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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
5-1-1913 Volume 31, Number 05 (May 1913) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 31, Number 05 (May 1913)." , (1913). https://digitalcommons.gardner-webb.edu/etude/591
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(Schubert -and His I • THE ETUDE 309
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A SummerNight.i Calm attheN1 ConM^Hj Songswl ^ 2'; rungbu^rhM HonesofAruby.' &SSS°“teA,r,The **, ThoaVtUke aLovelyFlowe llew-Ftote,*"" Oh"l.ay ThyCheekuponMini H. R.KRENTZLIN ■-—“- thcMUliitenLomeroa- After MotivesfromCzernyby ARTHUR FOOTE CARL CZERNY A COMPENDIUMOF The MostPopular Complete Content,^ Arthur Foote The imy!v, I moderateability,: 1 A.B.,Pro'f [ ArtPf$ . popularsong,b mho, becauseojV ard. Arrangeoay William ftOlds reatment ofth Made tosatisfytool r°oZ pitiful andatothertimesdisgusting. upon thefrailbutiridescentfilmthatmakesareputationisoften has beentoldthatthetouringvirtuososellsreputationquiteasmuch the timetoknowthatrenownbringslargerewards.Perhapshe unrest. Hehasreadenoughofthepracticalbusinessmethods seriously consideringthematterofmakingareputation.Justhow would earnthem.Thefollowingadvertisementclippedfroman as exhibitionsofhisability.Thevaluationthatsomeartistsput he willsucceedinblowingthebubblegiveshimnolittlemental important Munichpapershowstheextenttowhichpurchaseof fame reachesinGermany: brated teachersforthesolepurposeofattachingcelebritythat lently attachinghisownnameandrepresentingthepublishedbook successful writer”toanyonewhocravestheprivilegeoffraudu¬ bring anythingmorethanthemosttransientfame.Thefameof they supposemustgowithagreatname.Theydon’tseemtobe as hisown.Inotherwords,hereisachancetopurchaseliterary the teacherisvaluableonlyinsofarastheyavailthemselvesofhis able torealizethatanythingtheydonotcreatethemselvescan upon thesaleoffivethousandbooksonedistinguishedauthor fame withoutworkingforit.Thousandsofstudentsgotocele-■ years ago,simplybyrelatinghistoricalfactsinasreliableamanner superior instruction. every year.Thisauthormadehisreputationnearlytwothousand made hisownfame years hence.Josephuswroteforalltimeinhisownmannerand produce aworkthatwouldsellfiveeditionsyeartwothousand writer' ofthepresentdaywouldbarterhiswholebelongingsto as hisskillpermitted.TheauthorwasJosephus.Manyayoung piled statistics,isanimbecile.Intheremainingnumber thereis ventional cretintothebrillianceofprodig[y.Each gradeisa mind—not untilwehavelearnedofhundredsdifferent cases to befoundeverygradeofintelligence,fromtheidiocy ofthecon¬ capacity forlearning.Manyteachersworrythemselves into that werealizehowverygreatisthevariationinintelligence and others hasbaffledmoreinexperienced teachersthanone.Speaking wrinkles andgrayhairtryingtopoundinlearningwhere thereisno stupefying exampleofthelimitlesscapriceshuman brain. pecting thesamecapacityfromonestratumofintelligence inall capacity. Childrennaturallyfallintostrata,andthe habitofex¬ school workatspecificages. Thesesub-normalchildrenareoften keep uptotheaveragegrade requirementsprescribedfortheir generally, overone-third of thechildrento-dayareunableto The rewardsinart,musicandliteraturebelongtothosewho Probably everyaspiringyoungmanwhoreadsTheEtudeis This manofferstosellthemanuscriptsofa“well-knownand A successfulpublisherrecentlytoldusthathecouldcount VOL. XXXI. One childineveryfivehundred,accordingtocarefullycom¬ It isnotuntilweunderstandsomethingoftheworking ofthe THE REPUTATIONTHATLASTS. THE MARVELOFCAPACITY. konnen Siebefriedigen,vtrennsievon erf olgreichem,sehrbekanntem Rechten, auchdemdesNamens,,er- Bchriftsteller Mannskriptemitalien Literarischen Ehrgeiz MAY, 1913 ' showshowtimeandlabormaybesavedinstudymethods.Any £ Asamatteroffactcomparativelylittlespaceisdevotedto .-this fussaboutpedagogylargelypoppy-cock?Wasnotthebest . waytolearnathinggorightatitanddoit? :'we oftenfeelthatTheEtudeisnevermorehelpfulthanwhenit 'dealing largelywithhowtostudyandnotstudy.Why peculiarly proficientinmusic,whilechildrenthatarebright been notedupontheirremoval.Ifthemusicteachernotesany stance, revealsthatadenoidsareveryfrequentlythecauseofback¬ upon whichhisobservationsaremadetookplaceatthepsychologi¬ of theclinicalpsychologybackwardchildren.Theexperiments servation oftheChild,,furnishesinvaluablematerialforthe.study tendency towardsbackwardnessinthechild,itisagreatmistake wardness, andgivesmanycasesinwhichgreatimprovementhas cal ClinicattheUniversityofPennsylvania.Thebook,forin¬ school areoftenlackinginmusicalcapacity. the followinglesson.Itisbettertogivetoolittlethanmuch. knows howtogaugethepupil’scapacityandadjustamountof aging futurepatronage.Thesuccessfulteacheristheonewho to concealitfromtheparent.Oftenbackwardnessisasignofsome instruction requiredsothatnothingwillbeleftunaccomplishedat is wrongtogivefloweryreportsparentswiththeviewofencour¬ more serioustroubledemandingimmediatesurgicalattention.It it wasnecessarytopresentsomuchprintedmattereachmonth, devote thewholespacetomaterialbelearned?Wasnotall much easierlargelybecauseheknowshowtostudy.Thereisa one whohaslearnedlanguage,findsthenextlanguagevery study methodsandagreatdealisdevotedtomaterials.Yet, splendid basisforacceptedmodernpedagogicaltheory.Itis the studentandteacherameansforeffectingenormousecono¬ be abletolayeverystoneinagreattempleandyetcomplete founded uponthemillionsofexperiencesothers.Amanmight being inthegreatcurrentofmusicalthoughttimes. mies intheirwork,entirelyapartfromtheinspirationcoming ences ofothersthroughthecolumnsTheEtudeshouldafford tually wastingcenturiesofprecioustimesimplybecausetheyper¬ failure asanarchitect.Theconstantpresentationoftheexperi¬ made, youwillmissagreatdealiffailtoread, constantlyand of thesystematic,commonsense-methodsconstantlydiscussedin unfortunate peoplewhoaresoconvincedofthesuperiorityyour papers ofthetypeTheEtude.Unlessyouareonethose sist inblunderingthroughtheirworkinsteadofavailingthemselves methods thatyoucannotimaginehowanimprovement couldbe he turnsuphisnoseatnewideasandteachingdiscoveries made carefully, theopinionsofmanyothers.Evenifyou don’tagree of alluponhowmuchyoulearn—howablycan form yourown your ownintellectualapparatus.Yoursuccessmust dependmost with thewriter,youhaveatleasthadsomethingwhich willawaken aptly— investigating newthingsisborderinguponastateof decay.William by hiscontemporaries.Themanwhohaslost appetitefor opinions. Themoralofthisisread!read!!read!!! Cowper, inhisalmostforgotten poem,TheTask,phraseditvery Dr. ArthurHolmes,inhisrecentlypublishedwork,TheCon¬ A carpingoldpessimistsomeyearsagoaskedtheEditorwhy There areatthishourthousandsofstudentsinAmericavir¬ Heaven spareusfromtheteacherwhoknowsso much that “Knowledge isproudthat he haslearnedsomuch Wisdom ishumblethathe knowsnomore.” LEARNING HOWTOSTUDY. No. 5 317 THE ETUDE the etude 316 P„ aspera aJ *** to “f*sfZ. hint back for w«k“ Th“iJ in some rm*»- '“““““““'ZS.” wL» ■- selections from Adela . Nadia Boula; Rhapsodie for Piano a k The Promised Lo country well-managed P ^ resources for a full St. Saens is writing a Klenau has - New York and Chicago h tbe smau for the Gloucester but there a.- repertoire of old and new work* W ^ duced a symphony on Oantes T that many compositions m existence that souna European cities the 2°r has t0 -‘make bricks with- place. ■A______SSFttjESXStfSi CRYSTALLIZING THOUGHT-ATOMS. SOME REMARKABLE ORGANS. The description "of "the new organ f°r Liverpool, sufficient rehearsals and P b became BY LILLIAN M. WHITE. with its five manuals, double set of pedals and E stops something new. Ye”ro® a„f. and foreign managers a gloriously great eondi t , than some of ours arouses a few random fc- ConWELL, in hi, with little backing often do mo j pubUc. Diamonhs,” said mnch upon ibe t being o" gan“but'the Roman's invented a much ^e ambitious who are well supported and t R0Senkavalier The London performance o . effusi0n: appropriated opportunity with which evejy , caused one paper to mdu ge l fatniliar to English is surrounded—opporfnnitte^ ** ™.to w„. ,o and Romans also used bellows, ->th b°ys standmg o “Mr. Oscar Strauss’s peculiarities part of the e(l"ipmen 1 ^ ^ advantages. music lovers. It ... • , -tb jjr. Strauss s constituted as to attra , id 0f science that them to cause the Mr ^organ It is a well-known fact in the world ot sCg ^ ^ ^E^butis^^^^adeffieite^ every variety of crystal fo^dg rubieS) emeralds, used°“heated^ water,” possibly an early application of moreco^lete and w^otcur is peculiarly its own; tha 1 ’ t the molecules Recollections of Famous Musicians steam, but perhaps org £ 25?service ^l^nfc^olaUM*. but why dis¬ salt, sugar, ice, frost, minerals P°pe Vtiabanus^sed an o ga ^ organs which belong to them. In be^ase ot^ gr(.at By the Eminent Conductor, Composer and Singer criminate against Johann or Edward. possessing the same p P ^ through countk-ss musical novelties. DR. GEORGE HENSCHEL ceived a present oi , . instrument into ^Z^Sr^eHected state. JotaJ ^ A RUBINSTEIN STORY. “A public man,” he said, “must not mind such things. ffiougl i [EmTon’s Note.—In the Jubilee issue^of I remember a dinner once at Mme. Schumann’s in Jtise—-asSsS® %£XTs\S To tell you the truth, they rather amuse me.” published last January, , celebrated^^musieiaus Berlin, when, to the wonder and amid frequent exc ama- exeeeding'y interesting 1|b°“epcrt*sent contribution is equally The surgeon, however, seemed anything but amused; * Liszt The present coninouuyu » tions of awe and, Once in a while, good-natured dis¬ V**“5 Chk'1“'n''*c“"1 ?™!!2s Fv!Fn Vis Fentnleenia’l style and warm appreciation ofoL ftae he got up, paid his bill, and lfeft by the back door so approval on the part of our poor, bewildered hostess, artist*Vlfe.1 Dr. Henschel’/mauy^accomplisbmeDts -*■ as not to pass us. The concert in . the evening was a Anton Rubinstein entertained us with the story of his f tTifto be buried alive for her supposed evil huge success. The house, was crowded and Rubin¬ experiences in the United States from where he had that, a kind of thoroughness J» stein received a perfect ovation after playing his tnan ruai., a - "thoroughness which pis just returned after a tournee of two hundred and art he bas undertaken, „ par with the musicians D minor Concerto, and when, that night, 1 was lying as to identity the measurement of the specimen ability and efficiency fifteen concerts in eight months (and there were no worked by S6V^y f^“^ draw-rod. These rods, golden age before the < a of attenuated specialists?! awake in my bed and dreaming for a long time before Sunday concerts then!) and where once, somewhere “w ‘Single, converge settle, the guest,o„ finding sleep, I came to the conclusion that there was Stoux™ «= g“i tb. numbers grateful to the singer, Most gladly do I comply with the editors flattering out in the “wild and woolly” West a man, about an not a bad name in the world I would mind being called £- -araKSS “^rSSdon .» Bros, of ns wh. jxt stndetn, „ and gratifying request to give the readers of The hour before Rubinstein’s recital, had thrust his^ head "= rnnsie' Ml of.ten! L, RMur, Etude another glimpse into my musical past and will to play as well and to be as famous as Rubinstein. teachers is evident. We are surrounded by h - into his room at the hotel with the words, “Don t you take up the thread of my narrative where I left off m l,r.c *'■”«»“,hmd«r the ironSrtW »«« batter xthe THE JOACHIMS. think, boss, it’s about time to have your face blacked." the first article. “No vou didn’t really”—gasped Mme. Schumann. “"° addfw»l...n, "so that it -V receive no «,nnd In the autumn of 1870 I went to Berlin to continue MY FIRST MEETING WITH RUBINSTEIN. my studies at the Royal High School, of which Joseph From Berlin I was now almost continually making professional journeys, which often kept me “on the The Christmas holidays of 1868 I spent at home Joachim was the head. Adolph Schulze was my teacher road” for weeks at the time. Musical agencies had ““ihM»5«rd“«°- the molecules of crystals, still, to many of u. _■ in Breslau, where Anton Rubinstein was announced in singing, and to his gratification, no less than to my only just commenced to come into existence and I still in the Middle Ages, and as Positive, a comes the need at times of more definite kno- , • to give in January, 1869, a concert with orchestra own, I soon commenced to be engaged for oratorio and The larger stationary organsvas callea came ^ had to be my own manager, which meant that, by sharply standing out (as do the sharp angU- ti e Constantin Sauder, the head of the music firm of concert, not only in Berlin and the provinces, but also accepting all engagements as they happened to come, I term still s°"1fime*rUvSe?nitheFform of heavy levers. Leuckart. which had their premises on the ground outside of Germany, in Belgium, Holland, Switzerland, prisms) so that we may speak with authority . had to travel to and fro much more than if an experi¬ rtBL jects under discussion. Our difficulties in th t - floor of the house T was born in and where we still Russia. In Berlin many musical homes were opened lived, had always taken a lively interest in my career to me like that of the Joachims, Madame Schumann s. enced agent, as is now done, had arranged a tour tiori come from the fact that few of us 1 the according to time and distance, insuring greater com¬ Slow^o use hisPelbows. U ^ Polish monk phenomenal memories of such mental giants . >r and, much to my joy and pride, had arranged that I the Simrochs, etc. Needless to say I grew more and should associate with Rubinstein, whose local manager more gratefully conscious of the privilege of a closer fort and less wear and tear. Macaulay and others of his stamp, and so li ; he was, by singing at the concert an arm with orchestra acquaintance with artists who had already achieved In the year 1873 I sang in no less than forty-seven our tongues’ ends the matter needed, or mdeen me different places, and, needless to say, met a great many sLtiaT F°r and some of Rubinstein’s songs to the composer = so' much in the world. sa-vr1i,s”sir sr™si;™ow, —. of the journal where it was read, or author s - or eminent people; but it wrs not until the year following accompaniment. c , As to the Joachims I must confess that, greatly as T emotional power and sombre grandeur. date of publication. On the morning of the concert day we had the final admired the greatest and most celebrated violin player that 1 reached a rather important point of my career. pipes. Later* a snug worked out the stop A good plan is to keep on the piano, the -isic rehearsal, after which Rubinstein. Sauder and I repaired of the time, I hardly to any lesser degree appreciated I got my first engagement at one of the famous Nether- tain pipes and hnally lim Wurzburg. The cabinet or desk a blankbook (that ever-present > to for luncheon to the “swellest” restaurant of the town the wonderful art of his wife. Madame Joachim’s was Rhein music festivals—that year it was Colognes and sound-board idea ^^luats, a set of pedals teachers') and in this write at the head ot * ’jage a perfect vocal technique, joined toMie inestimable gifts turn—and with no little pride and hardly less anxiety 77,trihidcs Max Wolff’s Der Heihge, Carl Somborn s “The Golden Goose,” of which, needless to say, I had Liibeck organ of 1510 had v and a the names of subjects of general interest founu m l he up to then seen only the outside. We seated oiifsdves of a beautiful sonorous alto voice, great depth of I saw mv name announced for the first time in a list Bn*, Etude, such as technical work along all line,-. :r. ory, • at the large table in the centre of the room, at the feeling, a keen intellect and a fine musical perception. of soloist's which comprised sonie of the most renowned Wi,Vbo? “‘.S iiiS Buxtehude u«d «he„ SS5£Ubv Walter Braunfels. The latter tit »,e s TSt harmony, musical history, autobiography, list? of other end of which the only, other person P«sent-d These forces she put into the service of an exalted singers of the day. Spiegel of Strauss; but the mercurial Till was mor r-rBrSdMSeSni^ studies and pieces for the different grades, and other was already past the usual luncheon hour—had nearly ideal of her art and of the mission of art altogether, data, all necessary in a teacher’s work for arousing and A MEETING WITH BRAHMS. Dutch.3 wars'agaiiS X^JJ^Zbarim proved finished his meal. He was a well-known musical ama¬ with the result that there was neither a too much nor a holding the interest of pupils. Then under em h head teur, and army surgeon by profession. Rubinstein, too little in what she did, but a sort of Grecian serenity, Above all. Brahms was to be there, the man whose enter titles of helpful articles on that special subject, Sauder and I had just settled down to our welcome a faultless balance of values, so to speak, with j' s; name was then on every musician’s lips the man whose author’s name, date, name of publication, etc., etc. By enough of her own personality in it to make her singing genius had been proclaimed to the world by no less an ioved Lanval, by Pierre Maurice, m spite of the tact and well-merited repast when from across the table they did this, before or .iter seeing the following this system and with The Etudes on file the penetrating military voice of the surgeon called out interesting and gratifying beyond the intrinsic merit of authority than Robert Schumann in the glowing lan¬ it is the work of but a moment to refer to the needed the works she interpreted. There are many singers guage of an inspired prophet. For weeks beforehand article and thus help in adding to the student’s musical t0 “Say, Lauder, how did you like Tausig the other who please the thousands, but only a very small num¬ my mind had been occupied with the prospect of knowledge. ber so thoroughly satisfy the few as Amalie Joachim actually meeting Johannes Brahms, and I well remem- £ S CS S Those of us who are so fortunate as to possess copies England and would often become wandering minstrels. daTausig had given a pianoforte recital the week did. ber my embarrassment and the sensation I, bad when of The Etude running through many years, have They traveled about at times with no more escort than before. Sauder, by nature shy and meek, got quite red CLARA SCHUMANN'S GREAT EARNESTNESS. at last I was permitted to shake hands with him after veritable treasure-chests, nuggets of gold and literally in the face with embarrassment and was still composing the rehearsal for Handel's Samson, in which oratorio a pet dog or goat, and amused the villagers with the Her much older friend, Clara Schumann, for whom “Acres of Diamonds” in the wealth of helpful thoughts an appropriate answer when the irrepressible surgeon I had to sing the part of Harapha. A few kind and moutii6,^'"^“The^first8American organ was made by songs and stories. The more famous ones among ttem Brahms until the end of his life cherished a touching, contained therein. While taking an enforced rest after encouraging words, however, soon put me at my ®ase- Edward Bromfield, Jr., in 1/45. were definitely attached to courts, where they fulfilled trumpeted to us; . , _ . almost filial love and devotion, was one of the gentlest, nearly three decades of teaching the riches held in “Well, I can. only tell you, compared with Tausig, and I could give myself up to scrutinizing Brahtns the duties of minstrel or trouvere. We readL thatone kindest, most Ibvahle 6f women. It was a delight to MUSICAL MISPRINTS. these carefully saved Etudes have been brought force- Rubinstein is nothing but a threshing flail!” of their number, Adeline, was given an estate by W.l listen to her when, in her charming melodious voice personal appearance. Now in German this does not only mean the agri¬ He was broad-chested, of somewhat short stature The misprinter is still at work. Recently a west-of- from which a certain fascinating Saxon accent was has been spent iia rereading them, never neglecting the cultural implement, but is figuratively used to indicate (about five feet seven inches) with a tendency to stout¬ '^OfchestrarTovelties include the little-known never absent, she would revive memories of the past. current numbers, however, in doing so. It pays largely. a particularly uncouth, rude, ill-mannered person. An ness. His face wts. then, clean shaven, revealing a ' from Debussy’s Images, of course finely orchestrated Her art she took very much in earnest—not only as a Though possessing Grove’s Dictionary and the various awful silence followed. Sauder’s and my spoons, rather thick, genial underbp; the healthy, ruddy color and full of tonal delicacy. Pans heard als,o Dcltv*** performer but as a teacher—and it will surprise many books that go to the making up of the usual musical just raised to our lips., dropped hack into the soup, Ocdipc. Among the centenary events, Carl ™eylehas of the younger people of to-day to hear that whenever of his skin indicated a Eve of nature and a habit of library, I yet find these books do not in any way take and for a moment we did not quite know what would written a Sieges-Ouverture to commemorate the ha tie Mine. Schumann and I were the soloists at the same being in the open air in ah kinds of weather; his thick the place of The Etude articles, as these latter are the happen next. The unfortunate army surgeon evidently rrSsic, an affair that made more no.se than e.ther concert, as was often the case, and she accompanied brown hair fell down nearly to his shoulders. His ivasst crystallized personal experiences of many workers in became aware of something being wrong, and, clapping Wagner or Verdi. Bleyle’s new violin concerto was me in her husband’s songs, we would invariably have clothes and boots were not what you would call the musical fields and are like so many necessary atoms to his monocle in his eye and surveying our party, recog¬ well liked in Berlin. Other novelties are Stenhammar s a rehearsal of those songs on the morning of the con¬ latest pattern, nor did they fit particularly well, but his help in building up the final perfect crystal of musical nized the lion head of the smiling Rubinstein, who, Midwinter, a Christmas work, Scherzo, and Poeme by cert, even though perhaps we had done the same songs linen was spotless. What, however, struck me most knowledge, toward which end every conscientious shaking his mighty mane, bade us not to pay any atten¬ De Grignon, Wassilenko’s suite Au Soled, Pogojeffs only a week before somewhere else. was the kindliness of his eyes. They w're of a light Polonaise, Boehe’s poetic Island of Cine, the symphony teacher and student is striving. tion to this. “sritslki'nVsTsy in disgust when the manager culled 319 the etude extent what I have termed the orchestration of the THE etude piano. Like most of Wagner’s music, it is made up practical hints to pupils. largely of short themes (leit-motiven), each one asso¬ 318 teaching a princess. ciated with a particular personage or thing, in which The following year, 1876.1R7(S was full of interesting events.at the BY WILBUR FOLLETT UNGER. tone-color plays no little part. Here is first heard t e theme of Wotan’s magic staff; then follows the fire In April I had the f'lf J^^^nd much lamented theme, succeeded by Wotan’s song to his sleeping child, vrair advancement depends Hrge > New Palace, ^^tkatn.the consort of Prince which is heard in the bass notes of the chords in the Princess Alice of Great > I mention L ZTZl that you do between lessons. Some- left hand, while a theme typifying her sleep appears upon the work « y cannot accompl-h .. . Louis, 11»d times pii^s wonder why T ^ tQ this l would in the upper notes of the right hand. The skilful tSis BI bcms ,h'Jt , t English Ro,»l iam.ly, and player will modify his touch so as to suggest the dit- that is necessary at lessons. for meCli natured sarcasm. Already m the evemng ttt( ^ ferent instruments used in the orchestra-flutes, violins, say, When you are sick and go u without brass etc and even a little chiming bell. Those who have’heard the late William Sherwood play this com¬ position will remember the fidelity with which the or¬ hT..d— ““S«£it: chestral coloring was reproduced. ®H«3?