bridge all that is required. violin. He further states that no two being different, the tone would not be bow m°ves with steady pressure, .and the the printed notes, students who are in second-grade work, repairers in the town in which he lives 8 % changed, provided the instrument bnger holds the string firmly to the finger- In playing strictly violin and piano cora- and which will serve to carry the student ™ on into the third grade. The studies are agree as to which would be the best was re-built on the same model as the board- ,The finger is carried down the positions, such as sonatas, it is in good all melodious, and each one has some Thumb-nail Sketches of the Great Violinists course, that some predict harm to the old; but if all the other parts were used, stnn8 with a series of little jerks, follow- niusical form for both to use the music, characteristic feature, such as scale work, double notes, wrist work, left-hand tone if the cracks are glued, and others and a new top put on, the tone would be tbe; intervals of the chromatic scale, although the violinist on such occasions notes, velocity, triplets, chromatic scale« Spohr was the son of a German phy¬ triple and quadruple stops, and used a more or less changed. Tops of genuine These Jerks are produced by motions of often plays from memory, work, embellishments, syncopation, broken sician. He commenced-to play the violin bow two inches longer than normal. He old violins are valuable, and violin makers the hand fpom the wrist, and the violin When playing a violin obbligato fora at five years of age, and could sing duets won and lost several fortunes with his often build the other parts to them, with raast be held very lightly on the thumb smger, it is allowable to use the music, violin. Repairing Cracks Melodious Studies for the with his mother at the same early age. the result that the new instrument fre- wh. tbe passage is being played. The Solo violin playing is done from Special Development of He became a great violinist and composer. Paganini is estimated to have earned As a general thing, if the cracks run quently has a tone like a genuine old *enes of jerks by which such passages memory, except, possibly where the con- over $1,000,000 with his violin, a sum It is said that he learned merely the rudi¬ evenly with the grain of the wood of the vlobn-. .. . ar,e. played g'ves, them a staccato effect certmaster of an orchest'ra has an inciden- the Left Hand which was very much larger at the time belly, they can be repaired by a skillful ments of composition from teachers and A violin repairer should be chosen with whlcb ls extremely brilliant and effective tal' * solo' in' some orchestral or choral By A. Sartorio. Op. 1092 of his career than at present. He lost a repairer without perceptibly injuring the Price $1.00 Grade III the same care one would take in choosing when wel1 done- work, which he plays while seated at the developed himself as a composer princi¬ large sum by backing the establishment original tone quality of the violin. If, surgeon for performing an operation, ^he chief difficulty in playing chromatic desk. A very useful set of third-grade studies pally by studying the scores of the great of a Casino in Paris, primarily intended however, the injury comes from a violent in which the left-hand piays an im¬ least in the case of a valuable violin! scales in this fashio.. i learningB portant part throughout, the right hand composers. for a concert hall, but soon degenerating blow, which mashed the wood so that it Memory Playing Effective a rule, a really skillful repairer is not to make the llttle jerks from the wrist merely accompanying or carryinr into a gambling resort. :s badly splintered, The violin student who neglects to melody. About everything reqr!.red , Ole Bull was the son of a Norwegian - broken to be found in a city of less than from whlch ls soon learned, but to execute the the left hand in intermediate piano physician, who fought against his son Remenyi was a Hungarian and fought across the gram of the wood, the tone 100,000 to 200,000, and often not then mtervals of the chromatic scale in ac- memorize his solo for a public appear- playing is thoroughly exemplified. Tbe studies are not a bit dry or tedious, but adopting music as a profession. He com¬ in the insurrection of 1848. He had an might suffer, no matter how skillfully it The reason of this is that the smaller curate tune- The distances - mb’ b a,nCC makes a serious mistake. The all are interesting and very musical. menced to play the violin at five years of immense technic and traveled all over the was repaired. It is not often, however, cities do not furnish enough work for an tbeHe ’fingerfin®®r must move when at thewc top L*/.and h,lf t,-j i , fo,T, arcl on the *tag,e Melodies in Difficult Keys age, and, although hp had limited terms world as a virtuoso. He and Liszt were that a violin meets with such a violent expert whose work commands good fig- off the fingerboard are very much shorter J / hldden byb-v ‘hethe music rack and of instruction during his lifetime, he was warm friends. He died on the stage in By Mathilde Bilbro accident; and probably ninety-nine cracks ures. The leading experts are in New and closer together thant they aare lower , music, plays his solo with his largely self-taught. He used a flatter San Francisco, after having played a out of a hundred can be repaired with- York, Boston and Chicago. down. In the example given above com to tIie notes> will not create as Price 90 cents Grade III bridge than ordinary, to facilitate playing violin solo. out an appreciable loss of tone. mencing on the second E above tbe !avorable impression as one who steps The object of these very musieianly studies is to afford the student early It is very rare indeed that a crack in the notes lie very close together at first' _°rward and looks his audience in the practice in keys which are ordinarily re¬ the top of a violin served for more advanced work, the idea be repaired with- Go0(I Editions “ distan«? be gradually with eSfilt" V*?' ^ being to familiarize the student with Teaching the Notes by Letter out taking the top off to glue it. It is ened-- in proceeding„,Utccumg downno the scale On b „,, a bond of sympathy between what may be termed keyboard geography, necessary also in a great majority of re- I he violin student who buys cheap edi- account of this.this Kiir-bsuch cassae-es ' niseit —and his audience,- which. the player and as soon as possible. These studies Piano teachers invariably teach the require very little of the teacher’s time. pairs of cracks to draw the surfaces of tlons, makes a serious mistake. Good tremely difficult to nlav amirfJi ^ J ■who are rather more like pieces, the follow¬ pupils the name of the notes and the cor¬ All that is necessary is to give the pupil uses notes can never hope to do. ing keys being included: F sharp, B. E, the cracked wood together with little standard editions, which have been care- a rule are played atrociously out^ ft ^ The piano soloist, sitting side to the atidi- 11 sharp minor, F sharp minor, C sharp responding keys on the piano by letter. a scale, corresponding to the compass of cleats or discs of wood glued on the fully edited, bowed, and fingered by some in fact they are“merdyU«“fakeT h* tU"e ! f?ce>has little^oppoVtani^oUooking’*1 minor, G flat, E flat minor. For some reason this is much neglected the violin, with the notes marked by let¬ inner side_ of the belly. I have seen fine' goodDrnn'1 violinist, cost very little more wthan quinaryordinary vionmsts.violinists. It requires a treme? H'S“ —hearers s,> burn«‘ rnethe violtlviolinist playing from Studies Preparatory to by violin teachers, many of whom con¬ ter. From this he should mark the notes Cremona instruments, the tops of which the cheaP editions, and are worth ten dons amount of practice to f niem°ry looks directly into the' fa"ces of Octave Playing tent themselves with teaching the pupil by letter of any violin composition assigned —"s of cracks and had dozens of t'mes as^ much to the student. The chromatic scale with one finger Tn ac! th^ aud>ence. what finger on what string produces a by the teacher, being careful to add a flat • finger i By A. Sartorio. Op. 1105 these little cleats or discs student who buys a good edition, and fol- curate t or sharp after the letter where necessary, ier. It is also an undoubted fact that a vio¬ Price $1.00 Grade III certain note, without requiring the pupil side holding them together. to know the name of the note. I have according to the signature of the key. i sixths in dou- linist can play much better when his eye These studies are intended to set the Like a Drum marks is to that extent getting a lesson ble stops is sometimes nlaveH is not obliged to follow the notes; he hand in preparation for octave playing, frequently had pupils come for lessons, Marking the notes in this way will be an Like a Drum from the violinist who edited the work, same manner the thlrH plty®d 111 ule fhe student without actually being re¬ who had been studying the violin for immense assistance to the pupil in learn¬ In regard to cracks, the violin might be Possibly the violinist who marked the edi- gers being used. I “d f°Urth fin' seHS m°re frCe’ 3nd Can est^blish bim: quired to play octaves is continually - • . -—=>"*• — * y-*j wuu uidiKcu Liic eai- sers Deine* used T onen t, . , — i rapport with his hearers much Jhaking octave‘skips in each study, thus three or four years, who were unable to ing to play correctly and in tune, for he likened to a drum, which would certainly tion would charge the student $5 for a violinist t 6 heard ttle great tending to strengthen and expand the name the notes of a composition by letter. will gradually learn to recognize at once more effectively. hand, at the same time making it elastic, Tt itSwf -t0ne if the hCad ,Were Si"gle ksSOn’ but here the student the kind in’ double ¥ tHis There is no excuse for violinists not ihis book serves as the introduction to It is hardly necessary to point out what what notes are made sharp or flat in the slit with a knife in one or more places, advantageasviinidgc orof theme violinist’sviolinists knowledge for The passage was nlavpdJ A, L'J" hesUcc - different keys. The teacher should cor¬ lo give the best tone that is in it. the ton the few additional opnfe _•_ memorizing their solo work, since to do playingrt°ri0 S complete colirse in octave a mistake this is. Every pupil should be the top the few additional cents which the better strings with perfect intonatii6 D able to name all the notes in his studies rect the composition which the pupil has is the ribs of the8 vmlin.violin, edition roctccosts. <* «•«. K , cc intonation and daz- so requires much less time than in the zling skill, and the effect ^SiS case of the piano, where so many accom¬ , theo. PRESSER CO. and pieces by letter, even in the most thus marked each week, just as he would 1712 Chestnut St., Philadelphia, Pa. panying parts must be learned. The vio- difficult keys. To Leach the pupil this will a grammar or geography lesson. Please mention THE ETUDE when addressing our advertisers. "- —r

THE ETUDE THE ETUDE 61

In Hundreds of Public Schools the violin has been taught for se Until we read the Answers to Violin Letters The scholars who have shown ,tv jgchoraWw titude and talent have no doubt continued studying the violin. Now is the time for ^ PIANO 1 parents to supply them with violins that are violins and which possess For 78 Years Phila¬ delphia’s Leader all clothes bearing the In New York and Philadelphia name of KNOX. Rid¬ at the Wanamaker Stores only sister Honora’s garden a pretty creeping ing Habits, Millinery, plant, new at the time, covered with little trumpet-like flowers. Mendelssohn was through the tiny garden of a morning, watched the (lowers springing Into bloom, Tailored Suits, Coats struck with it. and played for her the listened to the whitethroat that had built music which (he said) the fairies might her nest within the rosebush? And what for men and women, play on those trumpets. When he wrote this-tearing loosi^from my last anchor meant and other things for the out the piece, he drew a little branch of inmost thought ns none. wardrobe. that flower all up the margin of the "Else, I am tired, and presumably from the onrush of Spring had of late been agi¬ paper.” In another piece, inspired by the tated, with thumping heart and boiling blood. When I took your violet in my hand, sight of carnations, they found that to wish myself something, the poor thing Mendelssohn intended certain arpeggio trembled so between ray hot lingers that the KNOX HATS passages “as a reminder of the sweet wish came to me quick : Quiet blood! Quiet heart! And now I confide in the violet, for Fifth Ave. at Fortieth St. scent of the flower rising up.” it has heard my wish. It is said of Mozart that he much pre¬ "Surprising, how odours recall the past so New York vividly. On my walk the other day a sud¬ ferred the country, and did his best work den gush of rose-scent burst upon me: side¬ in some of those charming open garden- ways stood a little garden, where the roses were just in bloom. That recalled my last houses which are so conspicuous a char¬ enjoying of the Asyl garden : never, as then, acteristic of his homeland. have I so concerned myself with roses. Every morning I plucked one, and set it in a Flowers were especially grateful to glass beside my work: I knew I was taking Wagner, and we find in his letters con¬ farewell of the garden. With that feeling this odour was wholly inwoven: summer- tinually acknowledgments to thoughtful heat, summer-sun, scent of roses, and—part¬ and loving friends for roses or violets or ing. Thus I then sketched the music for my second act [Tristan imd Isolde].” other flowers sent in. Natural scenery, especially mountain scenery, was a pas¬ We have already said something about sion with him, and it was his ambition in Mendelssohn’s love for flowers. There Switzerland to own a house commanding is a passage in his delightful and well- Bring Out the Hidden Beauty a view of lake and mountains. From his known letters to his sister Fanny that Beneath the soiled, discolored, faded or aged c< ~ gives us a vivid impression of how a plexion is one fair to look upon. Mercolized Wax gi home in Zurich he made frequent trips, ually, gently absorbs the devitalized surface skin, beautiful landscape affected him: vealing the young, fresh, beautiful skin underne: and these he described in letters to his "The valley at Saanen, and tile whole Used b^r refined women whoprefei friends.. The following vivid description is from one of these letters, recounting - weary of looking r* —A— T Mercolized Wax *-•■- that if during a two days’ trip over the Gries glacier. zing at undulat__„ - - “I was quite intoxicated, and laughed like .d over with reddish-brown houses, a child, as I passed out of chestnut groves I should always experience the same pleas¬ through meadows and even cornfields, com¬ ure in looking at them. The road winds the pletely covered with vine trellises (for that whole way through meadows of this kind, 'DEL ATONE' Is how the vine is generally cultivated In - ’ ‘ inning streams.” Removes Hair or Fuzz from