£=-‘=s= Sight of the fact that music-teaching ^ ^ ^ Qther SEXTET FROM LUCIA—LESCHETIZKY-DONIZETTI. f ~£Z livelihood. TeacherS dependent upon the money re¬ Lucy Ashton and Edgar of Ravenswood, whose fam¬ human beings, and are SP ^ the better a man: ilies are at war with each other, and who occupy .»d I f“'-h“d ceived from lesions *ey^ .cond.tion ^ will be adjoining estates in Scotland in the seventeenth century, arrangements of Clascal^rnns.c ^ me two rare is paid, just so “money’s worth, geance against him. The scene, represents father and have plighted their faith to each other. Lucy s brother, On one occasion the Princess ^ and Welsh toward me (some new "**> °* T'Xjust look and the better able he will be to g A v0lume The great adaptability of the piano may be best daughter outside a ruined house, while the Duke and Sir Henry, learns of this secret engagement, and by the morning’s program) ex ^ volumes of old Eng is ,. - and, seeing my understood by the success attained by some widely means of forged letters leads her to believe him false at that lucky fellow, Henschel! "He can bothsmg a^ speaking from a commercial and its im- Maddalena are within, so the four voices unite, and known transcriptions of familiar operatic scenes for to her. He then persuades her to accept Sir Arthur j 1XTa?1 f1p«;rribine with his h&nd 3 melodies .bich Th” to®* » «»e J» could be written on this su I yQU have the’ form a musical ensemble of rare beauty without violat¬ enthusiasm, Sreat,y been- a present from her portance will be appreciat y ^ ^ certain value, that instrument. Some modern composers have carried ing the sense of dramatic fitness to the eye. Each Bucklaw on the plea of being implicated in a conspiracy against the government and that Bucklaw’s influence experience of «pect'ng g , half the value the art to an astonishing point of perfection, ihal- voice is reproduced in its appropriate register; the not even that,” Brahms replied instantly, witn u can alone save him from fatal consequences. Edgar, and receiving, instead, a thinQ ox berg, in his L’Art du Chant, gave the initial impulse tenor of the Duke is heard in the sonorous lower mid¬ pression of the most perfect innocence ^ being called away to France, she consents and a time to this style of writing for the piano, but he was dle tones of the piano, the mocking theme in which you were counting on. . almost is fixed for the signing of the marriage contract. Dur¬ All during the festival he treated m by XU Punctuality: A teacher plans his ^ distanced bv some of his successors. As indicated by Maddalena’ declares her disbelief in his vows of con¬ £#*»* and soon forgo„ndon, ing the ceremony, to the consternation of all, Edgar, kindness, and I was made haP»y ;n the the title of his work, which embraces a number ot stancy is entrusted to a series of staccato sixteenth year later, a few days after my s ^ {^d ^ the who has heard of her seeming treachery, bursts into receiving a letter from him asking me. to s ng, operatic transcriptions, he has chosen to make the notes which convey an unmistakable idea of careless¬ “ . the hall and commands her to tell him if the signature 1R7S at two concerts of the society ui on returning to my room , words “By command human voice his ideal, and has surrounded the melodies ness and frivolity. Gilda’s desperation at the discovery is truly her own. She acknowledges it, and he returns hall-table a big parcel, wi jjesse” on the cover, to »o k“- >» “f"Thd «dii. chosen for illustration with the most brilliant passage of H R. H., Princess Alice of Hesse, IV.iTm Neatness: Come to your e . rtii.u!arlv of her lover’s treachery is heard in tones that soar the ring he had given her, fiercely demanding his own wo-k, which he himself executed with the utmost clear¬ and containing the precious volumes. above all, while her father’s determination to punish which he flings to the ground and wildly tramples under finished^ ball me prior^ ness and precision. His rivals followed the examples the faithless Duke is expressed by an agitated move¬ foot, madly cursing her and her family. he had given and the majority of operatic arrange ment in the bass—all woven together by an art tnat The arrangement by Leschetizky of the sextet which ments were soon made after a certain pattern that the COUNTING HABIT. makes this one of the most admired compositions is sung at this juncture differs from the numberless SrX-^fc“-rtS grew to be monotonously the same. . Brahms’ affability and kind-heartedness,joved to rr PrsvFCT- Don’t dispute every remark among operatic achievements and here interspersed others made of this admired composition in being for V. Respect. 1 “to h-ar them- Liszt then entered the field and infused a fiery attd with some of Liszt’s most brilliant cadenzas and hgura- the left hand alone, a pianistic tow de force, that of BY L, A. BUGBEE-DAVIS. teacher. Some pupils like to argue; ,k at a t ne walk siff6™ day, dramatic spirit into his music that was totally absent late years often appears on recital programs. :c:£ i tciti-1” It is the teacher s privilege from Thalberg's cold and polished mannerisms, founded the Prater, the favorito gratifi- « in order to enlighten you^ on ^ as they were upon the legitimate use of mechanism O, THOU SUBLIME SWEET EVENING STAR, FROM GRAND MARCH FROM TANNHAUSER—LISZT-WAGNER. hitherto not exploited or fully understood. Instead o TANNHAUSER—WAGNER-LISZT. A tournament of song has been arranged by Her¬ using the pedal only for its most obvious effect that This beautiful romance for the baritone voice is sung mann, the Landgrave of Thuringia, at his castle on rjS S rSf £ rnomft. momenta, as bad to sit upon the piano bench l>k a nf sustaining tone without the action of the fingers, by the minstrel Wolfram, the hopeless lover of Eliza¬ the Wartburg, to which all the nobles and minstrel- image. Try to act as though you posses.. - v m Liszt used it for what might be called the orchestration beth, the beautiful niece of the Landgrave of Thur¬ knights of the land have been invited, the prize being fe l“T«t'n <« ftSr movement, ta sane » con... telligence, and give as good an account of ■ of the piano; that is, in connection with various touches ingia. She has just repulsed him a? he discovered her the hand of Elizabeth, the fair niece of the Landgrave. SS^S2S®£ your vocabulary will permit. TM pup-1 _ and attacks by fingers, wrist and arms to suggest not praying at an outdoor shrine of the Virgin and has The scene represents the great hall of the Wartburg mouth to : merely the voice, but the different timbres and tone IlS£>”Ss\X, advance^ »**-+*£ “ through the lesson without once opening left him to return to the castle on the heights above, and opens with a martial peal of trumpets, which an¬ colors of orchestral instruments which have become ot while he seats himself on a rock at the foot of the nounces the arrival of the guests, who are greeted by study will say: I don t nee often a pupil will speak will not get very much good from ■ increasing importance in the expression of *e musical hill which she is ascending and preludes on his harp. the uncle and niece with gracious courtesy and then ularity. teacher likes to be asked questions; it - idea during the growth of the romantic school in the It is after sunset, and as it grows darker he fixes his seated according to rank. As the key changes to G on the part of the pupil. past century. The difference between the Thalberg and TWO BRAHMS CONCERTS. Is who eyes on a brilliant star that is glowing above him and, major the minstrels enter, make a stately obeisance to VII Be Serious: There are many gu the Liszt style of playing is well expressed by a char¬ .in any- still playing his harp, he entreats it to bear his greeting the assembly and are conducted to their places by T. two concerts at which it was my good fortune make it very difficult for the teacher u acter in Anne Hampton Brewster’s novel Compensa¬ if you to the maiden who refuses him the gift of her love. pages. Pomp and state characterize this work, which self, which leads to a p e value of notes is quite thing because of their constant frivolity tion (now out of print), a book which had much vogue requires all the sonority possible to the modern grand • ,t think are naturally of a light, volatile dispose among musicians a half century ago: . POLONAISE FROM MIGNON—ROSELLEN-THOMAS. piano in its reproduction of orchestral effects. :he case . “I heard during two different visits to Vienna those for a moment that you or your parents Mignon is a poor child, one of a band of wandering ese les- great artists, Thalberg and Liszt. Let me tell you the PRIZE SONG FROM DIE MEISTERSINGER—BENDEL- may be) are paying hard-earned money < gypsies; no one knows her history or her origin. She delight to watch the reverence, earnestness and _g J ry to derive effect produced by each. I heard Thalberg first. His WAGNER. sons, and you should be serious enough e is rescued from the life of a strolling dancer by Wil¬ SS «; ST, Vf £ playing is the perfection of one kind of expression; liam a young man on his travels, and thus excites the In the middle ages music was cultivated by a class some good from them. not of feeling, however. I felt that something was c a fault in jealousy of Filina, a gay young actress who sings the of minstrels called troubadours, who traveled from VIII. Follow Advice: If a teacher se,. — wanting; it sounded like ice-ram on a plate of steel. polonaise to an audience of guests at the castle after place to place or sought the patronage of wealthy men a pupil’, and gives advice to correct that fault, it seems Again I went to Vienna and heard Liszt. Oh, F -, a performance of Midsummer Night’s Dream, in which or noblemen. In Germany these were superseded by almost superfluous to say that the pupil should try to what an awakening to my whole nature did his music she takes the part of Queen Titania, and appears m the Master-singers, who gradually formed a guild of follow that advice. And, yet, oftentimes, a pupil will cause! It was the ice-rain still, but the steel plate was X, X “n dUr„s-».« »■»* the costume demanded by the role. The brilliancy and their own governed by very strict rules for admission. I «.-«!■ ZhWZ L „ D«tef. to be neglectful and fail to carry out the teachers plans^ burning, seething hot. He seemed a poet of the instru¬ beautiful Viennese days I was due at with the help of -/-rrYdv^tageous to write .the lightness of the music are typical of frivolity and Walter von Stolzing, a young knight of Franconia, who ment, an inspired rhapsodist; and everything he played scene of that year’s musicalfestival The firstje^ You may think that you are practicing faithfully, and coquetry of her character, and as such it occurs more found great pleasure in music and poetry, wished to appeared as if it sprang from his brain and the mstru- formance there, under Joachim s baton, of yet be overlooking the very point with which your than once during the course of the opera. A more join the Master-singers, since he is deeply in love with ment, created in its perfect loveliness at one and the Oratorio Hercules had attracted a goo many g plus sign Signifying the and count, thus. teacher is endeavoring to impress you. difficult, yet very popular transcription of this piece Eva Pogner, whose father, the goldsmith of Nurem¬ , same moment.” . men, among them Mr.-afterwards Sir-George: O IX. Real Meaning of “Practice:” Some pupils has been made by Ludwig Schytte. berg, has announced his determination .to give his and Walter Broadwood, the famous piano maker, l f It is not enough to execute the melodies of a, tran¬ daughter’s hand to no one who was not a member of claim that they “practice” their allotted time religiously, scription clearly and smoothly to indicate the orna- MAGIC FIRE MUSIC FROM THE WALKURE—BRASSIN- the guild. For entrance Walter finds he must produce and yet do not advance satisfactorily. True, they sat .mentafion introduced by the transcriber and its mci- WAGNER. a song that shall be beyond all criticism according to at the piano and played, but did they practice? By the ;dental nature; there must be an appreciation of the accepted standards, with which he is totally unfamiliar. a possible field for future activity. way just what is the true meaning of that very com¬ .’dramatic situation in which the characters are placed Brunnhilde, the daughter of Wotan, who is the su¬ A rather amusing thing happened in connection with preme god of German mythology, has disobeyed her At an unsuccessful trial he meets Hans Sachs, the mon word, “practice?” I should like to wager that and which colors the compostion as a whole. In view that Stperformance of Hercules: An enterprising mighty father by rescuing Sieglinde, who he has de¬ shoemaker poet, who is interested by the young man’s 90 per cent, of music students have never looked up 'of this it has been thought well to recount the partic¬ German pnhli.l.er, rigbtl, anticipatmg a demmd for creed must meet death with her husband Siegmund. evident talent and takes him. into his house for the ^pTnt rthat" aS^cult for the pug -under¬ the word in the dictionary! The dictionary gives it as ular incident that gives rise to the piece taken for night. In the morning his guest relates a wonderful vocal a..-., of *« fa-orator,., M consideration, so that the player may gain the atmos¬ Wotan declares that she may not escape punishment “frequently repeated actions.” Very good; then if you dream he has had during the night and at his host’s published a German edition of • stand is why a*Wer S phere for an intelligent and expressive performance. for her disobedience and dooms her to fall into a deep request essays to put into the form of a master- « authentic as possible, he had taken hold of an old when we have sald thf make the mistake that we play over a piece once, or even twice, can you conscien¬ sleep and be the prey of any who may happen to pass. English edition of the work, the title of wh.ch hap- tiously say that you have “practiced?” Then, even quartet from rigoletto—liszt-verdi. Knowing that he is inexorable she begs the boon of song. Sachs notes down the song as Walter sings it, S K one ciun? aT/half of anpther to it. It must nened to read Handel’s Oratorio Hercules m Score though you literally “practice,” do you give close often- being surrounded by fire through his magic power, so and to his delight finds that it fulfills all conditions; then be explained that when - say^n^ we^ ^ The situation that we find here is one in which the There being as is often the case on title-pages no tion to every mistake and see that you play accurately. that she may fall into the hands of a hero, one who here it may be said that in the public competition that conflicting passions of love and revenge, self-sacrifice day he conquers all rivalry and wins the prize for lunctuation after the word Hercules, our friend, whose X. Playing: After you have acquired a fluent will have the courage to stride through flames before ’ and mockery find characteristic expression in music in which he was striving. PE«S must have been or. a par with * technique, a good repertoire and general musical knowl¬ each case admirably suited to its purpose. Gilda. the capturing her. He grants her request and kisses her eyes, which sends her into a profound slumber; then remembering perhaps Gluck’s Iphigeme in upon hearing the count, and a ter more or less of a edge—what are you going to do with it all? Hide daughter of Rigoletto, overhears her lover, the Duke WALTZ FROM FAUST—LISZT-GOUNOD. striking his mystic staff on the ground fire appears on strangle there will be no opposition. . , , „ your light under a bushel? Stop practicing because of Mantua, making love to her ignoble rival. Madda- Faust, according to a medieval legend, was an old lena, while her father, who has led her to the spot with the rocks around her and the whole background is H^r. 1. ^ your work is finished, and thus become rusty and for¬ and learned philosopher who sold his soul to the devil way places of ancient history and confidently and the hope of thus killing his daughter’s affection for a illumined with the glow of billowy flames. get all you knew?, Go out and play! Bless others In this transcription Brassin utilizes to the fullest for the return of his vanished youth and the joys of Toudly sent his volume into the world with the strik¬ perfidious lover, is filled with direful thoughts of ven¬ we’can’graibiate from connting-tba. is, dispense with with your hard-earned knowledge. ingly ingenious title Hercules in Score, oratonum von it entirely. Handel. 321 the etude
THE ETUDE 320 THE MOTHER WHO SINGS. the MOTHER IN music. life that had passed with the advent of old age. We see him here in the company of the tempter, W O, by MAGGIE WHEELER ROSS. assumed the form of Mephistopheles, a gay and de o aire cavalier, and has brought him to an out-of-door meeting of peasants, where drinking and dancing o HOW unfortunate it is"^ so the principal amusements with the design of encounter¬ « •*- ue. ing Marguerite, whom he lias already shown to I aus the marriage altar. m_tnc . t in a vision in the hope that her grace and beau.y w.li make him’more amenable to hisdiabolicalpurpo^ ErEteT,! r& as The two are brought together in the midst of a waltz public stager of her, for she will be disappointed j which is interrupted by the meeting of 1'aust and Mar¬ ing of linen, the arranging of china, P'«u . P lit thisSas in all other vocations, nothing will tak guerite. The latter repulses the strange young lord, the taace of much application and bard work , but who is captivated by her grace and modesty and dettr- creditable and pleasurable singing can be one ^ ^ mihes to win her despite the temporary rebuff lit lus comparatively smaU expenditure of ^ It received, this short dialogue, in which some one nas most healthful exercise the mother can g d iu said that Gounod shows a sweetness and melody not pr«*.»..*« .■ ”bruTgreS«.. will keep youth in the face figure and heart, an^ unworthy of Mozart, the master he so much loved, improve the carriage, a toting” when every and Sullivan’s Macbeth music They had all been Liszt has introduced it into his transcription ofjhe be composers had it perpetually instilled into thepi that through that trying period of baby tot g ^ has frequently honored The written at the same jime and each began. waltz, where it demands all the sympathy and expres¬ [Mr.I Mr. jj-reuerju-KFrederick Corder^T nrozressive of Luio- they were to do nothing but mutate the classes Aftd natural tendency seems to be to droop Etude with .articles, is one -mnn musical sion that the pianist can command for Ae necessary f-■a.k^£ 5 s. shoulders and push out the abdomen. pean teachers, and hr that this was the way to become great original writers. No. 4. ” (-ouQtry^ljy "promoting originalit; contrast with the brilliancy and buoyant rhythm of th S M of musical Wifc using the cottttship •« Naturally, of those who obeyed these precepts;, very waltz which precedes and follows it. THE NEED FOR MUSIC in LATER LIFE srsfe’^SffirSSsSr fe-iv survived the process, and it is quite amus g “i’ESTh* *n* one. saidi "Mo,,— £ There is iust one more phase of this subject to be is Granville Bantock. 0 mu-resting h.v 1 vl «,amp., of WEDDING MARCH FROM LOHENGRIN—LISZT- There is just o means the most insigmfi- is made all the mor Mendelssohn or Chopin to do us t ley . considered, and it >s by every mother knowledge— Editor o WAGNER. it-was just in the building up of their music that they There was nothing wonderful in this, but it is a apd a few of their contemporaries were original. The Elsa, Princess of Brabant, is brought to trial on the In the very early days of music, as * phrase that Grieg has made so his own thatst charge of sorcery in having made way with her young literature and the drama, novelty of matter was neithe noticed it, though the three works bore not the faintest brother, since he has disappeared while under her care. the cares and worries of home-making and child-rear sought nor. desired. As Boccaccio re-told all the old resemblance to one another, nor to Grieg. It was really The accusation is made by Telramund, her guardian ug It -is most restful and soothing after the back- unfragrant stories that had been current for «ntunes only as though three speakers had commenced their who suggests that her motive was no doubt to become racking and nerve-straining duties of the housewife and Chaucer told them again—as Shakespeare too orations with “Mr. Chairman and Gentlemen. sole rulft of Brabant herself. According to the custom and mother to sit down to the piano and play or stag mmm his feeble plots from previous dramatists and made When a work is built up on “leitmotives rePr ‘ them his own by a clothing of deathless poetry, so did in the Middle Ages she is allowed to choose a cham a little while. True, the technique may be poor and S if" te acc-plishm.™ of *».b be™ sentative phrases, like the music-dramas of the early musicians cast the meagre stock °f current pion to do battle in her defence; her choice falls upon the voice may be cloudy with fatigue, but the audience and the symphonic poems of Liszt, such coincidences prases into the wardrobes of their mmd^and .f the a knight whom she has seen only in her dreams, and is never critical, and the pleasure need be none the le^s. ^These ‘are^he'years in which one’s music may be to of phrase, especially in contemporary- works are very she declares herself ready to bestow on him her hand The time comes when the children are older and garments were pretty well always cut to *e s_ fh t noticeable and may be found 111 profusion. Everybody them both mental and spiritual food, furnishing hours fern no one knew any better. 