Kindergarten MATERIAL ti Symphony Orch _ year Book, Mld-MliS, 238 pages. Secures and holds the child’s interest. ,„.JH ..._ _strated. Published by pages, bound in cloth. Price, $1.00 net. Color Bird Scats, Stall Peg Board, Folding Must the Cincinnati Orchestra Association Com- This interesting book contains directions Boards, Keyboard Diagram and many other at % Cinch for nearly two hundred games. Many of tractive things. Send for Catalog. _luabTe reference book for all who are them are new, some are traditional and DANIEL BATCHELLOR & SONS interested in the history and the present R. F. D. No. 1 - - Cheater, Pa status of the Cincinnati Orchestra. It con¬ others are partly new and partly old. It tains everything of interest respecting the orchestra, including the critical program i to do children, a notes for the season 1915-19HL nail c Listcnina Lesson in Music, Graded for mothers well know. Faust School of Tuning Schools, by'Agnes Moore Fryberger, Assistant A History of Music, by Charles Villicrs Your Music Is Torn! Supervisor of Public School Muskq Minne Stanford and Cecil Forsyth. The Macmillan Co. 384 pages, adequately illustrated; The standard school of America. hound in cloth. Price, $2.Album for Pour Hands .... teresting. They explain our prices, dis¬ extra pieces. This takes us up to the particularly recommend “The Dawn of the breathing model; the aspiring baseball Pour Indian Songs for Violin and Piano Kingdom,” by Wolcott, “The Greatest counts, and terms. middle of the book, and there are a num¬ pitcher practices his “out” or “in” curve By Thurlow Lieurance . Love” by Petrie, “Victory Divine” by Let every music teacher who desires ber of pages for memorandums. Then till it will break just where he wants it. Grieg’s Sonata, Op. 7 . anything in the way of music or music the list of pieces continues through the Handel’s 12 Easy Pieces for Pianoforte Marks, all of which should be examined The piano student grinds (or ought to) at once if a cantata is to form part of books, whether they know exactly what medium and difficult grades, with plenty Melodies of the Past. By M. Greenwald at scales and exercises till he has acquired the Easter program. Our list of Easter they want, or whether they desire us to Of blanks for additional pieces. After H Melodious Studies. By A. Sartorio a sufficient amount of digital dexterity. Anthems is large and varied, embracing make a selection for them, try the Theo¬ that the four-hand pieces, then the recent Mother Goose Island (Operetta). B all degrees of difficulty and including sev¬ dore Presser Company on their next or¬ deaths of composers up to date. The Little by little development goes on till Geo. L. Spaulding . eral special numbers for women’s voices der, and let us send full information with book winds up with a very good pro¬ skill and adroitness are achieved. Of Pictures from Fairyland. By D. I nouncing dictionary of proper names. On as well as several for men’s voices. We regard to our system of dealing with course “learning a piece” is the great the inside‘of the back cover there is a hope no choir director or organist needing that package. consideration of all our pupils, and of pleasant PaBtimes. By Helen L. Cramm calendar for 1917. ' This splendid little Hotchkiss. Thanks Be 60 Progressive Exercises. By Pischna supplies will overlook our facilities for LANSING. THANKS BE TO course they work to that goal but in too meeting all wants of this kind. Liberal Sonata, Op. 7, For pamphlet is given away to anyone who Schmoll’s Method for Pianoforte. GOD. (New) . many instances their methods are wrong! selections will be sent promptly on request. sends for a copy. It is an excellent time Marehant. Thanks be to God. .15 Stainer’s Organ . The Pianoforte By E. Grieg of the year to have one on hand. Send Mlnskall-Nevln. Christ is Risen The following appeared some time ago Standard Advanced Pieces . We are about to publish this splen¬ in your name and a copy will be sent you. (Men’s Voices) . in a London journal. It shows how a Chopin’s Studies in Morrison. Christ Is Risen. .12 Young Polks Musical Study Playlets did modern sonata by the great Scan¬ Morrison. Song- of Triumph . . great man labors to perfect himself. It By Carol Sherman. Two Volumes Neidlinger. Jesus Christ is dinavian master. This is Grieg’s only Music Calendars Risen To-Day ..... is a little pen picture of Paderewski and We are about to issue Chopin’s Etudes sonata for the pianoforte, and while Norris. As it Began to Dawn his method of practice. Pictures From Fairyland in two volumes. Op. 10 will be in one it is an early work It is a splendid ex¬ 1917 Percippe. Come Ye Faithful. . . Rntlibun. Christ Our Passover “He worked hard—but his efforts were By David Dick Slater volume, and Op. 25 in another volume. ample of Grieg at his best. In fact, it We have still a number of the new cal¬ Rockwell. Christ the Lord is is ond of the finest of all modern sonatas. endars with special designs made for us. sometimes concentrated into a small com¬ Mr. Slater offers another volume of Most publishers have issued these two Risen To-day (Easter Pro- volumes in one. Besides having it com¬ Our new edition has been carefully re¬ These are very attractive, artistic, and pass. Eight bars have constituted one children’s pieces. There has not been any Violin)31' with Flute or plete, in future, we can give our patrons vised and edited, and it will prove super¬ reasonable in price. The prices are the day’s .work. He would pin his bit of same as in previous years, that is, $1.00 Schnecker. How Calm'' and writer that has given us simplicity with¬ the two Opuses separately. We will extend ior in all respects. This sonata should Beautiful the Morn... a dozen, postpaid, or 10 cents for single music to the wall. Try a movement with^ out being commonplace in a better form be in the library of every pianist. The Shackley. Christ our Passover the special offer on these separate volumes copies. The design that we especially Solly. Behold I Shew You a out it—return to the music. ‘No, not than Mr. Slater. He is first of all a very for one month only. Twenty-five cents special introductory price in advance of Mystery . clean,’ he must do it again. He would highly educated English musician who recommend this year is that kind which will pay for either Op. 10 or Op. 25, or publication will be 25 cents. is used in modern photography. We also S*ea"xaU kee' My * wiil take innumerable little journeys,and when occupies the position as organist in one 50 cents for both in the separate editions. have a number of our imported calendars Stults. Alleluia! Alleluia!. he had satisfied himself he would take of the leading churches of Toronto. Chopin’s Etudes are too well known to Elijah and remaining over from last year, but with There is beauty in all his writings, with¬ need any comment here, and those who " SabhathIWatnpasThen..T^e one bean out of a cup on the right of the Messiah 1917 calendar pads on them. In ordering out being hackneyed. We consider this may find it convenient to use them at this a dozen, they will be made up of assorted Trowbrbige^* HalhMu jih, ^hTist piano and transfer it to another on the volume of Pictures from Fairyland as time can have them at a nominal rate. These popular oratorios remain on the calendars. As the stock is somewhat lim¬ .18 left. Three, four, five beans! But a mis- special offer list until the plates from Trowbridge.' Why Seek Ye the possibly one of the best all round books ited, we would request early replies. Living? . e ,, take would happen—a ‘split’ note—and he Handel’s Twelve Easy Pieces England have been received. Owing to Wolcott. Christ is Risen '.7.7. returned all the beans to the first cup.” 1 of easy music it has ever been our pleas¬ the delays and interruptions and dangers For The Pianoforte Four Indian Songs All too often a pupil sits down to learn ure to examine. This is from the stand¬ in transportation, it is almost impossible EASTER CANTATAS point of education as well as recreation. We will add to the Presser Collec¬ For Violin and Piano THE GREATEST LOVE or to memoriae a piece in the following to receive any letters or any goods from DAWN OF THE KINGDOM The pieces are all in the second grade and tion this well-known volume of Han¬ any foreign country., However, the spe¬ VICTORY DIVINE desultory fashion. del’s easy pieces as selected and edited By Thurlow Lieurance By H. W. Petrie 75 cents By J. T. Wolcott. 50 cents By J. C. Marks. 75 cents of even difficulty. Our special advance cial offer will he continued until such First stumble through it slowly. by von Bulow. These twelve pieces This little volume by this popular com¬ price of 25 cents, will be continued dur¬ time as we are able to issue the works. Any of the above Publications will gladly be sent for examination Second stumble through it faster. are selected chiefly from Handel’s suites. poser we hope will be issued during the ing the present month. Our price for a sample copy of either of Third stumble through it both faster All are melodious and in the best style present month. Mr. Lieurance has caught THEO. PRESSER CO. these works is 30 cents, postpaid, or 60 the spirit of Indian music as no other 1712 Chestnut St. and slower. When all is done the pupil of the master. Such well-known numbers PHILADELPHIA, PA. Old Music as the Prelude in O, the Sarabahde in D cents for both. No quantity orders will composer has. He has lived among the wonders why it doesn’t go better; why be filled at this price. Indians and has been very successful in For Sale Minor and the Corrente in F, are in¬ there isn’t some smoothness; ending up cluded. Our edition will follow the text transcribing their folk music. This vol¬ with an “oh, dear, I never can play those There is a lot of music that we have by von Billow chiefly, but revised and A Dollar Book ume of four songs arranged for violin The Tragic End of Robert Schumann on hand for which there is not much corrected after comparison with other and piano will be found very useful to passages.” There has been no system, nd for 35 Cents Nothing more tragic in the history of demand. We are disposing of this music editions. The special introductory price our violin patrons, and for recital pur¬ children, and I sat there at Frl. Leser’s, method in the work, and the piece has Some time ago we published an “Al¬ music exists than the mental breakdown see him till half an hour later. by the foot, $5.00 for a full foot, and for this volume in advance of publication poses. The songs will be published in one in a dull stupor, and thought that now been gone through slip-shod, rough shod. bum of Instructive Pieces by Various volume during the present month, and of Robert Schumann, which resulted after His head was beautiful, the forehead so $2.50, for a half foot. There is great will be 15 cents. I must succumb. . . . The weather Any animal trainer will tell you that the Composers,” embracing 34 pieces, mostly _ the introductory price is but 15 cents, transparent and slightly arched. I stood variety in each package. There is a con¬ his attempt to throw himself into the was glorious, so at least the sun shone only way animals can be taught to give in the first and second grades, all of a ' postpaid. Rhine in his being confined in an insti- by the body of my passionately loved siderable amount of foreign publications, The Organ on him. I had given Dr. Hasenclever a perfect performance is by making them standard character by such composers as husband, and was calm. All my feelings and all other kinds of music. Every By John Stainer a bunch of flowers for him, and he gave do “the small bits” without a hitch, with¬ Gurlitt, Schumann, Behr, Reinecke, Heller, Operetta—Mother Goose Island “He, my glorious Robert, in an them to him on the way. For a long were absorbed in thankfulness to God teacher has a demand for music of this Our new edition of this standard work etc.,—over 60 pages of good teaching ma¬ out a trace of hesitancy. When they By Geo. L. Spaulding asylum!” wrote Clara Schumann in her that he was at last set free, and as I kind with pupils that cannot afford to is now well along in preparation, but we terial of more than usual educational time he held them in his hand without have their “exits” and “entrances” let¬ diary (published in Berthold Litzmann’s noticing them, then all at once he smelled kneeled by his bed I was filled with awe pay the regular prices. At $5.00 a foot will continue the special introductory value. The book is listed in our catalog A description of the Libretto of this ters perfect—memorized if you wish-x biography of her). “How was it possible them, at the same time smiling and press¬ u was as if his holy spirit was hovering this music sells for about two per cent offer during the current month. While all at $1.00 and has enjoyed a large sale at Operetta was given in our last issue. For for me to bear it? And ah! I was for¬ their “turn” is a success. of its retail price. Cash is expected with the original material of Stainer’s is re¬ that price, but we believe there must be a novelty during the winter season, we ing Hasenclever’s hand. Later on he gave tained, it has been necessary to modern¬ recommend this new Operetta. The music bidden even to clasp him once more to with Mm. ^ ^ hC Had taken me The obstacles in a piece of music may each order, and the music is not return¬ many among our present patrons to whom a flower from the bunch to every one in ize this book in some particulars, espe¬ is of a simple, attractive, and pleasant usually