1 do not .suppose that and the kingdom that is hers from her father. To the mother is not so weary, and then the dexterity of of joy and pleasure, when, otherwise, loneliness might will remember the outcry raised a few years1 ago by the fifteenth-century public had any suspicion that j l an Italian composer who professed that his opera had wonder of all, such a knight appears drawn by a swan fingers and clarity of tone are easily restored. overshadow the hearth-stone. After a busy hfe oi they heard were just conventional well been plagiarized by Strauss. He gave about 300 small in a tiny boat on the river, who she asserts is none If practice has been given up entirely, however, the home-making and child-rearing this last score of years skill will probably be lost and no amount of ted wo| worn plira,,. pinned M«h«r by . C»<» Km* figures and phrases to prove it, yet on companng the other than the fhampion of her dreams He lands and is frequently spent alone and in enforced idleness or that this Canto Fermo .was always the samfr-^ proclaims himself as Elsa’s defender, fights with her will regain it. The mother who can gather her l.ttl actual works 1 could find no more resemblance than at least, in a mass of petty occupations indulged in ribald popular song entitled La tete' a™e { ; ones around her and play and sing with themi has a there always must be in any two works written at the accuser and overcomes him. The happy pair are uni.e because there is nothing else to do. Had we more old immensely long slow notes to take all the jig out of t. great advantage over the unmusical parent. Nearly al same period. and this chorus is sung as they are led to the bridal lady musicians, we would have fewer old. lady poth- During the next century scarcely anything wasi w little children love music, and it has a deeper joy chamber in the rdydl palace. Contrary to the majority erers, meddlers and runabouts. After many years 01 ten but Madrigals, tangles of vocal part-wntmg. SOME ACCIDENTAL PLAGIARISMS. a greater charm for them when it is made by mother. of Liszt’s transcriptions tips particular one presents no ceaseless activity the machine cannot stop entirely. It If which the ear vainly strove topj* and There is nothing so delightful as really good music m When we get to anything larger than a two-bar especial difficulties to the player, but is well within may creak and groan, but it is apt to run on. If the Heldom succeeded in bearing off more than tins. the home circle, and fortunate indeed is the mother phrase the matter becomes more difficult If we de¬ reach of the average pianist. music interests are kept alive, appreciation of goc. scend to Folk-songs or hymn-tunes we shall find that who has held onto her art amidst the distractions of concerts and musicales is keen, and the elderly woman though the principal phrases of all the best known ones babies and domestic cares. HOW CHOPIN’S FUNERAL MARCH WAS will find enjoyment in other places than the funeral may be fairly individual the subordinate portions are WRITTEN. the mother must protect the musical taste and “Comings” of the neighborhood, or the period, always old friends—stock-pot, in fact. But the re¬ meetings of the church societies. She will have int«; verse is the case in properly composed music. The Many fanciful stories have been written concern¬ OF THE HOME. fists in the new composers, tie popular virtuosi an principal phrase must have been heard before, but the ing the origin of Chopin’s famous Funeral March If more mothers cultivated music we would hear less operatic stars. The musical happenings of the wc’ building of it up is always the composers own. ihe The following is a translation in the Musical HeM trash in the parlors of our American homes. David Next were gradually evolved the phrases and can furnish her menta1 occupation. All of these 1 melody of the Intermesso in Cavalier,a Ruslicana is a (London) of an account from the, pen of the noted Bispham recently said, “The cultivated people of both Harmonies with° which we are familiar in Handel’s tors will add to an interesting old age much to good example. You will find many a wqrk the French critic Jules Claretie which appeared in .the continents are paying an immense amount of attention music. It is needless to point out how limited^these Adagio of Gounod’s Symphony in E Flat, for instance desired and looked forward to by every overwork are for we have tacitly agreed to ignore the fact that Taris Le Temps. It was a part of the obituary to music and are satisfied only; With:, the very best. that follows this tune note for note for four bars but mother. Therefore, let the musical mother hold on notice of Felix Ziem, a water color artist who has Children are born with the love of rhythm and melody, Handel was only one out of hundreds of composers is afterwards quite different. But there is a Prelude of her art as the savior of her future happiness, and X all wrote exactly alike. He helped himself free y just died. Ziem was an intimate of Chopin. and if good taste in music is not instilled in them in you will recognize fit not only as identical with The Blumenfeld’s which has the melody ol Wagners to the works of his contemporaries, not troj>lil« to The other day. while the congregation of the the early years in the home, they are bound to pick up to it at every opportunity during the passtag yean first bar of the Preislied in Die Masteringer. but as Isolde’s Liebestod. and harps upon it 111 the same way. imitate them, but taking them bodily, and no one could Church of Montmartre filed out to the strains of the common music of the streets and cheap shows as appearing in dozens of other works back as far as The coincidence of melody matters little, but the tell Whether they were his or not, nor does it matter. Chopin’s funeral March. I recalled the fact that it a mere satisfaction of these natural.tendencies. Weber’s Concert stuck ancl perhaps farther. Does tb - similarity of treatment makes everyone consider this TONOGRAMS. For the works ascribed to Handel are so numerous was in Ziem’s studio that this poignant march was The mother who is able to play duets with her chil¬ imply plagiarism bn the part of any of those who have as a gross case of plagiarism. Again. I have heard composed, and that it was born of a kind of hal¬ dren is in an enviable position. She can keep them and so lacking in variety that we only tr°“^e ° k people charge Wagner with plagiarism because of the heads with about ten per cent, and indeed, one work, used the phrase? - Surely not. ' lucination of the immortal musician. It was one interested during the early stages of piano lessons, and BY CAROL SHERMAN. Take a large sample—this sequence: coincidence of his melody in Die Master singer. be of wonderful assistance to the teacher in the prog¬ The Messiah, is enough for most folks. night after supper, under the influence of a fantastic Much the same has happened with his contemporary Act III: •‘Dance of death.” Ziem and his guests were amus¬ ress of the child. Further, she is not liable to be im¬ j.ll iti\il is never luasicicu unm u is iurguncu. and superior, the great J. S. Bach. He stole very tie, posed on by inefficient instructors. Musical ignorance ing themselves in picturesque fashion by wrapping Expression is the psychic translation of the mast- r’s for he had a conscience. The concertos of Vivaldi he No. 5. on the part of the mother is responsible for most of themselves in sheets and doing a kind of ghostly inner thoughts through the musical clairvoyance of th* really seems to have taken merely to show how he the inferior teaching with which the country is afflicted. ballet in the studio. Perhaps they had got the idea player. could turn the' most puerile efforts of others into grea from the nuns coming out of their graves in Robert art-works. But he was considerable of a self-plagiarist THE MOTHER WHO KEEPS UP WITH HER CHILDREN. Scales are still ladders—ladders of musical succe- le Diable; "and it may be that one of them was hum¬ so that in the present day we are content to ignore Find vigor in Handel, joy in Haydn, purity in Mozart, As soon as there was any music at all this was used ming the evocation, made famous by Meyerbeers The high-school boy or girl of to-day knows a good quite three-fourths of his works and to ignore entire y with the well-known subject in Nicolai’s Merry 11 ’ires ardor in Beethoven, serenity in Mendelssohn, love in in' its first form,- and one would safely wager that no music: Notifies, qui reposes sous cette froide pierre. deal more than the average mother, and frequently this the works of the numerous men of his school. Only of IVindsor Overture; Schumann, incandescence in Liszt, and dreams in .composer, living or dead, has abstained from the use Releves vans! But Chopin was not moved _ to causes disrespect in varying degrees. Therefore every the very fittest survive in our strenuous days and we Chopin, revolution in Wagner, mystery in Debussy, of the more ornamental version, or something very laughter. Surrounded by those beings clad m wind¬ mother should, he better informed upon some subject are content with very scanty samples of even these. No. 6. commotion in Strauss, and the future in Johan* like it. Beethoven, Schubert, Spohr and Schumapn than are her .children,-just for the sake of holding the ing sheets, he was -strangely agitated, and, shaken Sebastian Bach. have all used it as an important melodic feature in by a sudden nerve-storm, he seated h.mself at the dignity o.f her position. If she reags and studies widely THE NINETEENTH CENTURY RENAISSANCE. One ounce of Slow practice is worth a pound of notable songs, and even Wagner, in his unconventional upon musical matters she can keep abreast of the chil¬ But as to actual plagiaris'm: the next generation of piano A feYerish inspiration carried him away, and rapid blunders. later days, has it in the last scene of Das Rhcuigoid dren in its theoretical and historical side, even if they the notes that fell from his thin consumptive Angers . composers continued to imitate one another and to Re¬ in that pretty bit where froh welcomes the return of do excel her in technique. They will be bound to re¬ “I can’t keep up my music!” The lazy pupil’s war- but closer examination shows Wagner’s melody to be were as the falling of slow tears. Gradually the peat themselves; there is not a phrase in the finest of Treia. Is this plagiarism? No—Lsay we all use the spect this feature of her learning. cry (probably first heard by Jubal, son of Lamech and an ingenious metamorphosis of Sir Walter’s theme ghosts ceased their sarabande; the student jokes died Beethoven’s works that cannot he easily found in same old bricks' to build with and it is only when Adah, father of those who ploy, see Genesis IV, 21.) Haydn a’nd Mozart. It was not till the nineteenth out, and the frantic dancers were changed into at¬ these are used in very prominent places or very fre¬ WHEN ADVERSITY LUMES. Applause is a feast for the conceited, but a famine century that musical art broadened and deepened in tentive. silent listeners, dominated by his genius. quently that they attract attention, and for a while If adversity suddenly comes into 'the home, 1 for those who know themselves. its possibilities so as to arouse a new critical attitude Bravo, Chopin! seem to be private property 1 -once heard three im¬ mother who is well Schooled in music has a safe 3 Henceforward we were to be original at all costs and Chopin, this is admirable! portant new works produced at a festival; they were sure direction in which to turn for assisting in plagiarism was the sin of sins. Yet, strange to say, Let us chair him! Result getting music study is a series of small suc¬ Mackenzie’s Pibroch. Standards Voyage of Macldunc, And thus the Funeral March was born; the march financial care of the family. The woman who is sec cesses piled one on top of each other over an extended rt the very time this doctrine was promulgated would- whose sobs accompanied the fureral procession of in her musical knowledge has no fears of real pove period of time. As Epictetus has said. "Practice your¬ Ziem in the church instead of the studio—after so and want, even if calamity or death overtakes self, for heaven’s sake, in little things: and thence legitimate bread-winner. many years. proceed to greater.” 323 the etude the pianist-s^art^n ENSEMBLE the fire of a red-hot passion ; and i^H .is nrqltreated by the oerformer, it maddens you .beyond belle*- I repeat, worthless efforts. Who couldsing either by mordaunt a. goodnough. The Two Grenadiers were it not for the setting j u tl i sort 0f thing the which has not the remotest resemblance to Nicolai'’s tune. Moreover, his continuation is entirely SrS.1 XSt. Flow, ,pp,05*.i» of different vein But on the other hand, the second halt The 1-0,1 Rose of Simmer and Li.rfs t>f J“ ofthe6 MermaidTsong in Weber’s OUron is . entical in outline and treatment with the beaut ri ul, slumber, theme in Mendelssohns Midsummer Nigh Overture and did we not know that these were com¬ posed at exactly the same time, one in England an by the kind of houses they build. And that is all. ilSHHSSss the other in Germany, we should deem the one an imitation of the other. But which. the violin. 5Si SB. place. How many piano teachers can do this. Two-bar phrases repeated in sequence assume fa an important secret of touch. importance and suggest plagiarism where nonerealy .The violin is a true product of the process of evolu- exists. Thus the beautiful melodic fragment THE PIANIST’S SHORTCOMINGS. Gumbert’s, starting with an inversion of the i BY J. S. VAN CLEVE. I IZst ofttg^thSo?IHe -d hasVssed through Beethoven’s Eroica Symphony, Practically all the published piano parts of piano a peculiarly soft, sweet tone resun _ . ram;iiar -playing on two strings at once-is another famin No. 8. Every art has its secrets and the art of P|a™’ Andante. is full of secrets which the student must leain before (rehab) of Arabia, the lyre of Greece and Rome, die
^ JSo$C says Grove's Dictionary, is the history of the bow and it [f not known when the bow was first apphed o a can hardly escape from its consequences and Wore this principle. You may have heard certain concert follows precisely the same course right through. Hundreds of modern ballads, based on verses of ex¬ & three centuries ago, and has survived by reason Tn A Flat or the Rubinstein Staccato Study m Tenths appears in Mendelssohn’s Italian Symphony, similar actly similar metre, parody one another rhy hmical y irsssurz 5*. and are only saved by the abundant resources of modern Scmfeiof^e%Stis very simple. It con¬ fhey have bad considerable exocnence ° harmonized, thus: (
the Individual be uncertain; but with
Striking Modern Ideas on Music as a r'nccnt article upon ihe subject of Curative Force
By MARY WARLOW ss :E”,e.so,.e.p”; ho%.snv u-*. T-* for the treatment direction of phyaiciana." Qu«n Vtctom and Ploreuoe Nightingale were much interested. .... Medi- SCHUMANN’S PERIOD. claimed, given scientific results of importance, proving l’,«l“'d.Sr of i’hidi ex,r«,.d appoaat Saxony, the land of Schumann’s birth, did a es Music as a cure for crime has been advocated re¬ not escape being one of the many theatres hPth Barrett were more tender, more constant, that tired muscles regain their strength and tone under TTinre beautiful. Schumann became the piano cently by Marcell Sembat, a distinguished member of all but sad music, which acts as a depressing agent. in which Napoleon chose to act his empire¬ the French Chamber of Deputies. The psychological Circulation and respiration are increased by Jigs, waltz making dramas. Indeed, in those days of and physiological world is exploiting the mysterious music and discords, but diminished by rallentando and belligerent spontaneous combustion, Saxony power of music over humanity, and psychologists of diminuendo passages. Intense sounds shock the entire liadEts fair share of wars. But the Saxons were and fatigue.” Among the results published were the di,d iw international reputation ascribe marvelous therapeutic nervous system causing muscular contraction. an extremely industrious, practical people, and with 25 value to music and believe that it plays a part of Let us examine for ourselves some of the character¬ following. ^ cas[i of gevore pain after crushed their common-sense way of looking at things did not .Lie her first appears,™ ,n undreamed of importance for the human race, ur istics of music so that we can better understand its forget to promote manufactures and commerce. Sax¬ Munsterburg says, “Experimental psychology began effects on our own emotions. It is impossible, tor ony became rich, Leipzig developed into one of the P'*1" about twenty-five years ago; at that time there existe instance, to listen to the following phrase from Men¬ meat marts of Germany, and Dresden, the capital, second bX . M-4 one psychological laboratory. To-day there is no uni¬ delssohn’s Spring Song without feeling something ot expressed the increasing wealth of the lan^ ‘hr°^ 2? »«-««"’'SL'rSTlk °s! s-“«d o the University of Heidelberg, where the pro- versity in the world which does not have a psychologi¬ the uplift which can easily be accounted for by the manifestations of higher culture When Schumann cal laboratory. But laboratories for applied psychology rapid upward rush of the melody and its more re¬ was four years old, part of his fatherland was ceded are only arising in these present days and the sys¬ strained descent like the breaking and retiring of a “ laterm™tlk«l rliionaliy, and finally discoursed on to Prussiaby right of war. Gradually the country lost tematic application of scientific psychology to medicine sea wave and by the appropriate delicacy of the accom¬ its old-time identity as a fighting factor and eve"‘ua^ ‘S Mr!ld^rX tells us in his God and Music of a became a part of the German empire. Schumann, is almost at its beginning.” paniments. Russia has long since engaged in the introduction of case in a Paris hospital where various means had been however, lived to see the wonderful expansion of intel¬ ing on his future. Schumann interested Thibaut im music as a curative force or as a palliative force m its tried to cure a patient of a serious wound received Ex. I. lectual and industrial effort in his native land Phil¬ asylums for the insane. Similar efforts have been Allegretto grazioso. accident— osopher and romanticist, he built his dream castles side made in many American institutions. length tte W ^r'infedy’ bv side with factories and storehouses. No composer By the most subtle means and most delicate instru¬ with the possible exception of Wolf and Smetana lived ments the experiments of the laboratory show that the was1 co“ti>continued so near the border line of sanity and insanity. His indi¬ 1810—The Real Schumann—1856 slightest feeling may have its influence on respiration, „W0Und 'vafs'tub'lluntil recofverv*was'assiired”"recovery viduality was probably more strongly marked than that similar on the pulse, blood circulation and the glands. Pro¬ etc. A suppurated wound of any other master. That he was able to voice his fessor Elmer Gates claims that by experiment he has process- extremely original ideas in an atmosphere tending demonstrated that every emotion of a false or dis¬ “Tbe instrument being played close to toward the conventions of business indicates hs which was bared for the purpose. The “ „ “Talent labors, genius creates." “sSS!*Tre-wi" £ i'„°S agreeable nature produces a poison in the blood and ssoi-eed a change The wound assumed a healthier appeal unusual strength of character. the cell tissue; these poisons affect the health. Sorrow, ance and the process of healing began and progressed rap¬ (Richter) and the lesser known Schulze and von fear or anger interfere with the heart action, respira¬ idly.” SCHUMANN’S ANCESTRY. Sonnenberg. ’ Schumann entered the Ul!Ive,rsdy.aA * Mr. Edwards goes on to say. however- student of law His mother was determined that her tion and digestion. Joy, hope or pleasure increase the would be necessary to abandon his career as v “Vihratorv treatment has been thoroughly tried in the son should not undertake an artistic career with its flow of the gastric juices. The fiery energy of Beethoven finds tremendous ex¬ The fact that music has an important bearing on c-se of open ids... .without effect.... The reported as an author. He wrote some lew vo from Mm the uncertainty and possible privations. Since his father pression in the following passage from the Sonata s n ti Paris hospital, if as stated, were caused by His own father had ten a thinss in llter- ^Meantime ' Schumann had succeeded in Educing physical and emotional life is no new idea. It is the influence of the mind, excited and cheeredbythcmusic had died, in 1826, the young man was obliged to Iook Pathetique: over the morbid condition of the body, or perhaps, by some \born SchnabeD was Wieck to persuade his mother to permithm^to goon reported that the Egyptians were the first to indicate favorable change in conditions. Even if so, music might to his mother for advice. with his musical career Returning to L«PZ ® heJive^ the medicinal qualities of music. The Persians were have part of the credit.” # Schumann was averse to law as a means °£ earn1^ said to cure various diseases by the sound of a corre¬ his living, and the coarseness of the student life at the ' Allegro di motto e con brio. “Just what the therapeutic value of music is cannot sponding string on the lute, and the Greek philosophers be definitely stated,” the London Lancet has said, “but SCHUMANN’S BIRTHPLACE. University affected his retiring, chaste nature very were not behind in appreciating the therapeutic value it is no quack’s nostrum. It is one of those intangible deeply. A meeting with Heine and with the widow of of. music. Plato in his Republic goes into elaborate Tean Paul confirmed his natural inclinations toward the srsift but effective aids of medicine which exert their health¬ ITel until tSIO un. r the firm namee of Schumann details as to the kind of music best suited to young ful properties through the nervous system.” The New art'life At the University he did little but study piano men, and enunciates very definite ideas as to what York Commissioner of Correction has already asked SreteneS and Unquestionably influenced Msp later in private. During all this time he was powerfuUy modes or scales are desirable for rousing martia life.6 AftAfAge of fourteen^find M^worteg ontte moved by the ultra-emotional writings of Jean JanL for a small appropriation to pay for teaching instru¬ SifSf.’SSkV- * Cara ardor, affection, religious fervor, etc. And did not mental music to the inmates of the reformatory. mann° w'A'tl'u'kyoungest child of his family and became the Indeed he became at that early age exceed ngly mo ose David soothe the ill humors of King Saul with his favorite of all. over the conditions under which he was obliged to live. “Music,” he says, “is extremely beneficial in the gen¬ WleCk SCHUMANN THE JOURNALIST. music? The Italian peasants have long believed in the eral scheme of social reform, for which this institution SCHUMANN’S EARLY TRAINING. SCHUMANN’S WONDERFUL LOVE STORY efficacy of music and dancing as a cure for the bite It had been Schumann’s custom for sometime tp’neet is established, and is necessary as part of the special The devotion of Schumann’s mother for her boy COMMENCES. of the tarantula, and this has given rise to a dance- the effect of which is to imbue us with something of reform work there.” form of its own-the tarantelle. Shakespeare makes stands out through the entire youth of the master. His During the same year that Schumann entered the the master’s own energy. Wagner was a past master The “music-therapist” of the future will need to be frequent reference to the healing .power of music as, every step was watched by her with love and wisdom. University he met Clara Wieck, and then and there in the use of music to depict the emotions of his stage a well-paid, efficient member of society with a sense for instance, in The Tempest, when Prospero employs She saw the wisdom of letting him fashion his own only one musical paper of note (Du characters. See how he gives us the despair and music to disenchant Alonso, Antonio, Sebastian and of duty towards the State no less high than that ex¬ distinctive career even wlren it meant Allgemeine Musikalische desolation of Tristan in the Prelude to Act III of hibited by the scientists of to-day who have proved a sacrifice of her own ideals and hopes. mann and his friends felt the tinJe “ad the rest: Tristan und Isolde: their willingness to serve humanity to the point of Schumann’s first teacher at the piano arrived for a new music Journalofmoe death again and again. With a recognition of the was J. G. Kuntzsch, organist. at the independent char’acter. Accordingly medical value of music will come a higher recognition Marienkirche in Zwickau. His prog¬ 18-14 the Neue Zeitschnft fur Musik was MUSIC, THE LANGUAGE OF EMOTION. of the value of the musician. Who knows but that the ress was so noticeable that after three founded in Leipzig with Schumann as Modern composers have long been acquainted with musician is destined to regain the high place in the years his teacher assured his mother editor. For many years this journal continued as one of the most >nflmm- the emotional effects of music—indeed, a complete homes of the mighty that the bard was accorded in that no further instruction was neces- knowledge of how to produce different kinds of emo¬ sary-thenceforth the boy might con¬ tial factors in the entire musical world Tara’s Halls? Who knows but that from the ranks Frederick Wieck, Julius Knorr and tion is an important part of their technique. Frederick of the musician-healers may spring another David to tinue without a master. When Schu Corder’s work, Modern Musical Composition, con¬ Ludwig Schunke were associated with rise from soothing the sorrows of a sick king to ruling maun was scarcely seven he commenced tains a chapter entitled “Character—Emotional Tech¬ Schumann in this work, and it attracted the destinies of a nation. to compose. When eleven he appeared nique,” in which examples are taken from the great in public at an important concert and wide attention in a short time. It was through the columns of this masters showing how they produced Agitation, Energy, elected to play the piano standing paper that Schumann brought to life Gloom, Pathos, Yearning, Pleading, etc., with a sure and rather than sitting. His father planned his fanciful society of artists called the certain knowledge of how to go about it. The same From his youth upwards, Bellini’s eagerness in his art to have C. M. von Weber teach the The slow sustained music, low in pitch, wonderfully Davidsbiindler. This society included was such as to keep him at the piano day and night, boy, but Weber was unable to find time distinguished authority contributed an article to The portrays an atmosphere of sickness and of gloom. The many imaginary characters, such as till he was obliged forcibly to leave it. The ruling to carry out the plan. When the boy Etude for December, 1912, in which he touched upon effect on the hearer could hardly be a cheerful one. Florestan, supposed to represent the passion accompanied him through his short life, and was nine he heard Ignaz Moscheles this phase of the composer’s work. Eminent alienists have demonstrated that with the fiery, ardent side of Schumanns own play and was deeply impressed. In order to find the effect of musical intervals upon insane, “Nothing cheers these patients or helps them to by the assiduity with which he pursued it, brought on nature, and Eusebius, which was the His general education was not neglected, human beings, men and women have been hypnotized, forget their troubles more readily than music. It the dysentery which closed his brilliant career, peopling composer’s mental picture of his gent¬ and in 1828, at the age of eighteen, he and Rilot gives the following results in his Psychology transports them to another region for the time being, his last hours with the figures of those to whom his ler side. This society was named left the gymnasium (Educational Insti¬ of Emotion, “Relative consonance and dissonance com¬ removes the cloud of depression, assuages grief, tran- works were so largely indebted for their success. Dur¬ “Davidsbiindler,” from the idea that tute) to go to the University. At this posed of major and minor thirds produce pleasurable quilizes excitement with no ill effect. The importance ing the moments of delirium which preceded his death, David’s hosts were destined to slay the time the boy’s pronounced talent effects on the organism independently of any other of music in the treatment of the insane is a high one.” Philistines or those who were content he was constantly speaking of Lablache, Tamburini and seemed to be divided between philos¬ impression or aesthetic judgment.” Esquirol, a French investigator, is quoted in John Har¬ 'isi; and one of his last recognizable impressions was with the conventional. rington Edwards’ book, God and Music, as advising ophy poetry and music. His favorite ROBERT SCHUMANN’S BIRTHPLACE. The ergograph, an instrument for measuring the ef¬ that he was at a brilliant representation of his last poets were Lord Byron, Jean Paul fect of musical vibrations on the body, has, it is that— 329 the etude , , t, ic* indeed, more intro- the etude effective for concert use. ’{ The prelude 328 spective than many of tt °her hand is unique among
•anuot"faU'"to" b- ... — Schumann. Romantic-K;! emotionally of the utmost agnlficancm It » » Hoschelcs. “For Intellect save Ilis geniality alike is isi n strikes me very forcibly u nocturne-like character that ntake^ t ■»> works**ini very greatB*order t_ to ‘esttaatrtalriy^tai “qualities as the weaknesses of the new. , lovable as every sub- Lisst. “He appears to us true artist; , there are times For many years The Etude jme reliable and eVper^^^d^U^wrlty^ for What —talnln^^rnusleal'TheUry) b'istoiT^etc.1/aR of wbiet^ properly^^belongs to forward man in ms convauu to Teach,” etc., and not f l without charge of any KmC. the Questions and A*is were panied with the full na e have made them their own,, ano i , they are looking at keyboard. day Vu/of"anmuTintowovea with his most inti- becomes ^“ SlwTyY a'f^ori^Se scintillating ,
mBtai»ifeacns. “TbS^^^SlfvttalUy^ndtte'penctrant troubled when tuere aue £ year you will find lists of Bach compos,lions, and the IrSSlnS Composers who Ke'tcM-n"”0” ”f Xd so * No one plays the piano in SCHUMANN’S COMPOSITIONS. oroblem of which of the Czerny studies should be T(lP :lWs of Schumann’s works represent one gj fryoTwmywaetch Byron’s Manfred. For a time his former vitality Through the Nette Zeitschrift fur Musik, Schumann seemed to be restored to him and lie conducted he generously and zealously championed the cause ot the sreneral reader little means of computing the quail in the orade of which you are speaking. , male singing society previously conducted by H.Uer 4 and 5. You will find this question treated partly aSd him nt rwards why he changed his interpreta- musicians who were struggling for fame Chopin, Schumann later succeeded Hiller as the conduc < Berlioz, Franz, Mendelssohn, Henselt and Brahms all tion of i” “J«st because I happened to feel like it at Dusseldorf. There he found himself m congenial sur¬ owe a debt to Schumann’s powerful pen. roundings, but his orchestral leadership was on a par thOne0r£ an impression upon the sfSiSSSgi One ot tne q ^ ^ D The rhythmic incisiveness with his teaching, and Schumann cou d never pe L the’greatest examples of symphonic wntmg since the development of technic, muscular SCHUMANN'S EVENTFUL MARRIAGE. the develop reading procure some of the described as a great conductor. In Dusseldorf lie pro Beethoven. His instrumental works also include se\ No romantic couple could wish for more eventful duced the E flat minor Symphony and T/u? Pdgnmage eral overtures, a pianoforte concerto, numerous excel¬ obstructions to matrimony than had 'Clara and Robe of the Rose. In 1851 Schumann and his fann y spent lent chamber music compositions, six fugues for Schumann. Wieck looked down upon Schumann and a short time in Switzerland. Schumann’s menta decline a large number of excellent pianoforte pieces, as well thought that his daughter would be throwing herself commenced in 1851-1852. Although lie was able to do £ piece over, form a conception of how it ought to away upon him. Schu¬ as pieces for violin and ’cello, llis vocal wor^.s excessive. II y first books, and gradually work mMsBwm mann’s means were some important work, his friends could not fail to notice his songs of incomparable mastery, his opera Cenoveva. gho, get the tempo from the metronome if *e has; • iVn.ii r and then attack it bravely, and stop _ for no mistake. Very slight, and he his increasing eccentricities. He realized liis condition Ms cantatas (Paradise and the Pen. he Ptlgranage sit too close to the keyboaid. It you su ai perfectly and often suggested that he be place m an of the Rose), and many unaccompanied choruses. •strove to increase l^etrr in W music.al them by changing his asylum. One night he imagined that the spirits ot Pr°tPeofdhaTfnCvi’ewhof thfhands'‘posK enough so categorically which is of the most esthetic importance residence ih Vienna. Mendelssohn and Schubert had visited him and pre¬ BOOKS ABOUT SCHUMANN. The charming and simply flowinggraceojNalJ'n Here, amid new sources sented him with a theme for variations. He attempted The bibliography of Schumann is quite extensive but A flat will quickly recommend it to musican.stenere of inspiration, his muse to write these variations but never finished them In rot nearly so great as that of either Beethoven or hand music For this the standard symphonies, over- Brilliantly contrasting with this is No. was delightfully influ¬ 1854 he jumped from a bridge into the Rhine with the Wagner. Of the biographies, those of Riessmann, lovelv idvlle is No. 13 in F sharp, and one never tires enced, but his finances, purpose of committing suicide but was rescued by some Wasielewski and Dr. Annie Patterson are the besl your eyeas T?y this also with the piano keyboard when of its delightful sweetness. The pastoral charm o remained unimproved. Prelude No. 9, followed by the lively gaiety of the boatmen. Two years before his death he was confined known in English. Selections from Schumann s Essays you are looking at the notes. In 1839 he’ returned to in a private asylum near Bonn. His condition improved and Criticism have been translated by Fanny R'Uct: Fugue, should not be overlooked. A flu.ckly appeahng Leipzig and renewed for a time, but it soon became evident that a desperate and are published in English. These are of exceptional five years old. Prelude and Fugue will he found.,n thej^eerfd his siege upon the elder interest to music students. His Advice to I tuiug of No 11 in F. If the rhythm is well taken care ot it change had taken place. The wonderful soul that had “What course of stufly would you suggest for chil¬ SSS&* .nd»rn pi»y Wieck. Clara in the done so much to add to the beauty of the world faded Musicians contains his rules for piano practice and It is simply a question of seeing to it that correct will prove popular with many who. will be unable to dren five years of age1! —F. »• Hons a« made from the beginning. Pupils who have meantime had been gradually away. The end came July 29, 1856. Schu¬ has a very wide sale. The most recent Schumann hook appreciate its polyphony. This completes the hst of decorated by many of mann died in the arms of his loving wife. He was of note is the two-volume Litzmann biography of Clara ten asked for. There are many others which are equally the European courts, buried in Bonn. In 1873 a Schumann festival was Schumann. ‘‘most important.” There are some beautiful ones i and Schumann felt that and finger movements, beginning with table exercises, given in Bonn for the purpose of erecting a monument the second book he ought to have some over his grave, and this monument was unveiled in those most used by players. As to tnese™uu r additional distinction. Accordingly he applied for the any Prelude or Fugue may be played separately in 1880. degree of Doctor of Philosophy at the University these works the Prelude quite outgrew Ae ^ ° in Jena, and received his diploma m 1840. Still SCHUMANN’S PERSONALITY AND APPEARANCE. mUSdl’o Rv the timTthey have arrived at a point rr-s ssS fa — simple preparatory preluding m order to engage Wieck was obdurate, and it was not until Schu¬ where ’they may progress unrestricted ^ ^ attention for the more important matter to follow, mann had been obliged to resort to the courts that he lie was careful in his attire and during his younger years some eases the preludes are more extensive than the was enabled by law to marry Clara against her father s fugues. hilf them back, electing many tiny but prjtty SpE,'towhich w'aTomiS 3L» will. , 6 «« « CHOPIN ETUDES. for them. It is better that they continue for ^ ^ in some cases is nearly everything. Shortly after his marriage he commenced to produce fri^nd^' anhough^Ws^ expression "was genial m* engaging think the Chopin his remarkable songs, including Myrthen, Liebesfruhl- Hif brow was large and noble, and his thick hair was l what order do ; THE well-tempered clavichord. a pupil ing, Frauenliebe und Leben. In these impassioned daIt isr0said1that°Schumann’s style of talking resembled a works we find an atmosphere of sincerity and melodic koIiindiiv and he chose to speak only upon lofty subjects SrSHf- et;Ur.y ToSiS*SS oeverVa’sting any of bis time upon the meaningless nothings one would need to know die children. Some are^so 1 Please give a list of ten of Bach’s Forf,/-ei0/,f freshness that never fails to inspire. Quite different in of conventifnal conversation. His periods of silence of the Chopin Etudes?’ much larger and stronger than others. Here y Preludes and F“0U™ s®amUiffythem1 in the order of many ways from the songs of Schubert, they represent offended some who did not understand him or who did not able for concert use, » comments thereon. 1 The Chopin Etudes may be taken up in the fol- an even more intimate and finely worked phase of the sense the bitter misfortune that was awaiting him. Schu¬ need to learn to exercise your judgment. J t,U2,rNameaafew ofttle Futmes and Preludes which mann drank and smoked but never to excess. He was nieces for tiny tots write to the publisher and ask tor may be played separately. S. J. art song. , particularly fond of champagne. He was devoted to his 1°™? 52T9™x"ns-v MII-MV Schumann was now at his prime as a composer, and wife and to his several children. At home he played with a consignment on selection, stating exactly for what them as another child might play, but in the street he was purposefyou desire them, and you will thus he able to Vrhis inquiry has special interest because it comes one masterpiece followed another in very rapid succes¬ almost oblivious to them. _ W e have already mentioned his —XI These Etudes need to be gone over at least find plenty of suitable material. from South Africa, thus showing both how far re sion His symphonies, his quartets, his piano pieces splendid generosity of spirit toward his contemporary coin- Lg is S influence of The Etude, and enl.ghtenmg three times before the proper tempo can bc approx,- and his choral works met with such great success that VARIOUS POINTS. us as to the advanced musical interest that exists mated. Virtuosi pianists never cease practicing them. his labors undermined his health. He rarely left home THE INFLUENCE OF CLARA SCHUMANN. that "far-off country. In Europe people stdt imagine 2 The following pieces you will find interesting. except when he went upon concert tours with his wife “1. Why is the Cotta that Indians rove and camp m the streets o|N V ^ Beethoven. Sonata in C minor. Op. 13: Sonata m A It would be difficult to estimate Schumann’s debt t. jnatas and other wort They made trips to Hamburg, St. Petersburg and 2. What books and pi We also are too prone to think of South Africa flat Op. 26; Schumann, Arabeskc; Fantasiestucke Op. Vienna, and even contemplated a trip to London.. In his talented wife. As sweetheart, companion, mothei ‘Ischna’s 60 Progreenct 12;’Schubert, Impromptu in B flat. Op. 142; Schubert- Leipzig he held the professorship of pianoforte playing and even as nurse, Clara was all that devotion coul latr0frema^^n0ttbeedIda/l ^cred Clardchord the Heller The Trout: Bach-St. Saens Gavotte m R, and composition at the newly founded Conservatorium. demand. Her great skill at the keyboard enabled lie Hollaender, March. Op. 39; F R Kroeger Anon; to publish her husband’s latfest compositions in the con lould be used’ , . . •> His long friendship with Mendelssohn secured him the ■ lading? Grieg, Holberg Suite; Chopin, impromptu^ iiiA flat position, but it was well known that he met With but cert halls, making them known far more effectively tha A SCHUMANN program. Grade t Xt Studies lit to begin- !lmre was ; list Specially for teaching purposes. When Nocturnes; Vaises; Polonaise. Op. 26, No 1; Mendels¬ if he had been obliged to depend upon type. It i ± % also" to*those wko*k#w _been playing for slight success as a teacher. 1. Piano Duet.Joyous Peasant 3 one makes a list of those most interesting for concert sohn, Rondo Cappriccioso. Ojl 14’,Mo"zk^'’,/ l*/ kriow that she was constantly in consultation with he purposes one enters the realm of personal taste, I in 4 flat; Air de Ballet. Op. 36; MacDowell, (Arranged by Felix Smith.) SCHUMANN’S TRAGIC DEATH. husband when he was composing. Like Fanny Mer 1 Largely because it was the first completely edited Says difficult to get universal agreemen along the 2. Vocal Solo.Tu0 Grenadiers 4 Pieces; IVoodland Sketches; Serenade, Op. 16, delssohn (Merisel) and the wife of Robert Franz, sh r individual preference. The special appeal ot Tn 1844 Schumann moved to Dresden with the hope 3. Piano Solo.Bird as Prophet 7 and annotated edition of Beethoven and the classics Witches’ Dance. . was gifted as a composer. Her twenty-three opt the market. When it first appeared it was a great of restoring his shattered health amid different sur¬ 4. Violin Solo. .Slumber Song, Opus 124. No. 16 3 »..w, woY, »iw»j. boon to teachers who found in it phrasing, lingering roundings. In Dresden, Schumann met Wagner and numbers include some very impressive composition 5. Chorus ...Gypsy Life factor of individual temperament. For example, nu Tt is not given to all of us to achieve the highest After Schumann’s death she made many concert torn form and many esthetic comments on interpretation by Hiller. With the latter he formed a firm friendship, 6. Piano Duet.Finale Etudes Symphoniques, Se -ber =W,. i» {££-. place in the world of music. We cannot all he super- Pianii the later Beethoven sonatas bemg S « ^ but Wagner’s restless temperament did not appeal to and for a time made an annual visit to England, whei Opus 13 .'. S musicians.” But we can do good work, and prove our¬ edited by Von Bulow. The edition is still a very the seclusive, retiring nature of Schumann. Schumann she was received with great favor. Tn 1§78 she becarr 7. Vocal Solo ./<-/, GroUc Xicht 5 selves, as Charles Lamb has expressed it, a useful , llU reasons for his estimate, but it by no recovered sufficiently to undertake his work again, and the principal teacher of piano at the Dr. Hoch Conser 8. Piano Solo. .. .Nocturne in F. Opus 23. No. 4 5 adjunct, if not an ornament to society.’ Va2UaWhene Cramer is fully mastered Clement!. is means follows that he would consider it the most produced many notable compositions, including his atory in Frankfurt am Main, then as now one of tl 9. Violin Solo.Tratmerci, Opus 15. No. 7 3 finest music schools in Germany. usually taken up next. Meanwhile, many pupils profit opera, G*nw««i,.his music to Faust, and the music to 10. Chorus .Die Lotusblumer 331 the etude IN DR. HARMONY’S DOORWAY. 330 THE ETUDE Firs., The pupil ha, ... “““S by m. d. kromer. for she has had to give her attention only. ^ thp „ame notes four times, Second. Passmg over the sa®e n° not wonder D„ .... every «“w."S Studio and her home bM tius told of “towns THE MUSIC LOVER’S DIGEST she begins to recognize *em for, by had grown up « “ why not houses in an The Best in Musical Literature from Everywhere continent the latest book, or from "dolTenbl process, she observes their rela- TOE'S monthly scrapbook of paragraphs worth re-reading, selected, perchance, from ^ languages, and from the most stimula n< l!iat f H was not there when Dot went to the studio re tome, as the case may be, giving our readers the cream of reading from contemporary journals in an rang hour- It w the electric sign over the “Third/By renting these short phrases, Ae fingers
A Royal Composer How Richard Wagner Borrowed Training the Musical Ear A Remarkable Freak of Sound How Richard Wagner i5orroweu "whenWhen King Henry VIII come to the thrthm*.™ Many teachers eni“” JjtijSu before next playmg » J n e Lid, “My fingers go every In addition to the ordinary study and ProffessorPaomssson Quervain, of Zurich, has made NotNOT a very lovable or even a very estima¬ Ofof England he was everything that 2?made practice that are necessary for the acqulsl- a curious discovery iniu thathe rooirealm™ of -soundJ ble character was Richard Wagner,__eWagnet, the idenlIdeal king in the eyes o(of hisIlls people-!peonle-! the lesson to be sure P ^ believes that she SS!T.y,» I rep,led, -Your do ». tion of technical facility, study and practice transmission that "mavmav explain a hitherto a colossal egotist, nehe was sometni g of young, handsome, well versed Inin thetheTife liWiliberal of an entirely different kind are essential for incomprehensible incident of history. Dyna- libertine, and his constant borrowi k ^rtsarfs Hadand scasclences a yfKPorlsman «»aiund aml a knighiknight ‘Tdo sT nT'does tie teacher taow that she will, know your fingers, by the Sieurtifu. melody ,«» ^‘".ay, ‘Vou the cultivation of what may be termed the mite in large quantities has been used in money have pained even bisIns most ardent au inln the true meaning of the word. The king'skto^ ata s“tb. P.P.1 knows «ha. it means to musical ea,ear. the possession of which is a,ab- the construction of the- railroad to the ^top mirers. Wagner explicitly d?,c„a5,?d,rl the J.eputat,1°.!,1 ?ad J? 11 " Uttermost con- solutely indispensable. The student must he of the Jungfrau, a mountain nearly 14,000 money making was not his businessin the fines of Eu^pe; there was no a musician^ Sf rt'yom^o move able to distinguish intervals and chords with feet high in the Bernese Alps. The profes- world, but creating; and he had the lortly not even the o‘ 1'1 'al1 “ 11«' remote practice? . practices to secure certain discrimination, as well as pitch and all the sor observed that the sound of the dynamite notion that the world sh°“ ^,Tph'h, S^that Tlenrv of K i»l ”ot for fifty times. * “ 4 ,ha, „,s only.” use the language most falB1 he sign she had failed shades and qualities of sounds, and must explosions was heard distinctly for a dis- with a handsome income simply because he know that llenry of and t