be boiled down to a few bars and it is practically unknown. So we propose my heart. I had to make this greatest the carriage. Hasenclever brought his to “The funeral was at 7 o’clock able or exchangeable. There is plenty of cially in the descriptive portion, since nature, very tuneful, and not beyond the of all sacrifices for him, for my Robert. real value in every package, and those to give it a new entry into the teachihg me—with a bleeding heart I kept it.” Thursday, the 31st. I was in the little oftimes to a single passage. If a pupil many changes and improvements have range of any children of from eight to . . . Saturday 4th, dawned. Oh God! The end did not come until two years would concentrate his attention to balky who have in the past received this pack¬ been made in organs within the past few world by offering it during January, 1917, fourteen years of age. For something chapel at the churchyard. I heard the at a special price, 35 cents, postpaid, if the carriage stood at our door, Robert later. Clara Schumann tells us, “His last places, like Paderewski, and be content age have been delighted with it, and we years, and these must be accounted for. novel, interesting, with sparkling music, funeral music. Now he was lowered into cash is sent in advance (only one copy to dressed in great haste, got into the car¬ hours were quiet, and he passed away in to master them instead of “running are sure that there are many of our Modern fingering and pedaling is used we recommend our Mr. Spaulding’s new the grave. Yet I had a clear sense that each purchaser at this price). Any riage with Dr. Hasenclever and the two his sleep without its being noticed, no one t irough” a piece innumerable times, work patrons who would be very glad to have throughout also. All the material has work, Mother Goose Island. Our price attendants, did not ask for me or his it was not he, but his body only. God a supply of this kind of music on hand. been carefully revised and edited. The teacher with a class of beginners can use for a sample copy of this work is 25 was with him at the moment. I did not would be minimized. As it is no piece this book to advantage. The 35 cent price give me strength to live without him.” The transportation is to be paid by the special introductory price is 30 cents, cents. No quantity orders will be filled Js well played that has a doubtful passage. is for January only. at this price. purchaser. postpaid. 64 i H E BTUDE THE E TUDE 65 The Child’s Own Book Children’s Songs and Games Young Folks’ Musical Study Melodies of the Past Special Offer Dollar Saving we can buy now in many eases only at of Chopin Playlets. By Carol Sherman By M. Green wald Arranged for the Pianoforte For January Renewals Magazine Clubs much higher prices than we formerly paid. This new work in the Child’s Own Book The special introductory offer will be Theo. Presser Co. Ambitious teachers are ever anxious for By M. Greenwald Though long since expired, our October With notices from Publishers of ad¬ A case in point is that of Metronomes, of Great Musicians series, which already something that will brighten up the work The good old melodies more than hold continued during the current month on on which we have already been obliged to includes Bach, Handel, Mendelssohn, Mo¬ offer of an Album of Music with Etude vances in subscription or clubbing prices, of club meetings and classes. These play¬ their own in popular favor. Some have this unique collection. In this volume all Benewal Subscriptions continues to bring the present offers the best opportunity of advance the price to avoid actual loss on Publications zart, Schubert and Schumann, will be wel¬ lets may be read by the members, each never lost their hold upon the public, the popular old children’s songs and in daily requests and as a special favor to 1917 for subscribing to Magazine Clubs at further sales; and now we learn that the comed by class leaders everywhere. Give one taking a part or they may be acted while many others have been revived. games are included. Primarily they are those who overlooked grasping the oppor¬ Dollar Saving Prices, and for Etude read¬ manufacturers will not supply Metro¬ Issued December, 1916 the average child a pair of scissors and with simple improvised home-made scen¬ intended as instrumental numbers, each tunity when presented as well as to those ers we have made the following special nomes after January 1st, 1917, at 1916 something to cut out and he is as happy There is a great modern interest in all ery or costumes, leaving essentials to the folk songs. Every piece in this new vol¬ one consisting of the theme and one or who'read this announcement, we are ex¬ selections and list numerous other attrac¬ prices or even at guaranteed prices for a as a lark. In these books the illustrations imagination. The craze for children’s ume is based upon some familiar melody. two short variations, but the original fext tending this same offer for the month of tive offers on page 1 of this issue: definite period! For our part we shall are blank. The child must cut out his plays of this sort that has “caught on” in JANUARY. gladly continue to furnish our patrons own illustrations from a large sheet and The melody is first given in its original is given, and besides, directions are the public schools is based upon the fact To every reader of The EtudE renewing with Metronomes of American make at paste them in the proper places. Then he form arranged as a piano solo, but with given for playing or carrying out the THE ETUDE . that this very dramatic form impresses his or her subscription or sending us a prices as near as possible to those form¬ M. Paloverde 1 binds the book with a needle and thread the text of the first verse supplied and it various games and exercises. This vol¬ McCall’s Magazine 14133 Young Folks’ Dance, facts upon the mind of the student in far new subscription at $1.50 during the month erly quoted depending entirely on the which we provide with each book. The ume would be very useful for kinder¬ M. Paloverde 1 more forcefid fashion than in anv other is followed in each case by an interesting of JANUARY, we offer a copy of our extent to which the makers advance their 14134 Household Pets, price of the volumes already published is ■ way. The book is a splendid one' to fol¬ variation or paraphrase. The pieces all garten purposes or for home recreation POPULAR HOME COLLECTION AL¬ THE ETUDE . ,$i.5o l»1.75 , M. Paloverde 1 15 cents each; but if you order the forth¬ Every Week . . • L00 j S„e 7ict3_ prices to us. Our patrons may rest as¬ 14135 Good Friends.M. Paloverde 1 low the “Child’s Own Book of Great Musi¬ lie in the second grade. The special and instruction. Our special introduc- BUM for the Pianoforte, containing 46 sured that we shall treat them with the 14136 At the Party.M. Paloverde 1 coming Chopin book in advance you can introductory price for this new volume tory price is 30 cents, postpaid. highly attractive pieces, for the slight 14137 Hearty Laughter, cians” or the Standard History in work THE ETUDE . utmost fairness and that we shall make no have it for 10 cents. Send cash with with children’s classes. Any ingenious additional remittance of 15 cents, or a M. Paloverde X every order. McCall’s Magazi ?1io l$l-85 price changes that we can safely avoid. 14138 Jolly Letter..M. Paloverde 1 teacher can conduct these plays success¬ Works Withdrawn From total of $1.65. The pieces are not difficult; Housewife or ~ . .501 Save 65cts. 14076 The Pin Wheel..P. Lawson 2 are NEW and ORIGINAL; sheet-music fully with no previous experience and lit¬ 60 Progressive Exercises Advance of Publication 14116 Cinderella_D. D. Slater 2 Engelmann Album for size, clearly lithographed on fine quality THE ETUDE^.$1.50 A Practical 14117 Peter Pan_D. D. Slater v. tle effort. The advance of publication By J. Pischna Offer Price 14118 The Man in the Moon, Four Hands price is 40 cents. paper and strongly bound. *2.50 Premium Reward D. D. i .ter 2 The special introductory offer on this The December “Publisher’s Notes” were This is positively one of the greatest McCall’svein’s Maga You Save 14119 The Blue Bird.D. D. L_ _ The two albums of pieces for piano work will be continued for one month so many that the announcement of new values ever offered Etude readers and we $1.50 Etude Christmas Premium Workers so 14122 The Bogey Man, Pleasant Pastime D. D. Slater 2 solo by Engelmann, Easy Pieces and longer. 'Phis is one of the very best of works appearing from the press had to urge every one who reads this offer to overwhelmed us with requests for Um¬ By Helen L. Cramm THE ETUDE .$1.50 ) $0 An 14123 Narcissus.D. D. Slater 2 Favorite Pieces, have proved enormously the modern books intended for daily be eliminated from that issue. The fol¬ not only take advantage of it for them¬ Everybody’s / To One I. 1.50 > O.UU brellas as to result in a contract assuring 14124 Tinker Bell. . ,D. D. Slater 2 popular. In deference to a general de¬ Tlie success of the last volume of this selves, but to show their friends the ad¬ 14125 May-Day.D. D. Slater 2 practice. It may be used by itself in lowing works have appeared during the Delineator \ Address t. 1.50 J Save$1.50 a large supply, and as we have deliveries 14148 The Soldier and His Song, mand we have also prepared a four- interesting writer. New Rhymes and connection with no other technical work, past eight weeks. Any of these works vantages of subscribing along with you. yet to come, at what we consider extreme G. Spenser 2 hand Engelmann Album. This new Al¬ Tunes, has inspired her to write a new will be sent postpaid on receipt of the The offer is good only for the month of bargain prices, subject to ability to sup¬ 14171 Song of the Millermaid, or it may be used in combination with EvefyEw™E.::::::::::::::*i:oSl$3.oo A. Schmoll 2 bum will consist of both original pieces set of pieces. There has been no one marked price, or will be sent for exam¬ JANUARY 1917, and whether your sub¬ ply we are going to pass along to Etude such a work as The Virtuoso Pianist by scription has expired or not, renewal or¬ Woman’s Home Companion... 1.50 j Ssvell.OO 14186 The Sailor and His Song, and arrangements, including some of the that we have known that has been more ination to any of our patrons. This of Workers the financial benefits of this G. Spenser 2 Hanon. Nothing better can be found der will be accepted from you during the 14187 The Traveller and His Song, most popular of Engelmann’s drawing¬ happy in writing easy pieces than has course means the opening of an account, THE ETUDE .$1.50 1 $0 OtT contract through the following generous room pieces. It will be a most attractive than a combination of this nature. These specified time limit. Miss Cramm. As she composed the words but that is done with the Theo. Presser Mother’s Magazine.1.50 h offers: volume in all respects, the duets being 60 Progressive Exercises may be used to You may, if you choose, substitute any Christian Herald.2.00 ) Save$i.65 and music to all of them, the correct Co. without any red tape whatsoever. We chiefly of intermediate grade. The spe¬ follow the well-known Little Pischna or one of the following Albums for the Popu¬ FIVE SUBSCRIPTIONS — Ladies’ J. Blied 2 spirit is ever present. In this new set welcome accounts with every responsible Our new 1917 MAGAZINE GUIDE of 26-inch or Gentlemen’s 28-inch Umbrella 13934 Valse Seriouse. . ,C. Fradel 3 cial price for this book in advance of any other book of elementary finger ex¬ lar Home Collection: are some of the most charming bits of person. The only reference needed is the 24 Pages is just off the Press and lists of highest grade Union Silk. Guaranteed 13974 A Propos.M. Saroni 3 publication will be 20 cents, postpaid. children’s music we have ever heard. ercises. Our special introductory price is PIANO PLAYERS’ REPERTOIRE- 13978 The Trout Stream...C. Wolf 3 name of a business person or firm. The more than a thousand of the most popu¬ waterproof. Specially selected handles. 14052 Facing the Foe, There is a delightful mingling of the 25 cents per copy, postpaid. 