of tone in tiheregisterof hisown instrument. * d2££fJjefore his eye and artistic furniture about bavin* supplkxl two ,-1,11,!,,•>, ml Asides nantly. vtow uw j _ . bave done lt family groups digest Whether they need a sharp It is thus with the ear just as it is with t ajj piayino. 0r trvine toDlav in un^on* tis rooms* IIe raust have rich garments, a general education. tlo-,. . i hlren received y=.“ clever fellow knows at ^whether ^ y_ fa hi the palate which frequently becomes so ft sdifficultV*lvfan^^^^^ too; and we know the absurd sums he spent all their music. I lustrum..,, for nothing and familiar with certain tastes as to grow after the sincinc of the f™Lnf ?n the silken robes "Peclally made for him were clothed, fed. and I...., . d at the Royal r„rtT r'E‘p^.”Cktod o. certainty hy .he tonic or sho’lld 4d treatment to eliminate the evil of long and constant U3e, insensible to certain “J® few tore}Sn- by an expensive Viennese dressmaker. “I expense : and many of th. , i. . from lowly : jOSltd not S sanatorium he gives ,treat® but art in obedience subtle differences once easily distinguishable. «rs are abie to understand Chinese vocaliza- cannot live like a dog,” he said. "I cannot circumstances t.» hitrli and h. . <1 positions repetition. discord, his is ‘all triumphant art, but an —Mark Hambolrg on “The Piano and How f?,Ct’ v° COi?e f eep on !trfw and drink bad wina. I must by these means. The I/. '/ Musical Her- to Play it,” in The Musical Educator. 1la th/hougb f^e nose; the lips, the be coaxed in one way or another if my aid (London). learn a lesson from the artist to law.’” , .. x tongue and the teeth have very littler to mind is to accomplish the terribly trying “But who are you? said-Ou Mag_ “Old Italian” Violins do, except for the pronunciation of a few task of creating a non-existent world.” And rhrmi,,’- W^A r , x. i ai With perseverance anyth^ ^^not find the ^ , . , labial sounds. The professional singers, like in <>rder to get the coaxing, he borrowed Onopin s Wonderful Melodic Gift The old gentleman -Though my keys, use . In art„York on^ ^counters a great num- the actors, always appear to be an impov- money!—J. Cuthbert Hadden in Musical The history of the >.,-r , IIIIN|(. knows with difficulty, oi' by Xfa ieafarfst play in a will make the pupil play four measures w ^iht 1aa^ ter of Dr. Harmony s pa . . the message easier way? When y thinking of how he is SA*,fcgs.'s*ssss.’iam as-* (,ph,"'n ***'■ ssffirtrj”-.-™sas alone, counting ^^taiTea l iTger Zthe same concert, you know he is f - or 0f his notes. he may be able to ^^sejach finger^ ^ ^ asphiaiwmsUh6theflanpd ‘SSS^wWtSL ^ "tXX’st pTrtS ThC TeChni^e-°f Tea^ing ^“g* « “ ‘ holding his hands, or of hisfinger g this of «« -2 scale 11 mIX — - A T^CHEIi- ^h0 Woa,a si“P'v with th, ImchanHug 'nmsic he 'c^'Se'pTtTUedT He has trained his hand so that U Can height: drop down o th yiager: prepare With his miniatures he rev..1 urionizes music, get the same quality Of J , etc.—you itself. Why not earn a lesson ”°hmthe certainty and JffltWU-raj! SST add1 that°Yhet majority /£?£musicians - tutf needs S?of the particular'classi Sfffcone ilfip t05¥ d° «-a.n<1 V,he nbiIit-N to do wer.e the next finger to all on he to do genuine walnut or mahogany when it is noth- engaged in their profession hive littto would, -be d-olng the thing that a wkhn. t v f a young student learn to P J depends mainly ■~=£=2g%-r- lug more than stained pine. However, we knowledgekn^g“of ofn tthehreI ,principlesp?ifnSclnins^^wsk^mtgh? of their art — n!.,gllt whuTentaU^who1 mentally $£*1,grasped th, 'vit„boVt ^rTaMugex-r nlmh,,'ii'..’ . ease of the artist? He surely can « J b]ame train his mind to think slowly. He may nave are coming to lay Alphonse Mouraux in Musica (Paris) spe- Jhou^Jt of the composition, and knew just tem^thron'h'* »an<* ,n!oxl melodic sys- artteie?articles 1^of genu^iegenuln, 1 mamifacturS_ Btress u®°n ially translated for The ^of^ the — on how he practices. The tea^s o ^ <)f at Notwithstanding this, violin makersmake., seek ... m—c.L lo learn lh. tgi.ni.mlt r,£ouu f 4 'f t habit has been established. The pupil know- ■"^ritod’i'S'dr“other,” -d Dot •3SSv^t6yrlra? s^-wu’uBs.-sa?^ is:e* Hke, mmoono°n mothsj arnmvi «- -- *-*“ ,‘la ! ’ ess bv which he arrived at this surprising XurVrt«"Prt,«rL of Solomon, to <« SS w of the piece in the same way. through from beginning to en sr«.a h.,»£ j-—<« zt:Xz from the beginning, is often aPt lt he is m0re once attained such satisfactory results,^ He twosss.’Bjatasr volumes of Shakespeare,/usssnss trnnsTo*^ ***jL- riss® «rsv! <«««»--- thTfirst,or rhythmic, notC1 °f *^14^jusThere, what inclinedr a insn future to “make haste slowly,, First know STSiS present What then does it mean to practice. yBJS ST&EiZ" *-,h' put^wfsuffi'if I mention the following essen- stress comes on the syllables in poetry: “Serene I fold my hands and wait^ tia(l)UNever use the same pedal for different har- Here thTsSsslomes'on ‘fourth, sixth ffl°(2)SNever use the same pedal for two different of itselt. wnen y yourself to increase c^St£ Shwh?: the .^etts^ S.aSW°peopl^ tlS the metronome is used Ph3)eDo not use the pedal at the end of a phrase un- Here it comes on the third, sixth, ninth and twelfth chiefly to force yourself up to higher speed; hut 1 per syllables. The rhythmic note m music u) usually th forms an equally valuable work by holding you back ,eS<,4fS;eV.0pediP'>“1lo°5 “"L '4SS first note in the measure, and corresponds to these Practice should always be without strain. When vou can Slay a piece, by telling your fingers to play it, lln6S "All is yours, ’tis but by asking „ you may breathe into its notes and phrases any Ere you send your jilent plea. ing(S)heAll)foundation notes of chords require separate inspiration you will. After the pupil has played these ty?ce plight ures the teacher asks her to play he whole eignt pedaling. pedal is very important in cK- measures four times; recommending, however t Chords that vibrate sweetest pleasure maxes.—From an essay on “The Piano and How to Thrill the deepest notes of woe. Burns Play It” in The Musical Educator. with one hand alone? 333 THE ETUDE brilliant waltz movements. Mr. Martin telj? THE ETUDE he has a real personal enjoyment in creating these 332 pieces. False Piquante lies well under the hands, but sume undue importance. Throughout this Prelude you it will require deft manipulation and a clear and agle “Will you please play it over for me?^ THE PUPIL WHO ARGUES. will observe that an accent is, or should be, placed o finger technic, also, a good singing tone. “Certainly, after you have studied it.” the second note of the theme wherever it occurs, as in “I’ll ask mother to play it then.” BY HARRIETTE BROWER. measures 1, 17, 19, 21, 23, 25, 39, 45, 47. This Prelude G A VOTTE—GLU CK - FERBER. “I do not wish it: we have now gone over a part may therefore be said to be emphatic; its compelling Christoph Willibald Gluck (1714-1787) was a re¬ of the piece with each hand alone, and you are to insistence is most noticeable, just as in the phrase I nowned dramatic composer, the direct , precursor of Shf. is a charming girl to look at, with her golden practice it in this way-on the clavier first-before hair, deep violet eyes, and innocent air. She is really awith a strong accent on the second word. Mow Weber and Wagner. He wrote many operas and music only a child. 1 greet her cordially as she enters, and putting the hands together.” in phrasing you must endeavor to find out just what the dramas, several of which, notably Orpheus (written in You will say I am up against it with such a pupil. important note in the phrase is. If I should say to 1762), are still performed. The Gavotte^ now under make some pleasant remarks about the weather or NACHTSTUECK—R. SCHUMANN. I feel I am up against the mother as well. All the you, “James, you must practice,” and wished to convince consideration is taken from Iphigema m Auks (1774). her studies adding that I am sure she has prepared After Mr Stojowski’s masterly analysis of this pop¬ more so as I have tried, to do my duty by that mother. you that I meant business, I should probably place con¬ The concert transcription of this same gavotte by a good lesson for me. 1 explained the work to her at the outset, and hpd ular composition, in another department, but little more “I have tried to learn it,” with much emphasis. siderable emphasis upon “must," but if I found that you Brahms appeared in The Etude several years ago her present at all the beginning lessons. It worked remains to be said. In order to play Schumann un- “If you have really tried I’m sure you have sue- had done so and failed to know your lesson I should Mr Ferber’s arrangement brings this dainty number very well at first; then she missed a lesson or two emphasize “practice.’’ You see, therefore, that music derstandingly one must study the man himself, the well within the range of the average player. It should ceeded.” and after that' declared that the child was already “romantic period” .as a whole, and those things for We begin. It is a simple etude, taken up some is just another form of speech—a kind of universal be played in a crisp, precise manner, not too fast. which both stood. Schumann as the founder and editor months ago, before the summer vacation, and never beyond her! . This is no abnormal case, nor a composite one: it of the Neue Zeitschrift fur Musik wielded a trenchant JACK O’ LANTERN—R. S. MORRISON. completed. I soon discover she is trying to play from la*Now^Bach will be valuable for you if you approach literary pen in behalf of his own theories and aspira¬ This is a sort of a schottische movement or modern memory, as she never looks at the page before her is taken from life. his music from this standpoint If you will look over You, no doubt, have had just such cases, fellow tions and succeeded in placing general musical criticism gavotte, a dance rhythm which is very popular at pre¬ but only at the keys. This answers very well for the little Prelude again you will notice that, altnougn teachers; pupils and mothers who at times try your on a’very high plane. His collected writings, published sent. The usual pace is that of about 108 steps to the four or five measures, then she hesitates, puts her the left hand is furnishing the harmonic basis for the souls and wear ou* your patience threadbare. But in book form, should be read by all music lovers and minute 4 to a measure. In the first theme of this finger on several different keys to test the tones, and right it is yet interesting in itself. Play the bass part if our work were absolutely easy we should never piece the melody is to be brought out strongly by the comes to a standstill. I ask her why she does not in the measures 20 to 24. While these measures seem to students. have the triumph of' overcoming obstacles; we should look up at the printed page and see what the notes suggest an independent theme, they are really but an¬ thumb of the right hand. never develop resourcefulness nor learn how to handle WARUM?—R. SCHUMANN. really are. swering phrases of the original theme very slightly This is one of the most famous Schumann’s shorter OVER THE WAVES—M. LOEB-EVANS. all sorts of mentalities. Each new pupil presents a embellished. You will notice this particularly m “Because when I look up there I can t see what keys nieces It is taken from the Fantasy Pieces, Op. 12, Mrs Evans excels in attractive teaching pieces of new problem, another world to conquer. We must measures 38 to 41, but more especially in measures 44 to play at the same minute, and mother says I must which’ are among the most effective and best known easier grades.. Over the Waves is a good example. by patient perseverance and kind helpfulness win the to 48 We have dwelt thus far upon the musical content only do one thing at a time.” of his pianoforte works. They are varied m mood, The themes are’pleasing, but, at the same time, the pupil and the mother, to see the rightness of our of this piece. From the standpoint of technical value, “Your mother did not say that about music, I think, fanciful in character, and strikingly original. Warum. piece has the educational advantages of lively finger requirements. we would suggest that you play the Prelude through for she plays the piano herself, and surely knows (Whv?) is an impassioned lyric, expressing the ques¬ work in either hand, together with drill in steadiness three or four times with each hand, so that you may we have to do several things at once when we play tion implied in its title, with an undertone of sorrow¬ of rhythm. This piece should be classed in the early a study or piece. That is why music is of such bene¬ note carefully where the theme predominates, and thus ful longing. third grade. fit to you, mentally. In the beginning, you remember, STUDYING BACH’S SIMPLER WORKS. keep it well in the foreground. Raise the fingers rather we did but one thing at a time; now we have to do high, but do not thumb the notes out, in the manner of SPANISH DANCE—M. MOSZKOWSKI. DANCE OF THE DRYADS—C. WOLF. Mr A W Lansing, whose compositions have met three or four. So you have to be wide awake and BY E. J. DECEVEE. a stab touch, but rather make them sing—use ton- Moszkowski’s great early popularity is founded This is another good teaching piece by a successful with much favor, was born in Cohoes New /York, keep your mind on what y&u are doing. pressure. . , , largely upon the Spanish Dances, originally composed writer. This introduces an interesting and piquant August 26, 1861. Mr. Lansing is a graduate of Wil¬ We begin again not once only but several times After you have concluded this little journey through liams College, and for many years has been one of It is difficult to think of Johann Sebastian Bach with¬ for four hands. These have been played almost uni¬ rhythmic device often met with in waltzes and other over for each time there is some grave error to cor- Bach land the guide hopes you will undertake many out realizing at once that the most important element in versally, and have been arranged for all sorts of instru¬ movements in triple time. The right hand appears to the foremost organists of Albany, New York. Al¬ similar little journeys and assures you that the great mental combinations. As transcribed for piano solo be playing along in double .time (triplets of sixteent s rect. . the performance of his works is the cultivation of though his musical work is largely the result of self- “Why do you close your hand and play those single master will have a splendid feast prepared for you. and eighth notes in alternation), while the left hand “legato” playing in all that the highest meaning of this They are all very effective. No. 2, in G minor, which study and personal investigations, he has met with pro¬ marcato notes with one finger? You remember when has always been a favorite, is especially telling as a moves in triple time. The effect is very pretty. term implies. In any one of the “Little Preludes and nounced success in musical composition. Some two we use but one finger at a time, the other fingers solo. It must be played in such a manner as to bring Fugues,” for instance, the different voices are inter¬ SHORT CUTS TO ACHIEVEMENT. MEMORIES OF SPRING—B. R. ANTHONY. hundred of his compositions have been published are to be held in co"ect position, ready for instant ot1t the effects borrowed from the four hand version, much of his work being devoted to religious music. woven and so independent of each other that if the This is a bright and tuneful waltz movement, very the important inner voices, the counter-themes, etc Mr Lansing is an accomplished linguist, speaking six US“But I like to close my fingers: I think it looks legato principle is neglected the whole composition may easy to play, but far from commonplace. The themes, BY HERBERT J. WRIGHTSON. The first portion is languorous and dreamy, the second languages. For twelve years he was the director of silly to see them raised or sticking out!” become a meaningless jumble. harmonies and general construction are better than The study of Bach under competent guidance is in¬ section, fiery and dashing. what one often finds in far more pretentious pieces. the Cohoes1 Philharmonic Society, and was for some After a prolonged struggle with the little etude, I Nor long ago the writer was conversing with a music comparable for making the finger muscles strong and SCENE DE BALLET—G. LAROSO. Such a piece will appeal to young students, and also years the director of the Hudson Choral and the Balls- desist with the remark. “Bring this to me well learned teacher who had prepared a new text-book of harmony at the same time delicately susceptible to the least shade This is a thoroughly modern ballet movement, in take well at recitals. ton Choral. Among Mr. Lansing’s best-known com¬ for the next lesson.” for the use of schools. The principal feature of tins “I tried to learn it, nut three days I couldnt prac¬ of dynamic and rhythmic differentiation. Bachs music, brilliant style. Although pianistic throughout, it seems positions are Message of Christmas, Angelic Voices, work seemed to be, according to its author, that it like the master himself, is full of strength, vigor and to suggest certain orchestral colorings, and this tact THE FOUR HAND NUMBERS. God That Modest Earth and Heaven, If Ye Love Me, tice at all.” would be welcomed by the large number of students Schumann’s Knight Rupert. is from the celebrated “How is that possible?” I enquire in astonishment. masculinity. “Fairy fingers” are hardly the ones for the should"furnish the clue to th» interpretation. The Now the Day is Over, Sun of My Soul (Anthems); who did not really desire any theoretical knowledge, Album for the Young. It is one of the most charac¬ “One day mother took me down town shopping; interpretation of the sturdy music of the masterly old bell-like effects in the first theme are in keeping with Lord is Risen (Solo) ; Tarry with Me (Duet). but who were required to study “harmony” in order another day I was invited to a little friend’s house, cantor of the Thomaskirche. the character of the piece. It is suggested that the teristic numbers in this set of forty pieces. As a solo to complete some course. and yesterday the floor was waxed and I couldnt get How may this strength be developed? Let us look grace notes in this portion be played immediately be¬ in its original form it is somewhat more difficult than There is a certain humor in this situation which other numbers of the set. It comes out full and strong to the piano, nor to the clavier.” through the Little Preludes and Fugues (or as they are fore the beat, in each case, in order that the principal .struck the writer at the time more forcibly than the HANG OUT YOUR SIGN. sometimes called, Fuguettas) and observe what they melody tones may be heard on the accents. There i in the four-hand transcription. The legend upon which serious side also involved. Here was an effort to ENDLESS EXCUSES. themselves reveal. You will notice that the first pre¬ a decided revival of interest in the ballet, and in all it is founded is explained beneath the title of the piece. accommodate a purchaser of services, if not of actual Mention of Mr. Lansing and his work will be found BY ETHEL H. I1URGIN.