39 Popular Pieces for the Pianoforte—Ca¬ following is the list of works that have lar Magazine Clubs at lowest possible SEVEN SUBSCRIPTIONS — Ladies’ R. S. Morrison 3 Easy Octaye useful with the pleasurable. Many of the prices, Songs Without Words, Reveries, 14090 Dance of Yesteryear, appeared: Characteristic Numbers, etc. prices. Send for a copy to-day. 26-inch or Gentlemen’s 28-ineh close-roll¬ pieces are of a characteristic nature, such The Supplement W. W. Smith 3 Studies STANDARD VOCALIST—50 Sacred ing Silk Umbrella of good weight and 14097 The Perfume of Violets, We almost owe an apology to our as the Imitation of the Wind, The Harp, With This Issue _ Pictures from Storyland, Op. 98, by excellent wearing quality. Plain handles G, h. Spaulding 3 and Secular Songs of average compass and An Advance in 14130 Wayside Flowers, patrons for the'long delay in the prepa¬ The Metronome. There are also a few We present with this issue a photo¬ David Dick Slater. Price 75 cents. This medium grade. of Mission, Ebony, Boxwoods, etc. very interesting four-hand pieces in the Metronome Prices P. A. Williams 3 ration of this set of studies. There is gravure of Mozart similar to the one of volume is within the grasp of the veriest YOUNG PLAYERS’ ALBUM — 70 TEN SUBSCRIPTIONS — Ladies’ 14147 Farandole.A. Schmoll 3 always some time given it during the volume. There is variety and interest beginner, yet at the same time the com¬ Easy and Popular Pieces for Pianoforte. In spite of the steady increase in the 26-ineh or Gentlemen’s 28-ineh Umbrella 14149 Love’s Echo....G. Spenser 3 from cover to cover. Our special ad¬ Beethoven given with the December num¬ 14151 Opening the Ball, month, and we are almost ready to issue poser has something to say and says it in Adapted for recreation, home or recital cost of all manner of manufacturing of the finest quality long-wearing, closely- C. T. Brunner 3 vance price on this volume will be 25 ber, of which supplement we have re¬ the work, and we hope that this present ceived many kind words. a very intelligent and correct way. You playing. materials, labor, etc., we have conscien¬ woven all Silk Taffeta. Every thread 14152 On the Mountain Side, cents, postpaid. will make no mistake in ordering one of tiously refused to raise the prices on our C. T. Brunner 3 month will be the last in which the offer Too much explanation cannot be given STANDARD BRILLIANT ALBUM pure silk, pure dye. Waterproofed by 14164 The Night Wind, these volumes. —27 Pieces for Pianoforte. A volume of publications, even though our profits have special process. Dries almost instantly. will be in force. We are aiming to make with regard to the scheme of use which R. S. Morrison 3 Standard Advanced Pieces Jousse’s Musical Catechism. Price 25 showy but not difficult pieces. been steadily lessening, ar.d we hope to pass Attractive but dignified handles. An 14165 The Husking Bee, this work a little different from any easy has moved us to manufacture and pre¬ R. S. Morrison 3 octave studies that are at the present For the Pianoforte cents. This improved, revised and cor¬ STANDARD DUET PLAYERS’ AL¬ through the period of increasing prices Umbrella of real distinction and carried sent these two portraits. More of these 14195 Barney McCracken, time published. That is another reason This is a new volume in our popular rected edition includes a dictionary of BUM—29 Bright and Tuneful Pieces without making any radical changes at the only by the highest grade dealers. R. H. Terry 3 portraits of the great masters will be lying chiefly in the third grade. expense of our patrons; this attitude, 14228 Spring Thoughts.A. Schmoll 3 why the delay is so considerable, as we series, printed from special large plates. musical terms, Burrowe’s Guide to Prac¬ A post-card request will bring you a 14229 The Bird’s Nest.A. Schmoll 3 are trying to make this new work one of It will contain pieces rather advanced, given from time to time if it is desired tice, and Mohr's Thirty Home Rules. STANDARD VIOLINIST—32 Pieces however, cannot be consistently maintained copy of our 32-Page Premium Catalogue 14230 Village Festival.A. Schmoll 3 by our subscribers. special value. The special price of 15 chiefly in grades four to six, with pos¬ Burrowes’ Piano-forte Primer. Price for the Violin and Piano—all styles and as regards the output of other publishers presenting hundreds of offers on unusu¬ suited to all occasions. or manufacturers whose finished product ally attractive terms. cents, postpaid, will therefore be in force sibly a few still more difficult. All the The scheme is to make a passe-partout i j?nts‘ “The Rudiments of Music,” in- R. H. Stulw... 3% a little longer. best composers will be represented, clas¬ picture to hang on the wall of the studio a Grecian Garden, eluding also a dictionary of musical V. J. Peabody, Jr. sic, modern, and contemporary. The or the music room. By simply trimming “*™: Burrowes’ Guide to Practice, and 14139 Humoresque, Album of Sacred pieces are such as will be found 'suitable around the outside edge of the wide mar¬ Mohr's Thirty Home Rules. P. Tscliaikowsky 4 for' advanced teaching. The special in¬ ginal border on the back, purchasing for 13945 The Last Rose of Summer, Piano Music The First Twelve Lessons for the A Whirling Dervish Dance in America B. Richards 5 troductory price in advance of publica¬ 5 cents a piece of 8x10 window glass it Pianoforte, Op. 125, by Diabelli. Price 14150 Mazurka.S. Stojowski 5 This is a new and very useful volume One of the most curious instances of One of the dances accompanied by tongues. All the time the young sisters tion is 25 cents, postpaid. is possible with very little effort to make 25 cents. This book may be used to sup¬ of music of quiet and refined or contem¬ religious enthusiasm joined to music is music is reminiscent of the war dances continue their turning, and they must 13752 Prelude and Toccata, a very acceptable studio decoration plement any instruction book, or to fill V. Lachner 7 ' plative character, music suitable to be told in the newly published “Gleanings of our aboriginal Indians. With both 10 Melodious Studies After trimming as above place the glass out the first grade work in any graded not be checked, because it is by the in¬ PIANO, FOUR HANDS used on Sunday in the home, and also hands held forward, prone, tfh'e dancers By A. Sartorio. Op. 1090 over the face of the picture. Paste the course. J e from Old Shaker Journals,” by Clara spiration of God that these things are 14115 Les Sylphs....G. Bachman 3 at religious services and gatherings where Endicott Sears. The dances and songs chant under the exciting directions, at 14072 Gipsy March_..C. Wolf 4 The special offer on this new book of edges of the paper which are outside of The Greatest Gift, by H. W. Petrie. done. They frequently fall prostrate on organs are not available. The volume will the same time performing a kind of PIANO STUDIES studies will be continued during the cur¬ the glass and turn them over neatly on Price 7o cents. Christmas Cantata. This of the Shakers are altogether unique. the floor and all animation seems lost for 13932 Rhythm and Technic, contain some of the gems of the great One song that was sung at religious pro¬ formal religious dance. “The company M. Greenwald 2-3 : masters as well as suitable selections by rent month, although the work is now on the face of the glass. You will find'that vvork is brilliant, dramatic and effective a season.” 14026 Melodies in Difficult Keys, cessions was called “The Voice of God.” stand facing the singers, the elders be¬ modem and contemporary writers. All the press. These studies are of interme¬ throughout, without being at all difficult, The above contemporary account of vald 3 frm WlU make a Very neat border or ing in front and nearest the middle of the pieces are melodious, but of elevated diate grade and they are especially we predict great success for this cantata. The words were: the whirling dance, at the end of which VIOLIN AND PIANO adapted for hands of limited span, as the hall from east to west. When a tune character. Pieces of trivial or common¬ On the back of the picture, in the cen¬ I he King Cometh, by R. M. Stults. "I will roar, roar, roar, yea I will howl, the dancer fell in a kind of trance sup¬ umann-Greenwald 3 there are no wide stretches used. All is struck up, they turn the brethren' to place nature have been excluded. In tre of the wide printed margins there Is Price 50 cents. A Cantata for Christ- howl, howl, in my fury saith the Lord, posed to promote the gift of prophecy, SONGS departments of technic are covered, but the left and the sisters to the right, and 0 : Longii _ point of difficulty the pieces will be a condensed biography of the composer, a '' e repommend this cantata very because of the abominations that rest in differs so little from the whirling of the largely of intermediate grade. Our spe¬ special attention is paid to scale and ar¬ inghiy to all organists and choir directors. Zion. And I will send forth a curse, perform a sort of trotting step, each G. N. Rockwei feature quite valuable to every music fanatical dervishes of the desert that it 7 Snapshots. .. .T. Lieuranec cial price in advance of publication is 35 peggio work in either hand. The studies The Young Violinist, Op. 10, by Wiehtl. wrse, curse, I will send forth a heavy company around its own division of the studio and to every musical person. is difficult to think of such a thing hap¬ cents, postpaid. are all melodious and musically interest¬ Price $1.00. This work contains the essen¬ curse upon the inhabitants that dwell in room, until the set of the tune, when all ing in addition to their technical value. pening in America, in comparatively re¬ 14162 Crossing _ _ Etude tials of violin playing presented in a log¬ her.” turn facing the singers and shuffle. At J. R. Gillette 3 Our special introductory price is 15 ical and pleasing manner. cent times. 14183 Cecelia Sing, Bach’s Well-Tempered cents, postpaid. . Binders According to the beliefs of this odd the interval of the tunes some brother or T. B. Galloway 3 Clavichord, Vol. I Daily Exercises for the Pianoforte. By cult which flourished in different parts of sister expresses thankfulness for the These extraordinary dances are no 14108 Secrecy.H. Wolf 4 wortLkofT °-f n° maga7'ne which is so Sclrwalm. Price 50 cents. This book lias the United States during the middle part privilege of the Gospel, and express their longer a part of the practices of the OCTAVO, SACRED MIXED VOICES Our new edition of. Bach’s Well Tem-. Schmoll Method for the worthy of having a permanent form after e< n one of the standard text hooks for 10850 Heaven is My Home, of the last century, one was purified by determination to be obedient to their be¬ Shakers who are known now for their G. S. Schuler 3 pered Clavichord, Volume I, is now on Pianoforte many years and is destined to retain its V°W ^ ?“* « various contortions produced during a loved elders and keep the way of God.” splendid examples of thrift, industry and 10854 Rock of Ages, the press. We will continue the special This new publication is now on the popularity for many more. G. N. Rockwell 3 introductory offer during the current kind of religious frenzy. This was “As these exercises continue the zeal ’abstemiousness. The cult was formed 10861 To Thee My God and Saviour, press, but the special introductory offer p,eRf's Duets for the Violin. Price increases; the whole company frequently in 1758 and at no time had more than month, however. In this work, the fa¬ will lie continued during the current known as “operations.” “When any one oo cents. These duets have held popular clap their hands in concert. Some begin five thousand members in the United 10863 I Am the Resurrection and mous edition by Czerny has been followed month. Our new edition has been spe¬ nows a full year’s issues, twelve nu is said to be under ‘operations’ it means the Life. .S. P. Widener 3 or f£r man-v >rears, not merely because States. The Shakers seem to be immune closely. There has been only such edi¬ cially translated from the original jerking of the head, bowing and twisting, to turn and turn around with great rapid¬ 10867 Arise and Shine, torial oversight as was necessitated by a they offer studies within the 'range of ity. Some leap and shout and talk in from cancer. This is attributed to their G. S. Schuler 3 French, and lias been carefully prepared. the most juvenile beginners, but also be- rolling the eyes, contorting the face, and 10870 Who is This so weak and careful comparison of the various stand¬ This is one of the most melodious piano ■$1.25 binder is known as the Big B, throwing the arms about.” unknown tongues and sing in unknown abstinence from all meat and fish foods. Helpless.E. Minshall 3 SC j1C-' are genuinely melodious. The ard texts. New and handsome' plates instructors that we have ever seen. It very much more substantial, heavier OCTAVO, WOMEN’S VOICES have been engraved. Every pianist suf¬ every way than the one that spile ehdion of them has been carefully 10852 Huntsmen Up and Sound is full of the very best sort of educational edited and revised. the Horn. ,W. W. Smith 3 ficiently advanced should take up these •Si.00,-more than worth the difference 10856 O Dawn.M Saroni 3 material, but at the same time all the Elementary Violin Method for Beqin- Preludes and Fugues and keep at them studies and pieces are of the most attrac¬ Many of our subscribers buy a bine 10869 The Frost Elves.R. Barrett 3 indefinitely. One may play them for °P- By Wohlfahrt. Price ffii.GO. FOUR HUNDREDTH ANNIVERSARY OF THE REFORMATION OCTAVO, MEN’S VOICES tive character, and all are original. at the beginning of each year and pla years and still gain benefit, and con¬ each number as it comes to them w tl 1, ,* ™ethod is another of those that have PRIZE COMPOSITION CONTEST 10855 Huntsmen Up and Sound SchmolPs Instructor is one of the most eld the, r piace in the esteem of vioijn the Horn..W. W. Smith 3 tinue discovering new beauties. Our spe¬ popular European music books of the its covers. This insures less damage 10859 Believe Me if All Those cial introductory price for the volume is longer life, and a positive knowledge teachers for many years. Tup I™,,. 1 ,,a. „ r_on celebration of the Four Hundredth Anniversary of the Reformation is offering awards for Endearing Young Charms, present day. Our special advance price and $25. Two grades of difficulty are requested. Anthems fst not ex¬ Moore-Shattuck 3 30 cents, postpaid. pJ?orf“£d Album for the Pianoforte. for this volume is 30 cents, postpaid. ™Sa. “nes •" u>«y . ceed 16 octavo pages of mu ic The time for submitting Anthems closes February 1st. For suggested texts and particulars 10860 O Happy Day...G. Goetze 3 iho'f-i7’5 cents- This volume should be in the library of every pianist address H. R. GOLD, Secretary, 925 Chestnut St„ Philadelphia. THEO. PRESSER CO., Philadelphia, Pa. 66 THE ETUDE THE ETUDE 67