• “And there were no moments in the early morning lude is very simple in form and structure. It consists sorts of dancing in evidence nowadays, and, conse¬ goods, by giving him as little as possible for his money: in another column. In the rare intervals when Mr. nor in the evening which you could devote to your of two themes, not in striking contrast as in the case quently, we may look for original developments m the of many other works of Bach. Also, unlike most of the hypothesis being that the student wished to obtain Lansing turns towards instrumental composition he in¬ The very physicians who contend against advertising piano lesson?” , a diploma or certificate of some kind, indicative of music of the dance. “No, mother wants me to go to bed early, but she Bach’s preludes, this one is somewhat slow and sedate, variably has something good to‘say. The Concert for professional people are the ones who would be the only calls me in the morning just in time to get my yet the movement must not resemble the gait of an old certain achievements, but desired to do so in the quick¬ THE VIVANDIERE—L. SCHYTTE. Polka is a genial, showy work which duet players will first to rebel against taking down their own frigidly est and easiest manner possible. The acquiriiu: of breakfast and get ready for school.” It is always woman, but should rather be just a comfortable speed. A very large number of graceful and effective com¬ all enjoy. It is called Concert Polka, not because of simple signs. Indeed the physician in some cases is a mystery why one school girl has absolutely no time The technical difficulties seem equally divided between ability was of less interest to him than the she: t cut positions for the pianoforte testify to the mdustry of its difficulty, but rather from its brilliant style. It is not above securing a particularly attractive automobile for piano practice, while another, situated in the same both hands, and not as is the case with a great many to apparent standing. this well-known Danish composer. Many of these just the thing for recitals. far bevond his means because it makes a good adver¬ piano pieces, given wholly to the right hand. Bach is While the writer would be loath to admit the general pieces have become widely popular. Vivandierer is an tisement. He avoids anything pertaining to printers • way, will manage to put in two hours a day. The KING LEAR AND CORDELIA (VIOLIN AND always very particular not to develop one hand at the truth of such a hypothesis, there is about it neverthe¬ excellent specimen. It is very appealing, with its ink, but does not draw the line at automobile paint cause can be referred back to the mother in each PIANO)—H. PARKER. expense of the other. Indeed, the very fact that the less a substratum of fact. The pressure of competition jaunty martial rhythm and good-humored lilt. A when he wants to let his community know that he is Mr. Henry Parker, the well-known English song¬ left hand, sooner or later, will be obliged to do very and the nervous haste of the present day are such that vivandiere in the French army is a girl or woman who actively engaged in remedying their ills. Surely the C3“My teacher in school,” added this hopeful pupil, writer, has a decided fondness for the violin, which “tells mother 1 must have an hour of play every day, much the same thing that the right hand has done is the student is apt to think there is no time to do things supplies provisions and liquid refreshments. Her dress ethical business code of the medical men is a strange one of the reasons why Bach’s works are so helpful slowly and thoroughly. Yet thus, and thus only, are is usually a modification of the uniform of the par¬ occasionally manifests itself in a good solo number. or I’ll be good for nothing.” King Lear and Cordelia is in the form of a short lyric I wanted to retort that, in my estimation, her whole to the piano student. all important works accomplished by either man or ticular regiment to which she happens to be_attached. °nSome musicians try to pattern their professional con¬ overture, with a slow introduction and two well-defined life was one long play-day, but I restrained myself. Notice the figure in measures twenty-three and Nature. There are few short cuts that are any real duct along the lines of that adopted by the doctors, and WILHELM1NE—A. STRELEZKI. principal themes. It makes but moderate technical de¬ We take up the piece next. I had requested her twenty-nine in the first prelude and then see how the saving, for what they gain in one way they lose in quite without reason. The two professions are very Anton Strelezki is an assumed name of Arthur B. mands upon the player, and it is sure to give real to study the expression marks and shade her playing; composer practically turns it upsidedown in the left another and probably more significant one. dissimilar. No professional musician, advocates any¬ Burnand (1859-1907). This talented pianist and com¬ pleasure. There are too few melodious, well-con¬ but seemingly to no purpose, for the piece was all hand part in measure thirty-three. This principle of in¬ thing in the way of advertising that could be called poser was a most prolific writer in all forms. In later structed numbers of intermediate grade for the-violin. version is extremely interesting, and it will pay the flamboyant or “cheap.” It is very necessary to pre¬ on a dull level of monotony. years he wrote under the name of Stepan Essipoff. student to look for it. PROCESSIONAL MARCH (PIPE ORGAN)— serve a proper dignity without suggesting stiffness. “Did you practice this passage forte, as it it While a diploma is a valuable asset and can only be Wilhelmine is an excellent example of a minuet in the The reason why so many people develop a distaste J. F. FRYSINGER. When you prepare anything intended to be an advertise¬ marked?” obtained from institutions of reputation by genuine and old style, the type of minuet, by the way, popularized for Bach is because they hear his music played after Here is a brilliant and striking organ march which ment always consider yourself as the reader. Say to “I don’t like to play loud, so I put on the practice thorough work, the examples of most of the famous by Paderewski. The old minuet was as unlike most the manner of technical exercises. Try this experiment: will afford fine practice in the staccato chord touch. yourself, “Would I be attracted by this advertisement pedal; mother wants me to use it, because she doesn’t composers show us that collegiate degrees are not even of our modern dances as it is possible to conceive. It The rhythm is a vigorous one, rather out of the usual u I were not personally interested? Would the adver¬ like to hear me practicing and says it may disturb the Place an accent upon the second beat in each measure an important factor when it comes to real greatness. consisted of a number of deliberate and stately steps order in organ marches, and all the more refreshing tisement make me want to avail myself of the services people next door.” (What sins that practice pedal for the first eight measures and note that this seems to The student, more than any other, should consider well and posturings by dancers arranged in pairs and in in consequence. We’regard this as one of Mr. Fry- of the'teacher mentioned? “Advertising” means “lead¬ has to answer for). be just the thing needed to heighten the melodic effect the fact that in actual life it is what a person knows groups. It was, preeminently, a dance for kings and singer’s best efforts. It will make a useful festal post- A couple of old pieces are taken up, and as they of the theme and provide contrast. Again in the as¬ or can really do that counts, and not so much what courtiers. In playing characteristic pieces of all types ing away” or “leading to.” The best way in which to have been gone over somewhat fewer than a million cending note groups you may venture a slight cre¬ he is merely said to have done, or “did know’.” Misap¬ one should always endeavor to *form a mental picture lude or opening recital number. lead the reader’s attention to your own professional wares is to consider the reader’s selfish interests when times all in all, they are played quite respectably.. I scendo, and in the descending note groups a slight di¬ prehension on this point is apt to lead to the aspiring of whatever they are intended to suggest or to illus¬ THE VOCAL NUMBERS. you talk to him through your advertisement. am encouraged and decide to reward her with a piece minuendo. Mark the effect. Accent is the life of mu¬ ones getting a wrong estimate as to his own value, and Both songs are by American composers. In Bye-lo- trate. One of the best ways in which to hang out your sign she has long been wishing for which is a little more sic just as it is the life of speech. Accents are not later making the discovery that despite “get-there-quick land has just the right swing for a slumber song, and VALSE PIQUANTE—G. D. MARTIN. is to play as frequently and as effectively as possible. difficult than'any yet attempted. Will it prove a distributed in any capricious or arbitrary manner in methods” his early years were wasted. is easy to sing. Alone requires strong declamatory In False Piquante we have another fine example of powerful incentive? I hope so. I tell her I want it Bach’s music. power and the dramatic instinct. Each song has valu¬ If you cannot put the word “proficiency” in your visible Mr. Martin’s work. The taste and genius of this tal¬ efforts you have no business to write it in your circulars. learned in three weeks; though I realize as I say it What would you suggest as the reason for placing ented American writer seem to tend chiefly towards able teaching features. that a dynamite bomb could hardly induce her to learn an accent upon the E in the twenty-first measure? If when all is said and done, the highest in art is nol it were not as placed the figure in the bass would as¬ tor the artist and the art lover alone, but for mankind." one in as many months. —Moritz Hauptmann. 335 the etude THE ETUDE 334 nachtstuck Lessons on Famous Masterpieces by Distinguished Virtuoso Teachers Schumann’s Nachtstuck in F Major by the Eminent Pianist, Teacher and Composer SIGISMUND STOJOWSKI L fantastic description of_a piece wit, picturesqueness and felicity of expression—also kneels down at the altars of the truly great ones, reveres, discovers and propagates. His first article is THE NACHTSTUCKE. ^Ws^when'be^faH^was^rMstly Uliimself ^nd^his^est^self! ■""“PM ning dry. "Some turned to nature and the. magic of SS5 °oftntTeBrromanu“ Sm”o The" her mvsteries some to the supernatural world with its fantastic spell, to. by-gone times and the poetry of its K^Vth7.i^7rtrwW;h brought interpenetration in new ways, that namely, ( fascinating ™nd ^allacbus’^goddeTs61'called Liberty. . lt has been jSstly said that Schumann's p Hence, the infinite diversity of aspects which the move¬ idiomatic in spiie u. « Copyright 1913 by Theo.Presser Co. 337 THE ETUDE THE ETUDE MEMORIES OF SPRING WALTZ Tempo diYalse m.m.J.=54 5 BERT R. ANTHONY 3 * JL 3 3 *1-— 0 0 - 0 9 bitit P * 3 1 3 4 5 5 GAVOTTE ; Copyright 1913 by Theo.Presser Co. British Copyright secure THE ETUDE 339 THE ETUDE 338 SCENE DE BALLET OVER THE WAVES MORCEAU BRILLANT i GUSTAVO LAROSO Con moto grazioso M.M.J=108,-- si ? i* *i>* i> M ‘.gge..? ^ JlI * '— 2 —-- 5 a. » 2 a | 3^espr. < 2~'~j y- srrn ''si i ^ i- jV|^J ^ li 1 crest?. TEIO< A.g t- UAS =*£ i rff -rFf -#■ -rf^- -rff J r r J TW| | r\z 2 ” C L1^ : J ^Fg=r } ,r L a j 4ii—i li i S3 jf'i'ii % From here go back to Trio, and play to Fine of Trio; then,go back to % and nlau to Fin* British Copyright secured Copyright 1913 by Theo.Presser Co. International Copyright secured THE ETUDE 340 THE ETUDE CONCERT POLKA CONCERT POLKA A. W. LANSING Allegretto m.m. J = Copyright 1918 by Theo.Presser Co. * From here go back to *5 anti play to ^ ^ ^ ^ British Copyright Secursh * From here go back to % and play to Fine, then play Trio. KNIGHT RUPERT KNECHT RUPRECHT PRIMO R. SCHUMANN, Op. 68, No. 12 Allegro m.m. J = H6l 16 = w rj f sfsf - Secondo YisT THE ETUDE 345 814 THE ETUDE DANCE OF THE DRYADS SPANISH DANCE NO. 2 MORITZ MOSZKOWSKI, Op. 12 Copyright 1913 by Theo.Presser Co . 347 34fi THE ETUDE THE ETUDE British Copy^htSecured THE ETUDE 848 YALSE PIQUANTE GEORGE DUDLEY MARTIN Copyright 1913 by Theo.Presser Co. British Copyright secured 351 THE ETUDE the vivandiere die marketenderin MARCHE MILITAIRE LUDWIG SCHYTTE, Op. 121, No. 3 Ala Marcia M.M.J=120 ? * 1 | I 5 > 3-- _sr I4ir ^ - 1#^ • . 4 > pO,. U. rf^ 1 vP 1P [ =J * ^0" — > —- " •Gqt /-a /"p /-± j i-. ic pi 41 b jip \ ' 8 3 y THE ETUDE 353 352 THE ETUDE WILHELMINE 2%ne MINUET A U ANTIQUE ANTON STRELEZKI, Op. 170 Allegro moderato M.M.J- ten. ten. ten. 3^~ > jP C] & l?I±] iLrfi - , | 11"'^ Mil mmi y m mm i l > 3 Copyright 1893 by John F.Ellis & Co. Copyright transferred 1913 to Theo. Presser Co. Copyright 1889 by Theo.Presser THE ETUDE 355 854 THE ETUDE KING LEAR AND CORDELIA (Shakespeare) HENRY PARKER ^ ^ j con espress. + mj = i===- array._^___ IiJiT^ % i i WiL dim. nff sempre sostemito - —— crqsc. l , , ~ ■» 77 Pii ip r 1 9 Pfg pi™ J prall. P F cow express semplice ten r\ r: iJL «jiJ Jvi pfe g#j-«j j • i - u~rrtf rtf is o #— TS**_ marcato ^ , !fp tr xf * C\ llappN? fe w H fc m 1 E isi Copyright 1913 by Theo. Presser Co. International Copyright Secured THE ETUDE 357 THE ETUDE 356 IN BYE-LO-LAND Copyright MCMIV by John F.F.llis&Co. 359 THE ETUDE THE ETUDE 358 the place which music occupies in the THE V0IC^sATSR^^ESSI°NAL modern public school system. ket the INSTRUMENT, To J.B.W. Lord Esq. -pj/^yT wise teacher will afford the pupil ample The first and last word that is to be opportunities to keep what she has sa;d as to the requirements for a singer PROCESSIONAL MARCH gained and supplement it by occasional js vojce It may well be understood that Sw: Full part singing. by the word “voice” is meant a voice ! (6th.) As to the physique, here is our that is either exceptionally good at the J.FRANK FRYSINGER Ch: 8'&V teachers’ baldest duty. At the first les¬ outset or can be made so by culture. Ped: Full , C4. son he attacks the subject and never There is no gainsaying the fact that Tempo di Marcia m.m.J=72 . ' S#?# abandons the fight for the improvement a voice does not always reveal its and the development of the body so long potentiality at once. Sometimes it oc- as the pupil studies with him. The fine ^ ^ J|that _a rperson_ who_ apparently has a poise,. the artistic pose, the active chest, most unpromising instrument whip ■ that ‘ rMr Herbert Wilber Greene, is one c for the art. To. do this effectually Just the strength of limb, the elasticity of jt ;nt0 shape by great persistence, ost experienced anil influential of Ami that ideal must obtain as a motive,.. frame, the capacity of lungs, the control tbg obstacle to its unfolding can be r tea<£fl\v Pre-eminently the The Supreme Importance Singer’s Corset of the Corset of Today The Goodwin Corset does not constrict The corset is of more importance in GEO. CHADWICK STOCK, Teacher of Singing the body at any point; it allows full this era of the "uncorseted effect” than breathing room, thereby aiding the proper ever before in the history of fashion be¬ action of the vocal cords, and gives that Special Summer Course of Vocal Study cause it must produce its indispensable ease and comfort required to make the effects without leaving the slightest trace voice its best. of its presence. Every woman reading THE ETUDE The Goodwin Corset gives the svelte s GEO. CHADWICK STOCK knows that corset making can reach no lines of youth permitting entire muscular higher art than the reproduction of the freedom which is the secret of the un¬ wonderful beauty lines of the normal corseted effect. The Goodwin Corset body, permitting the superb grace of S HE A will not show under even the smoothest ^(WILLIAM Jj. FALK) physical freedom and the crowning glory VOCAL INSTRUCTION gown. It does its work silently, secretly TEA CHE R Or'siNGING of good health which is aided by wearing Address, 12SE,92d Sweet y New York and the wearer is absolutely assured the the physiologically correct corset. maximum of style, comfort and satisfaction. SHOPS WHERE GOODWIN CORSETS ARE SOLD: -^THE=- Brookfield Summer School of Singing suggest a strain. Let young singers strive to realize BROOKFIELD CENTER, CONN., that the manner of using the speaking VOCAL ANATOMY AND VOICE CONTROL. is located in a beautiful New England village, in the foothills of the voice is of vast importance to the quality A knowledge of vocal physiology will Berkshires. It offers a four months’ course in Singing and associated of the singing voice; also that this most gracious .of Heaven’s benedictions, a alone do much to insure voice control. subjects, with room and board for 3175.00. Students accepted for shorter naturally good voice, is of no great value Elaborate explanations of the anatomy of the throat will not be sufficient. courses. Special advantages for teachers. Send for prospectus to to its possessor unless consecrated bv great personal sacrifice and made beauti¬ Enough of this should be given to insure H. W. GREENE, Director :: 701 Carnegie Hall, N. Y. City ful by culture. an understanding on the part of the stu¬ dent of the organs involved, but the real work of voice control must come from CORRECT ATTACK. other sources. The first essential is to STUDY HARMONY WHILE DEVELOPING PIANO TECHNIC The student should endeavor to begin turn the mind of the student toward the “FINGER AND WRIST STUDIES OF SCALES, INTERVALS AND CHORDS” perception of physical sensations, to By JAMES L. LA FLEUR (Grades I to V) tone without waste of breath and undue muscular tension. By so doing perfect teach him to recognize the differences be¬ Introductory Price Until June 1st, $1 00 CHAS. W. HOMEYER & CO., 332 Boylsfon Street, Boslon, Mass. balance or equipoise results with entire tween them, to know which are right, to unconsciousness of throat action The perceive their relation to the various acts aim m all attacks should be to produce of singing, and to determine their effect CORSETS OF EVERY I New Vocal Music on Sale ”aav,, a tone that has all the requisite qualities upon tone. Such teaching will be prac¬ at its inception. When the .singer has tical, but will require much study on the reached this result everything undesir¬ part of the teacher. It will demand clear they say it is^most convenient to have 8 or io new compo able such as breathiness and glottis statements, definite explanations and ex¬ send piano, vocal, octavo, violin and organ music in this ercises, and will be successful only when THEODORE PRESSER CO., 1718 Cl ®rru°nte~W51Cl! iS aWn t0 a di™™tive there is close concentration and carefu grunt—will have been eliminated. E ETUDE when addressing our advertisers. thinking. A. L. Manchester. 363 THE ETUDE 362 THE ETUDE Flute-tones are suited to all kinds of when they are improperly instructed, or A CAUSE AND A CURE FOR THE passages, either in harmonic or melodic “AMERICAN VOICE.” allowed to develop bad vocal habits from work. They are perhaps the most useful Steere Organs association with others who suffer from tones in the organ for they can be used Pre-eminent for forty-five years the “American Voice,” that they adopt BY LESTER S. BUTLER. for a great length of time without tiring Built for churches, schools, theatres, the shrill, nasal, rasping tone that so se¬ the ear. Therefore a great majority of lodges, halls and homes. A potent reason why the “American riously offends musical ears. organ music calls for the use of this tone Give the children a chance, and they J. w. STEERE & SON ORGAN CO. Voice” continues to be made a target for pure and simple, or blended with others, Springfield, Mass. the criticism of the world was recently will amply repay you in their singing and for which it is very valuable. Diapason- made apparent at a rehearsal which the speaking. Study the child voice, its range, tone has a satisfying fullness and ma¬ writer attended. A little fellow not over natural characteristics, and normal tim¬ jesty, fitted for broad, massive, effects. five years old tried to sing a song. He bre. Don’t begin from the first to force The softer diapasons are very useful in Church Organs was given a pitch so far below his range their tones into their throats by asking choir accompaniment. Clarinet-tones, such BUILT BY them to sing in too low a pitch. Don’t of voice that only a miserably pathetic as the Clarinet and Vox Humana are HUTCHINGS ORGAN CO. throaty tone was heard; and the abnor¬ ask them to sing coarsely—the reedy Clifford Demarest was born at Tenafly, pence of hands and feet. To begin with, warm and clear. This tone is especially quality which is so undesirable in a BOSTON, MASS. mal adjustment of the larynx and throat N‘ thp’r *who was aiT organist, was^his first you might take the Twelve Easy Trios suitable for solos, but is also effective muscles which his efforts caused could grown-up is still more so in a child, the instructor. The remainder of bis instruc- by Rheinberger, Twelve Trios by Al- when used with soft flutes in harmonic chief characteristic of which should be not be corrected in time for the following eg g-B- fT ?; “ brechtsberger, „d IMo, Four Trioi, Op. passage. to a legato stylo phrases. Consequently his singing was sweetness. This quality should be pre¬ r-ESTEY CHURCH ORGANS — badly out of tune and the effect pitiable. served at all costs. f S' M"ukel P'W rigl" TRUMPETS AMD STRIMOS. Estey standard maintained Listen to your own voice. Do you hear ist and choirmaster of the Church of the hand on the Upper manual, and also on , £ , This being beyond endurance, an altera¬ Messiah ’ mduYdingCorgan piePce3; the lower manual. This will accustom Trumpet-tones are the brightest of the Maximum facilities. a shrill, thin tone creeping in? Beware! Highest grade of product. tion of pitch was suggested and the song Pioneers and leaders always. was sung at the concert to the enjoyment that tone will dominate all the good qual¬ ^!leTumrerllomDfiftfCHei80alsVoau?horof ** * P'^th the hands “ differ“| passages. However,^softer ones. Examine stop action and wonderful reedless and satisfaction of everybody present. ities if you allow it development. Avoid men°t°” IT the Cornopean, can be used for solos Oboe, Saxophone, Clarinet, etc. The same fault was discovered in the this tone yourself, and teach your journals, neHe r»is r- Fellow ojCthe American mastered you are ready for the Eight Lit- harmonic passage® ESTEY ORGAN CO., BratUeboro, Vermont,U. S. A. unison singing, with the addition that the charges how to avoid it. Parents also rtf tbis° organtottmi * or four*yea/s.secretary tie Preludes and Fugues by J. S. Bach. a broad rWaptercharacter._ The Trumpet-tonesTrumoet-toi children were allowed to use a reedy should interest themselves very much in They are all short and interesting, and should be held in reserve and used with quality of voice on low tones. The dif¬ this branch of their children’s education. GETTING OUT OF A RUT. while primarily for study, two or three of care, as their distinctive quality would The Promise A good musical voice has proved a great ference between this reedy tone and the them are worthy of a public performance, otherwise soon be lost. that Spring will return after the snow— asset to many men and women outside of Experts that showers and sunshine bring beauty more mellow higher pitches disclosed a BY CLIFFORD DEMAREST. such as a postlude for church service. The String-tones are the keenest of the to the earth—to know that whatever is “break” as evident as would have been the singers’ profession. A thoughtful organ tones. A strong Gamba will some¬ nurtured and cared for becomes more the singing of an uncultivated, inartistic consideration of this subject is important The best chocolate candy Many an organist, situated I ob- RHYTHM. times cut through the entire foundation for all who desire the largest and surest inviting, attracts most, is a pleasant adult. scure position away from the larger ;ome to a point frequently tone of an organ. This quality of tone, thought to the maid or matron who has evidence of real civilization. That indi¬ expert in the world is the Of course, ignorance was to blame, but musical centers, finds himself in a rut. overi0O ven by otherwise capable or- like the Trumpet-tone, quickly palls on found in that delightful “beauty-aid”— vidual whose voice sounds coarse and lack of knowledge cannot be justified in young lady. It is fortunate for him if this discovery ists_ the necessity for creating a the ear, and should therefore be used ELCAYA—the quickest, the surest, the a matter of such importance to future brutal, no matter in what station of life most agreeable way to renew the com¬ is made, for many are in a rut and don’t strQngstrong ’ rhythmical feeling in rendering with great discretion. It favors the legato generations. It is wrong for a teacher he moves, constantly shows his inheri¬ plexion after the harsh, dull winter. She appreciates the true know it. organ lmusic. This is difficult to explain style, and is best suited to passages of a to undertake to instruct children in sing¬ tance from the uncultured ancestor whose Suppose, my reader, you sit down some ^ ^ possess“ing ;t naturauy. in a slow and emotional character, guttural and savage tones woke the chocolate flavor, and the ing unless he is fully prepared for the quiet evening and ask yourself a few general way it consists in a steady tempo, Having now the characteristic CREME ELCAYA echoes of the forest primeval. It is no work and able to give indubitable proof purity of Peter’s Milk questions like these: Am I eniargmg my ^ precision of touch, strict colors ri mind, the next thing is the ap¬ "Makes /he Skin like Velvet credit to the American nation to preserve that no injury shall be done to the child’s plication of them in registrating. Let me this relic of an ancient time. cleans, vivifies, brightens the complexion, voice while under instruction either by Chocolate. pieces°fhat I played last year and the observance of rests and by a greater say right here that the printed directions keeps the skin soft, makes its texture the acquirement of bad vocal habits or year before? If so, do I play them any less separation of notes which occur found on the pages of organ music are refined, youthful and lovely. Well- in any other way. No other milk chocolate in the better now and do they mean more to accented portions of the measure, generally to be regarded as mere sugges- groomed American women like to speak In a recent magazine article, William of ELCAYA as their preference among THE BASIC PRINCIPLE OF world has this wonderful flavor. me? Am I improving as an all-round careful study of marches, and such pieces The size of the organ, as well as Allen Johnstone stated that “this is the toilet creams because it represents the VOICE CULTURE. People who know, always ask musician, or do I work just enough to having a strong rhythm, keeping the above the building in which it is located, must highest in quality and purity their money era—however late—of the child, and a warrant me in taking the pay for my points in mind, will help to develop this be considered. Lack of space prevents for Peter’s, and its superiority can buy. Better begin with ELCAYA generation hence we shall see its results services? feeling for rhythm. This is one of the more than a few general suggestions. this Spring. It doesn't cost any more not only in the happiness of the home, BY A. L. MANCHESTER. is evident to everybody. It is Perhaps the jury in your own mind things that go to make up “style” in or- Consider the length of the piece in ques¬ than ordinary creams and assures you a but in the welfare of the nation.” He has convicted you. Now you say, I wish gan playing. tion. If it is short, with a first section complexion that will be admired by all goes on to describe the efforts which are The voice, produced at the vocal the original milk chocolate and I could brace up and amount to some¬ of. thirty-two bars and a second one of on every occasion. being made to correct the physical de¬ chords, is but the result of a series of thing; if I* were only in New York or PHRASING, about the same length, with a repetition CREME ELCAYA CERAT ELCAYA fects of children, mentioning many in¬ preceding activities. This truth cannot SAVON ELCAYA POUDRE ELCAYA some large city and could get proper in- The next feature _ to be studied is of the first, play the first sixteen bars stances where a child has emerged from be too forcibly emphasized, for it deter¬ It stands in a class struction and inspiration it would then he phrasing, because it is one of the most with one simple color, say Flute-tone, then All Dealers, Nation-wide, Sell ELCAYA dullness and indifference into the fullness mines the direction of our analyses, and so easy. This is the familiar excuse for valuable means of expression on the or- =J| a soft Diapason for the next sixteen Trial Size 2c. Send Dealer’s Name of life and gaiety of action as the result upon it rests the whole fabric of vocal by itself Sole Agent, 107 Fulton St., N.T. laziness. However, please remember that gan. The continued tones of the organ bars_ Perhaps the second section of some minor operation such as the re¬ instruction. Realizing it, we at once per¬ most artists obtain their inspirations in gr0w wearisome unless they are grouped sola Use a String-tone for this with moval of adenoids or a crooked tooth, ceive that our search for the causes of Simply try it sometime and you seclusion, far from the large cities. Of and broken into phrases. No one would so£t flute for accompaniment, and- then giving glasses for defective vision, and restrictions must turn to something more will realize keenly that Peter’s course a teacher is valuable in guiding care to hear a poem read in a perfectly - ~ • the like. He also speaks of the efforts fundamental than either the tone or the repeat the first section as before. This Summer School Advertising in Milk Chocolate is unsurpassed. one in the right direction and a help in even voice without punctuation, of the great cities (particularly New restrictions themselves. Both tone and arrangement might be reversed. The idea avoiding unnecessary work. For those many organists play in just such a THE ETUDE York and Chicago), and the States restrictions are a result; both come from being not to keep changing stops every Be sure and get Peter's, the orig¬ who are unable to obtain these benefits, tier. Instead of this a study of the is indispensable to a Successful Season (especially Massachusetts), on behalf of something which lies underneath. It may few bars. self-instruction is the only alternative, and ical sentences should be made, in order children, and of how children are sub¬ seem superfluous to dwell upon this truth, inal, when you ask for milk for them I will endeavor to give a few to bring out the ideas contained in the TONE-COLOR AND ORGAN PLAYING, JUNE AND JULY ISSUES jected to physical examinations so that yet much of so-called voice training chocolate. they shall not be hindered by removable ignores it and proceeds with tone as a ideas in this direction. piece. A good rule to follow in contra- piay through a section with one color puntal music is to treat the parts as vocal without change, except perhaps to add causes from entering upon their heritage starting point. Exercises begin with tone PEDAL TECHNIC. parts and phrase as a singer would in some 0f the same color for more power. of physical well-being. Experienced production, deal with tone alone, and are The very first thing is to summon up taking breath. In a fugue subject, often or take away some for a diminuendo, physicians are appointed to make the ex¬ based upon the hope that repeated itera¬ your will power and force yourself to a short gr0UPi pr a single note, played When we come to blend tone-colors a MYRTLE aminations, and to give advice when nec¬ tion will obviate difficulties and result in practice and study a certain amount reg- staccat0 will aid in identifying the subject very wide field opens before us. Here essary as to the proper treatment of a freedom from all restriction. Peter’s ularly each day. Perhaps the most im- as it appears through the fugue. When are a few colors which always blend well: child. Such training is a serious error, for back of all effort to produce tone is the portant thing to begin with is pedal a subject occurs on the pedals it should piute with Diapason, Flute or Diapason ELVYN TRAIN THE INSTRUCTORS. Milk Chocolate technic. It is assumed that you have oh- bg pbrase(j the same as on the manuals, with Trumpet, Clarinet with Flute and mental grasp of every phase of physical In contrast to this, however, we have activity. The basic principle of voice tained a fair manual technic from wor Sometimes the phrasing can best be ac- String with Diapason. The following are supervisors and teachers in our schools, culture is that the mind should be in at the piano. For a short cut in. gaining cornpiished by a change of manual or a .often difficult to blend: String with Renowned American churches, conservatories and private in¬ supreme control of all the acts which are facility in playing with the feet I have change of stops. Again phrases may be Trumpet, String with Flute, Clarinet with stitutions who have had far too little included in final act of singing. This found Buck’s Pedal Phrasing Studies ex- varied by piayjng 0ne legato and the next String, and Clarinet with Diapason, training in the treatment of the child being true, all instruction, particularly tremely satisfactory. These should be staccata These treatments should be gov- in works of a fugal nature Diapasons PIANISTE voice. Many of these instructors have during the early stages of study, should worked up to the speeds indicated and erned by good taste, otherwise an ohjec- and Flutes are most suitable, never devoted time to the. study of the be directed toward establishing the stu¬ directions noted carefully. Sit quietly lionabie affected style will he developed. in the larger forms, such as Sonatas voice, either to prepare themselves for the dent’s understanding of the relationship of while playing and avoid all unnecessary and Overtures, a broad treatment should care of another’s, or for the purpose of motions of the body. Don’t try to make REGISTRATION. be used. A whole first section could be Now Booking for the mind to each phase of tone produc¬ correctly using or preparing their own. tion. This is made difficult because of many changes in registration, but listen -pbe subject of tone-color and its appli- played without change. When the second AMERICAN TOUR How often do we hear the admonition, the vague nature of the subject. To es¬ to what your feet are doing and make cation jg tbe most fascinating of all to the subject enters the only change might be “Speak louder,” from earnest teachers tablish such an understanding requires the pedal notes speak expressively as t ey Qrgan;st This should be made a real one of less power, while the development 1913 -1914 who forget, or do not know, that a quiet that all. instruction, whether definition, are phrased. To improve your manua and not treated with indifference, could be a gradual crescendo up to the tone, with clear pure accent and with explanation, or suggestion, must be technic a daily habit of running over o ^ the effect of a piece often depends entrance of the first subject. The full or- final consonants well emphasized, can he couched in terms that reach the student’s scales and arpeggios at the piano, wit ent;re]y on tbe r;gbt selection of stops, gan would be reserved for the ending in heard and the words distinguished better intelligence. To use many of the stock perhaps fifteen minutes on Bach s two and epbere are fjve recognized classes of tone order to produce a climax, than when a forced unnatural utterance phrases to convey such an understanding three part Inventions is invaluable. }n an organ. Flute-tone, Diapason-tone, M. H. HANSON is employed. is useless, for to the average student they TRIO PLAYING. Clarinet-tone, Trumpet-tone and String- ACCOMPANIMENTS. The well-known American composer, 437 Fifth Ave. New York mean nothing. To take for granted that “ High as the Alps After finishing the Buck Pedal Studies tone. Before anyone can use them prop- This is another phase of an organist’s W. H. Neidlinger, recently told his Kimball Piano Used the student perceives the nature of his in Quality ” the next point of attack should be trio erly their characteristics must be thor- activities which should receive special at- audience that a child naturally makes cor¬ trouble and can put into successful prac¬ playing, for the purpose of gaining inde- oughly understood. tention. In fact, it is a vital point with rect use of his vocal organs. It is only tice the stock exercises is a serious error. Please mention THE ETUDE when addressing our advertisers. Please mention THE ETUDE 365 THE ETUDE 364 THE ETUDE art, that courage, patience and persever¬ LEFT-HAND WORK. POSTLUDES—TO-DAY AND THE RENAISSANCE IN ORGAN MUSIC. ance necessary in its cultivation, and church organists. It is too large a sub¬ .Hollins YESTERDAY. American Guildof Organists Spring Song . that so far from its being a relic of ject to include in this discussion. For ...Bossi The out-voluntary is a sacred institu¬ It cannot have escaped the attention, United States and Canada Evening Song . medievalism, his instrument is as well Authorised by the Board of Regents of the University of the State ideas on the subject I refer my reader to ...Wely tion for which, however, there is little not only of musicians, but of all those my book, “Hints on Organ Accompani- Idylle .;. ship degrees will bo h«tld on May 28th and 29lh in New York, .Demarest to be said logically, for if it is a great interested in music, that over a period, able to reflect the complex emotions, Boston, Philadelphia Chicago .^Cleveland, SU PruL San Franoisoo, Serenade in C sharp minor... piece of music, such as a fugue of represented by perhaps the major por¬ ideas and aspirations of our twentieth- sad other center.. For informations ^ REGISTRATION, PHRASING AND Bach’s (as it often is), it is putting it tion of the last century, organists— century civilization as were the few REPERTOIRE. OPERATING. to a very poor use to play it to people viewed solely in their relation to the feeble ill-controlled pipes and keyboards If you are ambitious you will naturally ,'ith left foot. Expression Pedals who are retreating from it and getting to higher forms of musical composition— of the Middle Ages to give expression to wish to work up an organ repertoire. It .Schubert Serenade . the door as fast as they can. fell (from a combination of causes, the struggling utterances of a time when is difficult to give advice in this matter, Allegretto in B minor .Guilmant The out-voluntary is, in fact, played printing was unknown, and all the art, because of the different tastes and tem¬ which need not here be dealt with in Cradle Song . .Grieg-Kraft for the few persons who may occasion¬ science and knowledge of the age were peraments of various people. For the detail) below the high position to which THE BENNETT ORGAN COMPANY Largo . .Dvorak ally be interested enough in music to sake of some, who may find it useful, I they were intrinsically entitled. This centered in the monk’s cell. ORGAN BUILDERS Chant Celeste . . Matthews stay and hear it to the end. Personally give a small list of pieces classified ac¬ faffing away cannot hut be regretted The future of the art lies with the ROCK ISLAND - - • ILLINOIS Nocturne . .M cndelssohn I always feel a great interest in the out- cording to their principal features. Be¬ when one thinks of the earlier glories of young organist of the present, with the The organs wo build are as near perlection Berceuse No. 2 . .Kinder voluntary, when I have been attending a sides being useful for church and concert, true student,1 imbued to the innermost Canzona . .Demarest church and not playing, and I should be the organist and his position in the they will serve as studies for the develop¬ depths of his consciousness with a con¬ Prelude to Parsifal ... .Wagner disappointed if there were none, but in musical world for centuries, stretching ment of certain characteristics in organ ception of the nobility and importance of general no one seems to care about it hack to at least the Middle Ages. To DOUBLE PEDALING. his calling, with a perception of its re¬ playing, or pay any attention to it. Let it be pre¬ mention the names of Reinken, Buxte¬ cent decadence and with undaunted hope The Zephyr Electric Organ Blower Romance in D flat .Lemare served, however, for the sake of the few; hude the Dane, Pachelbel, Bohm, Fro- FOR HANDLING CHORDS. for its future.—From “Organ Playing; Its Can be SEEN in many churches Prayer and Cradle Song .Guilmant we might add for the * sake of the berger and others in a somewhat remote March in G. .Smart but HEARD in none organist, to whom it affords an innocent past; Purcell, Bach and Handel; Adams Technique and Expression,” by A. Eagle- Postlude in D.W. G. Wood ON PLAYING HYMN-TUNES. Newest and Largest Steamship Afloat. It is Made in Sizes from X to 5 H. P. enjoyment of which it would be a pity and'Wesley in later times, is sufficient field Hull. For further information write to the Allegro Maestoso (Sonata II) 50,000 Tons—919 Ft. Long—98 Ft. Beam. There are two points in connection with to deprive him. But I think organists Zephyr Electric Organ Blower Co. Mendelssohn to show the enormous debt which the hymn-accompaniment on which there might be invited to remember that there RECITAL PROGRAMS. Scientifically Constructed. Double Hull ORRVILLE, OHIO Grand Chorus in D.Guilmant art of music as a whole owes to organists seems to be a great deal of carelessness is no necessity that the out-voluntary Too little thought is given, as a- rule, to Throughout Grand Chorus in D.W. R. Spence in the past, and to make it a matter of and laissez-faire on the part of a large the arrangement of programs for recitals. Processional March .Frysinger should always be as loud as possible, no surprise to those who study the ques¬ number of church organists. One is in matter what the character of the day’s Not only in the matters of key and Sailing from Hamburg on Established Now Tort, 1851 St. Louis, ISIS regard to what is called the “giving out” tion that they should have fallen from service or of the sermon may have been, mode should variety be secured, but the her maiden trip May 24; CHORD REPETITION. of the tune—playing it over on the organ their high estate and have been content GEO. KILGEN & SON nor is there any suitability in the intro¬ compositions will gain if they are so due in New York May 31 before the singing is started." wilh a decadence which cannot but be Prelude to Act III (Lohengrin). Wagner duction of “show” music in the shape of placed that their forms, emotions and Pipe Organ Builders Hallelujah Chorus .Handel The object of doing that at all is surely ST. LOUIS, 1VIO. concert-room fantasias. tempi are also well contrasted. Little IN addition to the well-known features of One of the most compleie^Pipe Organ Plants in the United Finale in Bb .Wolstenholme to show the congregation exactly what When I heard the rector of a church THE INFLUENCE OF THE ORGAN. can be said in favor of three Pastoral 1 modern ocean steamers there will be a they are going to sing and how they are one day, while his organist was fairly ]l is unnecessary, perhaps, to point out Symphonies in consecution, or of a re¬ to sing it; and the most important point ramping over a fantasia of the French' great Ritz-Carlton a la carte Restaurant, _I CHANGING MANUALS. cital consisting entirely of marches, yet is that it should be played over in strict school on the Full Organ, say, with a how the spirit of the unequally tuned Ball Room, Grill Room, Private Dining Caprice in Bb.Guilmant time and exactly at the pace at which it keyboard of the early organ dominated both these eases are amongst recent hap¬ shrug of his shoulders, “Just listen to Rooms, Pompeiian Bath, Swimming Pool Fantasie in Eb .Saint-Siiens is intended to be sung. A metrical hymn- FREDERICK MAXSON that fellow!” I confess that my the schools of vocal writing both in the penings. tune, like a march, is nothing if not in Netherlands and in Italy-how Beetho¬ A scheme based on some national or and a Gymnasium. sympathies in this case were rather on Organist First Baptist Church FINGER AGILITY. strict time. Yet it seems to me that I the clerical side. The out-volnntary ven's early training at the organ, in the historical idea naturally excites a stronger Book Now—for trip Organ Concerto in Bb .Handel have hardly ever heard a church organist Instruction in Piano, Organ, Theory should be selected with due regard to the fullness of time (involuntary it may have interest than a less consequent succession leaving June 7th. Fanfare in D.Lentmens “give out” a hymn in strict time or ex¬ 1003 South 47th Street, Philadelphia, Pa. fact that we are, after all, in a church, been, and perhaps insensibly) gave us of pieces. When Mendelssohn played to Pean Triomphale (Fanfare)-F. Lacey actly as it was to be sung.' Either it is and not in a concert-room; and, more¬ that grandeur of sustained and dignified Goethe the poet asked for the piece to be Fugue in D major.Bacli played with a rallentando at the end, for utterance by which the slow movements over, that there are Sundays and services given in chronological order, and there is Rustic Dance (Pastorale Suite) .Demarest the sake of “expression,” or it is played the feeling of which would be better met of his orchestral and pianoforte works much to be said for this arrangement. Thanksgiving (Pastorale Suite).Demarest with hardly any attention to strict time all and expressed by a' quiet voluntary than arc characterized. Could he possibly Most players agree, too, in placing the through, through mere carelessness; or it have produced the Mass in D without his SUMMER CRUISES by even one of the “mountainous fugues” “piece de resistance” in the middle of the RHYTHM AND ACCENT. is raced through merely to show what the intimate knowledge of the organ? Or Kinetic Blowers in strict organ style of which Master program. In places of worship a welcome Canon in B minor.Schumann tune is, without any indication at what a„ai„ to give a final instance, the mag- To the Land of Hugues was summoned to explain the Marche Funebre.Guilmant speed it is to be sung. This kind of thing relief from too prolonged period of organ the Midnight Sun meaning.—From “The Organ and Its nth amt organ effects of Brahms’ Re¬ for Pipe Organs Festal March in C.Calkin shows either culpable carelessness or want tone is afforded by the insertion of a Position in Musical Art,” by II. IIeath- quiem. Are not these the direct off¬ Festival March .Foote of common sense. spring of the composer’s knowledge of, hymn for the congregation, or an a cap- Iceland, Spitzbergen, North Cape, Nor¬ Thousands in Use cote Statham. Pean .Matthews The other point is the want of atten¬ and tove for, the organ, as well as his pclla pieces for the choir.—From “Organ way, Scotland,Orkney and Faroe Islands, Processional March ...Kinder tion to the feeling and expression of the Playing; Its Technique and Expression,” sailing from Hamburg, during June, About 250 in New York City, EDWIN LEMARE ON TEMPO verv last opus, that most beautiful set 75 inChicago, 100 inPhiladelphia, different verses of a hymn. Some or¬ of compositions consisting of eleven by A. Eaglefield Hull. ■ July and August, by S. S. Victoria Luise, RUBATO. 75 in Boston, 75 in Pittsburgh, STACCATO AND BRILLIANT. ganists seem to have no rule except that choral preludes for the king of instru¬ Fiirst Bismarck, Meteor. I would like to say a few words here over 100 on the Pacific Coast. one verse is to be accompanied loud and A REMARKABLE BLIND Fiat Lux .Dubois Concerning the use of the rubaio, al¬ ments. to which he seems, at the Write for “Modem Organ Blowing” another soft, or one on the Great Organ supreme and solemn moment of existence, ORGANIST. 