==5?-= , Schools and Colledcs< CHICAGO

Schools and Colleges THESE TEACHERS ADVERTISING NEWvrw YORKvm»K ^ (}N OTHER PAGES OF THIS ISSUE CHICAGO COLLEGE OF UNIVERSITY SCHOOL DETROITFraneiaL.York“M .A Prea. ESTHER OF MUSIC THESE TEACHERS ADVERTISING VOCAL TEACHERS GRANBERRY PIANO SCHOOL tN The American Institute of Applied Music HARRIS, ALBERT A. STANLEY, A.M., Director CONSERVATORY of Finest ON OTHER PAGES OF THIS ISSUE (METROPOLITAN COLLEGE OF MUSIC) MIDDLE WESTERN MUSIC Pres. y Conservatory Ann Arbor, Michigan Teachers’ Training Courses 212 West 59th Street New York City D. A. CLIPPINGER, 1208 Kimball Hall, Chicago in the West VOCAL TEACHERS yiMV. BARBEREUX PARRY, Sit Fine Arts Bldg., Chicago Advanced courses are offered in aU branches of Complete courses in Voice, Organ, Piano, Stringed Instruments, Public Music under a faculty of artist teachers. Offers courses in Piano,Voice, Violin.Organ, EASTERN FAELTEN SYSTEM. Booklet School Music, Theoretical and Historical branches ‘‘C Theory, Public School Music and Drawing, 31st Season—October 2, 1916. Send for circulars and catalogue “A GATHERING PLACE FOR CARNEGIE HALL - - NEW YORK ADVANCED STUDENTS” Oral Interpretation, etc. Work based on Ui W„ «'* 8‘- York City. JOHN B. CALVERT, D.D., Pres.KATE S. CHITTENDEN, Dean best modern and educational principles. Lucille Stevenson Numerous Lectures, Concerts and Recitals KM?* StSS !»w Haven, Fall Semester begins October 4 throughout the year. Students’ Orchestra. INTERNATIONAL SKS Soprano. Teacher of Private Teachers Branch Studios. Excellent Dormitory Ac¬ OF THE CITY OF commodations. Teachers’certificates, dip- ORGAN SCHOOLS MRS. BABCOCK e. Available for con- the Western Conservatory may offer their pupils regu¬ QFFERS Teaching Positions, Col¬ INSTITUTE OF MUSICAL ART F«nkNDW Yh0RDK !. Address Room N, lar C°"8erjVatory Advantages at Home, with Certifi- EASTERN leges, Conservatories, Schools. AN ENDOWED SCHOOL OF MUSIC 9th Floor, Auditorium OUILMANT ORGAN 80H00L, 11 W. 12th St., New York Alio Church and Concert Engagements The opportunities of the Institute are intended only for students of natural ability Building, Chicago, Ill. CARNEGIE HALL, NEW YORK with an earnest purpose to do serious work, and no others will be accepted. For catalogue and full information address SECRETARY, 120 Claremont Avenue, New York. Take a few minutes to study the CLAUDE Louise Burton school announcements on these GOETSCHIUS’ pages. Here are the best Colleges, SOPRANO Centralizing WARFORD SYSTEM OF HARMONY OF ^AMERICA Conservatories, Schools in Counterpoint and Composition THE NATIONAL CONSERVATORY America. Tenor Teacher taught through mail by Chartered in 1891 by Special Act of Congress. Inc. in 1885. (Jeanette M. Thurber, Founder and Preiidem) School of Metropolitan Opera House Semi-annual entrance exams, in all branches. Sat., Jan. 6th, 10-12; Wed., Jan. 10th, 8-9 P. M. Building E. KILENYI, M.A. 64 E. 90th Street New York City 31 years of continuously successful results. 1 1425 Broadway, New York More prominent instructors and graduates than any other American Conservatory. 9 Music Endorsed by Da. Goetschics. Individual attention Address Secretary, 126 and 128 West 79th Street, New York City GUY BEVIER WILLIAMS LOUISE ST. JOHN ARTISTIC PIANOFORTE PLAYING VALUABLE COURSE IN MODERN PEDAGOGY WESTERVELT Centralizing School of Acting Edward Dvorak, Director BURRO WES COURSE of music study Soprano. Teacher of Voice. Departments: Piano, Theory, Voice, Violin, cctor Columbia School of ARTHUR FRIEDHEIM Kindergarten and Primary—Correspondence or Personal Instruction sic Chorus. Address Violoncello, Expression. Send for Booklet. THE DETROIT INSTITUTE OF MUSICAL ART Happy Pupils—Satisfied Parents—Prosperous Teachers. Classes are doubled by use el this method m W. 509 S. WABASH AVE. “Strongest Faculty in the Middle West” 0afp^cat°onrsteo KATHARINE BURROWES Students May Enter at Any Time A School which offers every advantage incidental to a broad The Noted Pupil and V T -—- musical education. Corps of over 50 artist teachers. For catalogue and full information address Greatest Interpreter of | J 1 DETROIT, MICH. f g H. B. MANVILLE, Business Mgr. :: :: :: 67-69 Davenport St.

has transferred his studio from Munich to New York City, Steinway Hall, where in the AMERICAN future he will instruct advanced pupils and teachers. f A limited number of Free MICHIGAN STATE NORMAL COLLEGE ocholai ships will be given to pupils without means. All applications are to be made to THE NEW VIRGIL CONSERVATORY CONSERVATORY OF MUSIC PAUL SYD0W, Manager 61 East 53rd Street, NEW YORK CITY S^MUSIC MICHIGAN PRACTICE CLAVIER ig supervisors and teachers and Far superior in its latest construction to any Chicago’s Foremost School of Music n lly low. Write for catalog. other instrument for teaching and practice. Offers courses in piano, voice, violin, organ, lichigan. public school music, theory, orchestral in¬ struments, etc. Walton Pyre School of VIRGIL PIANO CONSERVATORY Dramatic Art and Expression. Superior VIRGIL SCHOOL OF MUSIC Normal Training School, supplies teachers for The most efficient school in America V For Particulars address Secretary colleges. Schools and Colleges The “Tek” IRGIL Executive Office, 567 Third Ave., New York City MINNESOTA AND MISSOURI __ Results tell _ORA. K. VIRGIL, ST. PETERSBURG, FLA. NEW HOME of the MINNEAPOLIS SCHOOL of MUSIC 19 reasons why the Crane Normal Institute of Music ORATORY AND DRAMATIC ART Effa Ellis Perfield William H. Pontius, director of the Department of Music and Charles M. Holt, director of the Department of Oratory and Training School for Supervisors of Music Dramatic Art, announce that they are now located in their NE IV HOME, 60-62 ElevemU Sir, el. Souit], Minneapolis Minnesota “Tek” excels the ... th^—tqT.BsUdini^ aa^daa^twy ty’*ev«i^yel]W^w^Mhghttd^vell^«rtD.icji^aBdh,, three Inge Vo'cec It ,s;rTHiSEXESai ; PEDAGOGY piano for practice. based on Inner Feeling, Reasoning tSSSSSe and Drills, teaches teachers how to teach Desirable dormitory accommodations. N umerous branches of Music, Oratory and Dramatic Art are tsughL rrom th e beginning to the highest perfection. Certifloates and Diplomas tions in collegesf city InlTnorma'l'scS"1*”' P°M' Keyboard Harmony Harmonic Dictation lectures, concerts and recitals throughout the 12th to August 7th. .illustrated Catalog “E” upon requesi. Fall term opens Sept. 1st, 53 MAIN ST., POTSDAM, NEW YORK school year. Teachers' Certificates, Diplomas Conservatory, ) Catalogs and Degrees conferred by authority of the state “Tek” and 1 on of Illinois. Students’ Orchestra. Many free advantages. Students Accepted Now Music J request BEETHOVEN CONSERVATORY Most successful schools started ry is universally recognized as a years ago advertising for their a fn8 thercountrr.°nEi ht* A. M. VIRGIL, President pupils of to-day. To-day they are corporate seal of State of Illinois. Accred¬ advertising for their pupils of ited by the Chicago Board of Education. (Story Kimball Hall Building. 11 West 68th Street NEW YORK to-morrow. Efia Ellis Perfield Music School, Inc. For free catalog and general information, t modlouswssSS buildings Address. 671 KIMBALL HALL Chicago, 111. \ «esiaent and day siuuencs. t erms mod. Cataloi Schools and Colleges < Address The Regi.lrar, 1 DuWit. Puk, Ithaca,N. OHIO The ^\ARY W°°D CHASE rCH°°L TEACHERS Y0Ur ^ame S*10u*t* Appear in CINCINNATI CONSERVATORY of MUSIC establishei THE yon ENDE SCHOOL of MUSIC PIANKTQ PROFESSIONAL ©FAXUSIg^L ARTS 50th YEAR “The Foremost Musical Institution of America” riAmaiS DIRECTORY pOREMOST among American Schools of Music ORGANISTS (See page 6* WABASH 8703 G I C3 AC O O LV°N * H“LY “ 1 An unsurpassed Faculty of Musicians and Ped_ NEW YORK CITY ILLUSTRATED BOOKLET I CIMPEDC The cost is small. The ANNUAL SUMMER COURSES FOR TEACHERS OF PIANO, VOICE, VIOLIN Artist and Master Departments. Normal Department OllNULIO advantage is inestimable. Chicago, Ill., in June Write now for folder_Ludington, Mich., in July Exceptional advantages for Post-Graduate and Repertoire Work, advanced study in Theory and Composition. Orches¬ tral Draw'ng ^tudentsetPub-Iic Seh°o1 Music W ?EW YORK ^SCHOOL OF MUSICAND ARTS ® Prof essiona^ErigagementsHfor11 Graduates ^AddS*118 MISS BERTHA BAUR, Highland Avenue and Oak St., Cincinnati, 0. Our new buildings give us the most beautiful and e . . „T. ^ RALFE LEECH STERNER Director Special Winter Teachers’ Courses DANA’S MUSICAL INSTITUTE MANY EUROPEAN CELEBRITIES AND EMINENT AMERICAN TOCHERS . 7 N<* Y“k WARREN, OHIO dhetm, the_Great Virtuoso; Liszt’s Greatest Pupil. Voice-Ralfe Leech Sterner. Celebrated V„„, rlnclu^S THE SCHOOL OF DAILY INSTRUCTION IN ALL wfpic.week.'tcKms.'incluBTnc" TEBMS iNminiNe ™^^ urssOPEN The ENTIRE YEAR. PUPILS MAYENTER any „« d Warner’ and many others. BRANCHES OF MUSIC 1 APPLICATION. ^^FOR EVERY Address LYNN B. DANA, President Desk E, WARREN, OHIO sssssisisi!ssi;^^ \ r'JK BOOKLET AND BOOK OF VIEWS. Please mention THE ETUDE when addressing our advertiaeTr''' Please mention THE ETUDE when addressing our advertisers. 68 THE ETUDE THE ETUDE 69

The Real Greatness of Mendelssohn The following is a part of an excellent ers have so largely invented for and on F sharp is resolved into G major, Schools and Collides article entitled Poor Mendelssohn, which which modern tasfe demands— (f,x-_. ... live with a suspended seventh. This is so un- appeared in the Monthly Musical Record ! PENNSYLVANIA the present and cannot re-live the lives expected that some editors have (inno- of Condon. The author is Francesco Ber¬ of our forefathers) and I also find that cently!) concluded the G in the Bass to ger, an English pianist-teacher and con¬ frequently in his fugues, the clashing of be a misprint) and have ventured to alter ductor long connected with the Guild- |_ parts” produ'es dissonances which are it to B, thereby sacrificing the piquant THE FLETCHER MUSIC METHOD hall School of Music. He is now eighty absolutely intolerable. I The Original Musical Kindergarten and Simplex Method of quite aware effect, and depriving the. fugue of one “wavesf And they America years old and was a^ pupil of Haupt- that Bach’ i Jong time, when Liquid.Silmerine is used Brought to America through the interest of the New England Conservatory i., tt; . -- music ‘wimrarequires toiu beuc readicau uiof itsus sauemsalient ieaiures,features. v.ouiaCould tnethe i before rolling the hair in curlers. Mann and Blaidy. ms article is well horizontally, not perpendicularly; but the poser have known of this outrage, < COMBS eighteen years ago; and during that time taught to over 700 music teachers (every one timed because there has risen in England of whom could be employed in Boston alone); the demand is growing rapidly for hears these dissonances simultaneous- ly he would have exclaimed “Save tu= Liquid Silmerine and for that matter in America Fletcher Music Method teachers in spite of the many cheap copies of this system. ly, however much one may attempt to ex- from my editors 1” It is hardly necessary is perfectly harmless. Easily applied with brush. consbrvat°rvopMu8IC The next class opens October 2nd, 1916. Applications should be made early. warranted tendency to “patronize” Men- plain them or account for them. Well, to call attention to the long crescendo Hair is nice and fluffy when combed out. Silmerine is also a splendid dressing. Keeps hair fine and Read, “What is the Fletcher Music Method?” price 32.00. delssohn—that is, to deprecate his posi- spite of these objections,- -Bach still— - - and gradual accelerando which reach glossy. Directions with bottle. At your druggist's. For full information regarding Normal classes and lectures for Educational, {ion as a master. mains the great composer we all know their climax in the Chorale in E major, Musical, and Mothers’ Clubs, apply directly to The'father of Felix Mendelssohn was 1,him t be. And, by the same argument, excepting to mention that I canot recall MRS. EVELYN FLETCHER-COPP 3t himself a celebrity, but his father had though Mendelssohn was not always parallel instance in a similar work by A SCHOOL OF INDIVIDUAL INSTRUCTION noted literary man and philoso- his.best in his piano music, he still re- any composer before Mendelssohn, 31 YORK TERRACE BROOKLINE, MASS. pher. Hence, in speaking of himself, he ma'ns t*le great composer by what he has (though the device has been imitated heoretical and Applied Branchaa taught Privately and in Clara v , i _Txn_t - » _ done at other times anrl ic tint ^c a *— Special Notices of it* distinguished (acuity, original methoda, in and stress and storm of the fugue have sub- When I was a young „ , Mendelssohn can afford to be called ' sided and the Hymn of Thanksgiving PIANO GRADUATE wishes position to Clasaea. Supervised Practice. Daily Reports kssp Director mformeTofcach pSpU's pragm^'Two was worshipped as one of the greatest conservatory to teach beginners. Gibbons, complete Pupill' Symphony Orchestras, one o! 85, the other of 60 pieces Progress, l .Vo P°or- has died away, the echo of the fugue- Cantril, Iowa. s» Schools and Colleges* musicians the world had produced, and I Normal Training Course for Teachers-A complete and thorough course What School? To the man in the street, or the girl motiv (in the major key this time) sug- was nourished in that faith. I am proud EXPERIENCED ACCOMPANIST desires Vhe only Conseroatory in the State with Dormitories for Young Women NEW JERSEY — . . . _ *n the school-room, he is known as the gests peace after strife, consolation after position with soloist or orchestra. Address A School of Inspiration, Enthusiasm, Loyalty and Success What Conservatory? q record I subscribe to it to-day. But composer of The Songs Without Words, trouble, rounding off the entire compo- T. F„ care The Etudb. Our 36-page Illustrated Year Book will be mailed upon request Thousands of students and parents knov SHEPARD PIANO SYSTEM fashions have changed around me to such The popularity of these has stood the test sition in a fashion as artistic as it is GILBERT RAYNOLDS COMBS, Director that the proper decision of this questioi By Mr. .nd Mr.. F. H. SI an extent that I now hear people u.i- of close upon a century, and in public novel, and helping to complete a musical 1319-1327-29-31 S. Broad St. Address E. D„ care The Etude. 9Q oi c D-j <=*■ Philadelphia, Pa. may makejjor ruin a career. The Etude A Method which develop, iodividui blnshingly speak of him as “poor Men- estimation they have long since taken picture as convincing as any in the whole beside technique in every pl.yer, II < , _ delssohn.” They cannot possibly mean their place by the side of Beethoven’s range of pianoforte music. school advertisements represent the p of problem, beyond the reach ' t pecuniary circutn- sonatas and Chopin’s nocturnes. But they Note the intense contrast between Pre- progressive institutions of the country. Address Pianist, care The Etude.. HAHN Conservatory of Music s common knowledge represent only .one side of his versatile lude I and Prelude III; Normal Consekatob? What better guide could you have? SHEPARD SCHOOL OF MUSIC, Orange, N.J. PIANO TEACHER, with references, de- \ 1714 Chestnut St. Phila. that such was not the c of his portant detail, how at bar 42 the descend- slres location where a large class may be ___n that he— was—r poor- it - ing chromatic scale in the left hand is obtained. B. S„ care The Etude._ J^Mas/C/ ment, and I offer the following remarks speak here. He is at his best in: Six Pre- harmonized, and, further on, how clever- FOR SALE—Music School With music to controvert' this. In doing so I cannot ludes and Fugues, the Variations scrieu- ly the Coda is constructed. In Fugue III business; high class proposition in Western Canada ; every investigation invited. S. B„ help lamenting that such a line of defence 's, the Andante and Rondo cafriccioso note, among other contrivances, the in- The Etude._ should ever have been called forth. To i E (op. 14), and the Capriccio in F vertion of the “subject,” and, later still, WANTED—-Position as teacher of Voice or set up an idol in one century, and to sharp (op.-5). the combination of the subject with in- Piano. Conservatory graduate; five years' knoclj it down and trample c The Preludes" and Fugues none but he vertion, the ingenious Pedal Point on the experience; good testimonials. E. H., care The Etude. next,;t, appearsap to me to be either imbecility could have written—none but he has. Dominant, and the “contrary motion” in inn the first instance, or sacrilege in the Beethoven’s fugues in his big sonatas are, the final bars. other. s pianoforte music, huge failures; Schu- Prelude V is often selected as a “test” loving sister, Elizabeth That some of Mendelssohn’s pianoforte mann’s cannot be quoted at all:; Cesar piece at examinations, . but, apart from em, Pa. pieces are inferior to„ others,_, is merely Franck has but one, a very. good_ o ne; and its decided technical utility, it is a dis- UPRIGHT PIANO for sale. Standard admitting what must hold good of every Brahms has but one, a splendid one. But tinguished movement with a lovely mel- make. Very reasonable price for cash sale. Also large concert grand. New. Cost $900. other composer. But, to take the least here are six! Each totally different from ody, ending very appropriately in the For sale at a low price. Address Piano, Lyon ft_£Lukly Boll ding, Chicago good work of any creative artist, be he the other five, and all equally fine. While Tonic major. The fugue affords splendid 1712 Chestnut St., Phila., Pa. musician,1 ' painter,,' sculptor,’ poet, author,- they all display abundant musicianship, it practice for both hands if taken at the CINCINNflTi'SSttSbi or what not, hold it up to criticism, and 's Nos. 1, 3, 5, and 6 that are most' suit- proper pace, its many interesting points of music in St. Louis, desires posit some Western school of music on or ni argue from its weakness that all his other able for public performance, being too obvious to need enumeration Coast. Would also invest some cash li COLUMBIA' work__ is equally weak,_ is__ manifestly illog-,w Prelude 1 --presents difficulty in finger- here. paying school. H. W„ care The Etui ical. You might, as reasonably, take his ing the right hand, and when this has To hear Emil Sauer play the Sixth The foremost school of fine arts pianoforte bohooi. DANA’S' best work, and argue therefrom that all been overcome by changing fingers on Prelude and Fugue is a rare pianistic in the South. Advantages equal faelten: - some of the notes that sustain the melody, treat; he makes the chords in the Pre- p The School for your Daughter to those anywhere. itington Ave., Boston DETROIT' it be equally good. are on exhibition____ I cite Bach to illustrate my point. In it will still be found difficult to make this lude vibrate like “celestial harps,” while particulars address Beethoven Relic, | Our catalogue tells why Theo. Presser Co., 1712 Chestnut St., :_ Fall Term begins September 4th. many of his smaller piano pieces I find prominent and keep the flowing accom- the “rolling” of the fugue-subject sug- $ 3919-s Junius Street. Dallas, Tex. -tFRIEDHEIM 6BSOSn^1 E. 63d St., New Vork pity. KNOX or Mrs. J. R. Leon, 936 Dauphin Way Send for Catalogue. ATLANTA, GA. the “subjects” trite and commonplace. I paniment' iin the background. In the fugue gests the flowing tide, restless and relent- Mobile, Alabama, WESTERN! find a total absence of all the lovely there_ i _ i noteworthy point at bar 41, less, subduing and submerging all resis- HAWTHORNE “pianistic” effects which modern compos- where the chord of the Dominant Seventh tance. Will Sl-______Shenandoah MR. and MRS. CROSBY ADAMS ated In railroad center; beautiful loeatloi Annual Summer Classes for Teachers of Piano Has been running successfully tor twenty Collegiate Institute martin: VOICE years. Consists of departments of Piano, for the Study of Teaching Material Voice, Harmony, History of Music, French, ^ School of Music ^ ^ ^ I MONTREAT, N. C. : CHICAGO, ILL. EASTERN German, Art and School of Expression. Ad¬ JUNE ^ ^ t IN AUGUST MOULTON: A Better Way dress EUlora Stinson, Washington Court By Madame A. Pupin MONTREAT, NORTH CAROLINA NEW YORK STOCK WANTED at New Year, Principal Violin t< ■at-her (Sevcik method) and soloist for Con- Let the little pupil play one measure four MIDDLE WESTERN Many young teachers may play very be given for a first lesson: each hand Music, Regina College, Regina, times very slowly, with the right hand Canada.” This is a___ -....1 opening f ~ ESTABLISHED 1857 NORMAL‘ well themselves, Hut may be uncertain ex¬ played alone, as above, and together if accomplished gentlemanly musician. Orches¬ alone, ending always on the first note of actly how to teacli beginners. I have so possible. This method teaches the pupil tra to train and conduct. Minimum guaran¬ GROFF:BRYANT I the next measure. This note is the to think her music, and it also teaches her tee $1,000 yearly. Double this amount mav TRACY' _ CoUege. ualsmarg. minou often heard teachers say: “Oh, Nellie, you readily be earned. Apply with photo and PFAROFW CONSERVATORY rhythmic note and must connect the two how to practice. Few students really copies of testimonials to Director of Music. have played that ten times and only played 1 LirkSJXJU I BALTIMORE, MD. measures without pause. The measure know how to practice. The aim is, as I A good pianoforte teacher and soloist is VIRGIL VIOLIN it right once.” A pupil should play every¬ also required for the Conservatory. Minimum HAROLD RANDOLPH, Director might be played four times to get the right say, to get the fingers to do the work of guarantee $1,000 yearly. Apply as above. EASTERN thing right the first time, and every time. One of the oldest and most noted Music Schools in America. notes, four times to be sure of the right themselves. Anyone who plays well can think of a KRIENS CHRISTIAAN ~ 0^ompoMr-Vlollni.t fingering and four times to get the time When an artist sits down before a piano, I ANNOUNCEMENTS 1 number of things at a time once—the right. Twelve repetitions of one measure in a concert hall, he does not think where VON ENDE notes, the fingering, the time, the pedals, _MIDDLE WESTERN will create a habit of playing it just so, he is to put his fingers, or which fingers etc. The poor littfe beginner cannot think and it becomes easier with each repetition. he is to use. He has them so trained, that INDIANA of three things at- once, nor even of two. What the teacher should aim at is to get he relies on them to perform their part t St., Philadelphia. THEORY AND NORMAL COURSES 1 was once in .Boston, and went often those fingers so used to playing the meas¬ correctly, while his brain directs the inter¬ SCHOOL OF MUSIC into a building where someone was giving ure in one way, that they will play it of pretation. In other words, he releases his 126th St., New York City. VALPARAISO UNIVERSITY VALPARAISO, - INDIANA. BEALSYSTEM piano lessons. Three or four pupils played themselves, as it were. By this way of eager messengers to do his bidding. ty School of Music offers sory and Public School.Music. CONVERSE COLLEGE1 Thorough, rapid, dellgt*'• P-?are the same thing qn. three or four pianos; studying, the lesson becomes easier with Every teacher should endeavor to find MUSIC COMPOSED—Send words, manu¬ ihe University. . each repetition; and when things are easy scripts corrected. Harmony, correspondence ion 336 00 er u tT™ EXPENSES ARE THE LOWEST they played each measure four times and the shortest, quickest and easiest way to lessons. Dr. Wooler, Buffalo, N. Y. to learn, the pupil loves to practice and e will be mailed free. Address Henry B^Brown, PreMdenLOTOi ., 6 to ?41 per quarter. then the next measure four times, and so do everything. This will interest the er P. Kinsey, Vice-President. PEABODYLr—eefife DUNNING makes more rapid progress. WONDERFUL OPPORTUNITY for am¬ 43RD YEAR-STUDENTS ACCEPTED AT A V TIME. Q ft I and SCHOOL OP MUSIC- c°”tinued to the end. I thought it very pupils more and inspire them with a love bitious soprano, tenor or baritone with moder- O. b, I. fr"T n’"‘" “■— od

See thes£ splendid musical books in your own home. What the Encyclopedia Britannica is to General Information the Grove Dictionary is to Music. There is no better Musical Refer¬ ence Library at any price in any language. Unabridged in any

This is the latest revised and enlarged edition of Sir George Grove’s masterpiece of musical scholarship. There are 4,000 pages and over 5,000,000 words from great authorities upon all phases of musical learning. The books are liberally illustrated THE ETUDE, Theo. Presser Co., Publishers, Philadelphia, Pa. with cuts, half-tones and notation examples. Thousands of subjects ^'SSS'SElW Musical Industries, Instrumenta¬ INDIAN MUSIC tion, Esthetics, Musical Terms, etc., etc. The work is the most

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THEO. PRESSER CO., Pubs., 1712 Chestnut St., Philadelphia. Pa. 72 THE ETUDE Greatly Needed Books for Active Music Workers Musical Questions Answered # A %/ A ■ Selected from the Latest Publications of Theo. Presser Co., Philadelphia 1917

STUDENT’S BOOK PICTURES FROM STORYLAND Always send your full name and address. No questions will be answered SCHOOL OF THE PIANOFORTEoforte Excellent Elementary Teaching Material By,IDAVI,Ij>tD1CKSLATE^ when this has been neglected. Only your initials or a chosen nom de plume will be printed. Make your Questions short and to the point. CHILD’S OWN BOOK OF GREAT WELL-KNOWN PIANO SOLOS Questions regarding particular pieces, metronomic markings, etc., not MUSICIANS AND HOW TO PLAY THEM ™s likely to be of interest to the greater number of ETUDE readers, will not be considered. «£T;Chi,d,on by By c w- w MASTER AND SCHOLAR

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HARMONY TEACHES YOU

■ RaP^ly, one of the very g, .^Epuaustarid

SHERWOOD NORMAL PIANO LESSONS **■ S' ..... nKjSSmS-SST sassasssiSStt Zff-loPpZTi0nal d^Ut at ° ^ ari/" T^ZnZtT'tlZtVtbe part HISTORY OF MUSIC

Composers compiled and arranged ADVANCED COMPOSITION for the Pipe Organ To afford you a better opportunity of judging for yourself of By C. W. LANDON Price, $1.00 . , , -.. . Wrighlson, distinguished Theorist and Composer. Important Motions Tod B. Galloway, the genuine value of the books listed on this page we will gladly A veritable mine of good things for This is the most advanced Musical course given by any School in Arneric _J. Whitney Coombs Homer send you any of them for examination. Send a postal card request, busy practical organist. Not a dry N. Bartlett. J. W. Bischoff, C. W. Cadman, and your order will be filled the same day. To further assist you in tedious number in the book. Some of the By Edith Morris Felix Borowski, L. M. Gottschalk, J. greatest melodies ever written arranged as Making claims is easy—“Making good” is the real test of merit. An ounce of Rogers, N.... Douty, Harry -Rove Shelley and proof is worth a pound of promise. We will send you as many proof letters ag you others. Every song in this collection is a the selection of music, we have catalogues covering every classifica¬ preludes, postludes and offertories. All are care to read; better still, we will send you 6 lessons selected from any of these gem, a worthy representation of 'ts writer, tion. We will gladly send you any of these gratis. of moderate difficulty, suited to the average e of all and none are to be found in any other col¬ player and adapted for two manual organs. courses for your careful personal examination. the sideways motion is im- lection. The present volume is for Hlgn Theo. Presser Co. All of the transcriptions are new and made it is by that motion that the i low voice copy is, hov especially for this book. -- _ ^ — brought in position for aim- and sideways. In the up and down mo- 1T}S- This is particularly the case in the SIEGEL-MYERS SCHOOL OF MUSIC tion all that is necessary is to see that sideways motion, which comes from mov- THEO. PRESSER CO., 1712 CHESTNUT STREET, PHILADELPHIA, PA. CLARENCE EDDY, Dean the fingers are directly over the keys be- ln“ tpie thumb under the fingers and put- fore striking, whether the touch comes t-n§ t^ie finSets over the thumb. Next 2521 Siegel-Myers Building CHICAGO, ILL. from the finger, the hand or the arm tlme you.sit down to xpractice examine More blunders come from poorly aimed -rUF playing .carefully, and see if many fingers than anything else. blunders do not come from poor ieways motion. 1 Give Your Children

ZATEK Milk Chocolate EATMORS They’ll heartily enj oy these pure, milk chocolate tid-bits. Then, too, pink cheeks and healthy com¬ plexions are sure to result from eating chocolate that contains so much wholesome nutriment. Empty EATM OR Tubes also serve Seventy Years as toy cannons, megaphones and building blocks. of Throat-Protection At all confectioner* Concert nights are often rainy nights. PENNSYLVANIA Whether you play or whether you sing— wet weather goes straight to your throat and robs CHOCOLATE CO. the evening of a complete success. Works and Principal Office Pittsburgh. U.S. A. Always put an S. B. Cough Drop in your Branch Office.: mouth at bedtime—it will loosen the phlegm. Philadelphia Chicago New Yort Cleveland St. Louia SMITH BROTHERS _ . „ _ „ „ , „ Makers of S. B. Chewing Gum and Lasses Kisses—Your Grandpa Knows Us

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