13 to 25 Days, $56.25 up Grand Chorus in A .Faull;cs though this art is so subtle and almost and “ Pipe Organs Explained." and the next on the Swell; and always when the lower life commenced to merge Festival Overture .Flagler mystic that it is very difficult to give much Toccata from Sym. V.Widor that the last verse is to be louder than into and blend with the higher, to have by d. h. wehle. help to the student. There are. indeed, Toccata in E .Bartlett the rest. And this shows a want of feel¬ entrusted all that he thought, or saw, or KINETIC ENGINEERING CO. few who understand or can fathom the 57th & Baltimore Aye., PHILADELPHIA ing. The expression of the hymn should depth of this delicate art without ruining felt, or hoped? America has had many famous per¬ Room 824-41 Park Row, NEW YORK THUMBING. be studied, and the organ should be That the temporary decadence of the formers and composers who have been JAMAICA and the Room 5,12 Pearl Shoot, BOSTON it by exaggeration. Its legitimate and Canzona della Sera .d’Evry treated so as to aid it. Except in the organist’s art to which allusion has 1452 Monadnock Block, CHICAGO proper use is always welcome, but when blind. The late Dr. D. D. Wood of Pastorale in E.Lemare case of a specially jubilant hymn, it by been made is now passing away is Philadelphia, Mr. Edward Baxter Perry, PANAMA CANAL no means follows that the last verse carried to extremes it is almost worse than Salut d’Amour .Elgar playing a beautiful and inspired melody Mr. Adam Geibel, Edwin Grosse and many should be as loud as possible; the reverse Seeing then the important position of Cuba, Hayti, Colombia, in absolutely strict time.The idea others have added much to the happiness may be the treatment naturally suggested the organist in the musical world m the ■ NOW IN USE of using the rubato in Mendelssohn or of those who see. Ever since the time of Costa Rica, Nicaragua by the words. And where there is a past, it is for him to guard well that 1,500 MOLLER PIPE ORGANS Bach will, I fear, make many red bricks Handel and Bach there has been an. in¬ 82 In New York; 47 In Baltimore j 41 inPhiladelphia; 36 In Cincinnati; 1 8 in Washington verse in which the feeling of the hymn in my old musical home in Hanover position, to realize the high and en terest in performers afflicted with blind¬ Weekly sailings by the new fast twin screw steamers 21 In Hagerstown. For Catalogues address M. P. MOLLER, HACERSTOWN, MP unexpectedly changes, the organ should nobling nature of his art, and to be ready Square turn blue, but I contend it is the ness. However, the accomplishments of Emil L. Boas, Carl Schurz and the well-known emphasize and give additional expression to take advantage of its gradual develop¬ character of the music which justifies those who have been blind from child¬ “Prinz” and other steamers of our to the change. To give one or two ex¬ ment, so that in the future he may re¬ more modern and soulful treatment, and hood seem all the more wonderful. amples : In the hymn “Saviour, Again to gain the great field of loftiness which ORGAN RECITAL TOUR ought to he considered rather than the Germany possesses a remarkable blind ATLAS SERVICE Thy Dear Name We Raise,” so frequently once belonged to him and to which He NOW BOOKING stage of development of the organ at the organist in the person of Bernhard KRAFT Address, TRINITY CATHEDRAL, :: CLEVELAND, O. used as a closing hymn at evening serv¬ is justly entitled if only by the superiority Cuba and Jamaica, 11 to 18 days - - $85.50 time in which'the composer lived. Bach Pfannstiehl, born December 18th, 1861, Panama Canal, 18 to 25 days - - - $140.00 ice, the expression of the words is en¬ of his instrument over all others, should 25-Day Cruises ------$135.00-$140.00 occasionally gives us glimpses of Wag¬ in Thuringia. He was the son of an inn tirely subdued and tranquil till we come only he prove himself worthy. to the third verse: ner—nay, more than Wagner; something keeper. When six months old he was de¬ Write for beautifully illustrated Grant ns thy peace, Lord, through the com- not of this world. On the other hand, he THE ORGANIST’S MISSION. prived of his sight by scarlet fever. At books, staling cruise jRjpl Guilmant Organ School is hard, cold, and sometimes almost pain¬ the age of six he entered a school for the This foreword is, of course, addressed Turn Thou* for ns its darkness into light. 1 blind in Leipsic, and at fourteen he ap¬ ful in his crude and harsh discords (the to organ students who esteem tightly DR. WILLIAM C. CARL, Director If the organ accompaniment is kept peared in public as a pianist. One of his Prelude to the great G minor Fugue, for their high vocation. Unfortunately in z/jfeygf. |f| SEND FOR NEW CATALOGUE subdued during the first two verses, and instance). So we niust analyze and inter¬ early admirers was none other than the HAMBURG-AMERICAN then a broad and ample crescendo intro¬ no other art or profession are the 44 WEST TWELFTH STREET, - - NEW YORK") pret the composer’s various moods, and avenues so little guarded, the consequence great Liszt. LINE duced at that second line of the third Now, he is known as an organist and im&V not treat all their works in the same spirit. being that many enter who, both by verse (a gradual crescendo, not a violent those who have heard him play say that —From an essay on “The Art of Organ temperament and lack of training, are change), as if the organ awoke at the he apparently carries the better part of Playing” in The Musical Educator. quite unfitted for the work, and whose call of that passage, the effect of the the entire literature of the instrument m efforts, painful in themselves, bring dis¬ words is greatly intensified; that is the his head. He speaks seven languages Tt is not much use to theorize on what credit upon what is perhaps the highest climax; after that the organ should re¬ fluently. His present post is that of or¬ art ought to be. The instinct of suc¬ branch of music. It is for the true cede again.-From “The Organ and Tts ganist of the Municipal concerts of Chem¬ cessive generations of composers is al¬ organist to do what in him lies to Position in Musical Art,” by H. Heath- nitz and organist of the leading church of cote Statham. ways more powerful than anv amount of remedy this state of things and to re¬ Chemnitz. Please mention THE ETUDE when addressing onr advertisers. reasoning.—C. II. H. Parry.' alize that he Is an exponent of no mean 367 THE ETUDE THE ETUDE THE ANNUAL RECITAL. He unhesitatingly pronounced it genuine, COST OF REPAIRS. and a very fine specimen of Ruggien s K:’s an The fragile character of the violin and As this number of The Etude reaches work. I was naturally greatly elated over bow make frequent repairs necessary, and its readers, teachers of the violin will my good luck. In later years, however, Educator in the value of purity correspondents often write to inquire be in the midst of their preparations when I had made a systematic study of _in the effect of best materials what they ought to pay for such work. for their closing recitals. A few sug¬ the art of the Cremona makers, and had upon comfort and complexions—to While prices naturally vary according to gestions are in order. showed the violin to some real experts use the inexpensive soap, the soap the skill and reputation of the repairer, A small hall or church is to be pre¬ in Europe, I found that the violin was not without a blemish the following partial list will give a good ferred to a large hall or theatre, as it an Italian instrument at all, and had none idea of the cost of some of the most is difficult for students, some of whom of the characteristics of Ruggieri, but was common repairs by a workman of fair may be quite young, to make enough simply a fine instrument of German make. reputation and ability. New bridge, 50 volume to fill a large auditorium. Here was an example of where the lead¬ Dears’ cents to $1; sound post, 25 to 50 cents; In addition to the solo violin playing, root violins ing violin authority in a city of 300,000 M s OAP fingerboard, $3; scroll and neck, $5; neck the grouping together of a number of DISTINGUISHING THE REAL. grafted on old scroll, $6; new bass bar, the pupils into a string orchestra, trio THE OLD VIOLIN PROBLEM. people was hopelessly ignorant of the ISc. a Cake for the UmcenUl characteristics of the work of one of the $5; revarnishing, $10; new pegs, $1; re¬ or quartet for one or two numbers Probably three-quarters of the letters How then is the possessor of a violin best known Cremona makers. On another inforcing entire top, $10; re-hairing bow, makes a pleasipg effect. of inquiry addressed to the Violin De¬ which bears the label and characteristics occasion, I knew of where a concert 65 to 75 cents; ivory tip for bow, 50 It is not a bad idea to engage a vo¬ partment of The Etude have to do with of a Cremona violin to tell if it is violinist, who had been educated in Ber¬ cents; re-gluing top and back from $1 calist of solo pianist to assist, as this old violins. Is the violin genuine? If genuine? The only way is to submit it lin, where he had had every opportunity WURUlZER-, to $5; re-gluing cracks from 75 cents adds variety to the program, and pre¬ genuine, what is it worth and how can to an expert judge of Cremona violins for an opinion. It is often difficult to of hearing and studying Cremona violins, A skin like the softness of vel¬ upwards; pure silver wrapping for bow, vents the monotony arising from an en¬ at any time for a higher grade and have fall it be disposed of? These and similar ORCHESTRAL HARP Send for catalog. kinds w* —*- find an expert competent to express such vet, clear and pearly white, is the The Accepted World’s Standard $1; other silver wrapping, 50 cents. tire program of pupils’ violin playing. questions seem to be of the greatest in¬ pronounced as genuine a supposed Stradi¬ an opinion. In the great majority of cases, perfection of beauty. The regu- Write for beautiful Catalogue.. Of course, such a scale of prices as the If you are a good pianist play the r 8 E. T. ROOT & SONS terest to the public, since nearly every¬ varius violin, a violin which turned out r;;uw Easy payments. We supply the U.S. of course, almost any violin maker of re¬ I |]^ Governm’t with Musical Instruments above would not hold good in the case accompaniments yourself, as no one 1530 E. 55fh Street CHICAGO, ILL. body has an old fiddle tucked away in the to be a factory made imitation worth ■ Gov: spectable attainments can assure the owner, about $35. This violinist even went to \'M TIia Rndnlnh Wurlitzer Co. of really eminent repairers. There are knows the tempos so well, and can so attic, or on a neglected cupboard shelf. of the violin that his instrument is only GOURAUD’S easily cover up pupils’ mistakes. If The general public has a surprising the length of offering $1,000 for the vio¬ repairers and restorers of violins in the an imitation, sometimes laughably crude, lin, believing it to be worth much more. world who have the skill and knowledge you cannot play the piano well, en¬ amount of misinformation on the subject and sometimes more skillfully done. I cite these examples to show how lit¬ in their profession that a great surgeon gage the best professional accompanist of violins. One current belief is that Occasionally a violin turns up, however,- you can find. A good accompaniment NEUNER VIOLINS tle the opinion of many people, supposed Orienta has in his, and such men must be paid every violin improves with age, and that which is either genuine or else has been does much towards making your pu¬ to be experts, can be depended upon. Ell TiNDALE accordingly. When repairs are necessary by6leading0solo and orchestra players throughout a crude $5 fiddle must be extremely val¬ made by an artist violin maker, whose pils’ playing sound well. On another occasion, a friend of mine, Mil MUIlCCABINETSllfe in the case of Cremona violins, worth the world. pr;ce $25.00 uable if it “has been in the family” long duplication of the work of the master Do not use a bad piano just because who was the possessor of a beautiful from $5,000 to $15,000, it can readily be We don’t consider a violin sold until the cus¬ enough. The truth of the matter is that after whom he patterned the instrument it happens to be in the hall. Get a tomer is satisfied in every particular. Catalog Nicolaj Amati violin, for which he had Cream imagined that the owners of such instru¬ a badly made violin will not improve, no is wonderfully faithful and calculated to really good piano, and see that it is of fine Violins and Cellos sent free. matter what its age, while some violins deceive anyone but a really eminent judge paid $2,000, made a wager with an ac¬ will render a complexion that will Keep Your Sheet Music ments do not care to intrust them to or¬ perfectly tuned to international pitch. MUSICIANS’ SUPPLY CO. be the envy of every one. actually grow worse. Many people also who has handled hundreds of genuine quaintance of his that he could not get and your collections according to the dinary workmen.. Only the kings in their Never use high or so-called “concert” an offer of $50 for this violin in the town The surest guarantee of its per¬ profession are considered when it comes think their violins are old when they are Cremonas, and knows their characteris¬ fection is the fact of it having Tindale Filing Method, and your music pitch. really comparatively new. On account of tics as well as a U. S. Treasury expert where the latter resided, a city of about been in actual use for nearly will take entire care of itself. to repairs like this. The mistake of a Do not make the mistake of getting the craze for old violins, many makers knows a genuine bank note when he sees 75,000 people. To decide the bet the two three-quarters of a century. A Tindale Music Cabinet repairer might take hundreds if not thou¬ a lot of new pieces shortly before the 1 sands from the value of an instrument. imitate the signs of age in their violins, it. There have been bank notes so skill¬ visited all the music dealers, the pawn¬ It cannot be surpassed for the consists of a tier of shallow sliding trays recital and expecting your pupils to Your MusicisTorn! more or less cleverly. Specks, cracks, and fully counterfeited that they have been shops, the violin dealers and many vio¬ relief of tan, pimples, freckles and with a simple index system. Your music It is like a great surgeon performing a learn them in a few days. Choose signs of wear are all imitated, and the accepted by banks as genuine, and their linists and teachers, offering the genuine other blemishes of the complexion. is kept flat, clean and safe from wear surgical operation on a king; the most pieces that the pupil has had in practice IW,IIfE,?NfvM,SSS varnish around the if holes, and under spurious character has only been dis¬ Amati violin for the ridiculous sum of Price, $1.50 per Bottle. and tear. extraordinary care must be used. The six months or a year. the bridge andjdn other places is darkened covered by a Treasury expert. It is a $50. Everywhere they were received with At Druggists and Department You are saved the annoy¬ charges for such important work are high Have your pupils play from memory MULTUM-IN-PARVO BINDING T1PE ) give the i gpearance of accumulation well-known fact that a certain small per¬ ance of having to hunt through suspicion. None of the people visited felt Stores, or direct on receipt of in proportion to its importance. In cases of if they possibly can. However, if, in f of age and wear. A centage of the money in circulation in pile after pile of music to find competent to judge Whether the violin serious accident to rare and costly string attempting to play from memory they wag c jhed jto have seen a man- every country is counterfeit, the work the piece you want. Every Transparent Adhesive Mending Tissue Gouraud’s instruments, the cost of repairing and re¬ forget the bowing, expression signs, ufacturer of armique furniture firing bird being so well done that it passes current was a real Cremona or not, and the best piece is always in¬ offer they received was one of $25, from Oriental Beauty Leaves stantly findable; al¬ storing by first-class artists sometimes etc., it is better to let them play from If your music dealer does not carry it, send to shot i ' sideboard, which was even among the banks. the music. A piece well played from a violin teacher, who thought the violin They are a dainty little booklet ways where it be¬ runs into the hundreds. The labor of THEO. PRESSER CO., Philadelphia, Pa. being converted into an “antique,” as the It is not otherwise in the violin world. longs. the music is much better than one had a' “pretty fair tone.” In a European of perfumed powder leaves, al¬ restoring an instrument which has been easiest way of making imitation worm- A well-known European violin expert re¬ ways ready for an emergency. Our small Port¬ played badly from memory. holes. Similar ingenuity is exercised in cently stated that there is no doubt that city of the same size the result might folio of Designs No. almost demolished, as sometimes happens, 10c by mail will bring them. is often as great as the making of an If a pupil has a very poor violin, lend manufacturing “fake” old violins. It is there are many imitation Cremona violins, have been different, as Cremona violins 1 shows various ar¬ him one of your own to play on, after tistic styles and entire new instrument. It is almost in¬ astonishing how a few crudely simulated which so closely resemble the original, are more plentiful there, and there are . FERD. T. HOPKINS & SON, Pro; having made sure that he can play on many sizes, at prices credible how well a damaged instrument signs of age will enhance the value of a that they have been sold for large sums more dealers and musicians who know the instrument. However, if a pupil’s from $15 upward. can be restored, with only a negligible cheap factory-made fiddle in the eyes of as such, and are believed to be genuine by them. Made in Mahogany or Oak, beautifully I violin is fairly good, he had better use The Musical Leader loss of tone. Bruno Steindel, first ’cellist an ignorant purchaser. Every violin has their owners, and have even deceived ex¬ finished. j his own, even if not so good as the -PUBLISHED WEEKLY ' ~ EUROPEAN EXPERTS. a label and it is possible to buy new violins perts of respectable attainments. Every Call at our showroom or send tor Portfolio of Designs No. 1. I of the Chicago orchestra, some years ago one you would lend him, since a player at $2 each wholesale, containing labels little while we hear of a lawsuit brought We have in this country a few experts TINDALE CABINET COMPANY had an accident with his ’cello, a Cre¬ always feels more at home on his own weeks’ trial subscription, fifty cents purporting to be those of Stradivarius, by the purchaser of a supposed Cremona MUSIC MATERIAL One West 34th St., New York living in our largest cities, such as New mona instrument of great rarity and instrument. Amati, Guarnerius, or most any of the violin, who discovers or thinks he has For Kindergarten Teachers York, Chicago and some others, whose value. The instrument was so badly Have one or two of your own violins Cremona makers. discovered after making the purchase, that opinions in this matter are entitled to Color Scale; Music Staff Peg Board; Music St mashed that it seemed an almost total at the hall, carefully tuned to the pitch At the present day the best makers of the violin is only an imitation. Folding Board, etc. Send for catalog. respect, but the greater number of really wreck, and the distress of the artist was of the piano, to be used in case of violins either put their own names as the eminent authorities on the Cremona vio¬ very great. The instrument was given broken strings or other accidents. makers, or else the words, "Copy of VERY FEW EXPERTS. lin live in Europe, notably in London, to one of the most eminent restorers in Never delay the program at a pupils’ Stradivarius” (or whatever maker has There are very few expert judges of which is the leading violin market of the the country, who patiently went to work recital by putting on fresh strings been imitated) followed by their own Cremona violins in the United States. I world. These men have made a life to restore the damage. When completed names. while the audience waits. know several American cities of several study of the violin. They have had pass the ’cello was found to have suffered but Occasionally a first-class maker will Do not allow a pupil to play a dif¬ hundred thousand population, without a through their hands thousands of old vio¬ little in tone, and to the casual observer, construct an instrument which is designed ficult piece that he is not sure of. single competent judge of old violins. lins, including many of the best specimens at least, even its appearance was very to be an exact counterfeit of one of the Many pose as experts, whose opinion in Choose one that he has mastered per¬ of the Cremona masters. In this way iMENNEN’S little changed. fectly. Even a very easy piece played Pennsylvania great masters, label and all, and after one a difficult case could not be trusted for they have come to know the characteristic The violinist whose instrument has well makes twice the effect that a dif¬ of these violins has received a few years a moment. I will relate an instance to work of each maker to its smallest detail,’ “FOR MINE” Music Lithographing of age and a baptism of rosin and dirt, met with a bad accident should not jump ficult one makes played badly. Nerv¬ show how rare this expert knowledge is. and are also familiar with the work of at the conclusion, that the instrument is it is well calculated to deceive any one When a boy of sixteen I had the good ousness must be allowed for. A diffi¬ the best known imitators 'of famous vio¬ beyond restoration, but should submit it Company whose knowledge of violins is limited. fortune to purchase, for a small sum, a cult piece that the pupil can play fairly lins. When a violin is submitted to them to a competent workman. Within my 114 N. 13th St., Philadelphia, Pa. An enormous number of copies of the very fine toned old violin, from a German well in private often goes to pieces for an opinion they study it in every de. ’'Etude” Music Club Buttons personal experience I knew of a case great Cremona makers have been turned student who had settled in this country, when attempted in public. tail with the most minute care, just aj where a young musician bought the frag¬ out all over the world within the past and whose father was a violin dealer in bank cashiers. might scrutinize a signa¬ ments of an old violin from its owner, Music Engravers and Printers hundred years or so. Some of these Germany and had sent several violins to trait of Beethovei ture, supposed to be a forgery. Nothing Chopin, Schumam who thought the violin was so much kind¬ PROTECTING SORE FINGERS. violins, made by such noted makers as the son for sale. It was an aristocratic escapes their eye, the sweep of the ff back in order to fas Estimates promptly furnished to composers and ling wood and beyond repair. He paid A young woman violinist who had a Vuillaume of Paris, have had the labels looking old fiddle and bore a Ruggieri holes, the individuality of the scroll, the coat lapel. publishers on Sheet Music, Music Books, Band, $1 for the pieces, and $25 to a clever sore finger tip on one of the fingers of Orchestra and Octavo Music, etc. HIGH GRADE bearing the names of their real makers label. As, at this time, I had not yet made character of the varnish, the modeling of WORK AT REASONABLE PRICES. Copyrights repairer for restoring the violin. When her left hand, hit on the plan of using taken out and a genuine Cremona label a deep study of Cremona violins, T was the plates, everything, in short, which secured. Manuscripts revised and corrected. or a well executed counterfeit label sub¬ completed the instrument was worth at one of the many recently invented “liquid anxious to get an opinion in regard to the would indicate the work of the master Theo.Presser Co., Philadelphia, pa. stituted. Many of these violins show real least $200, and was sold for that sum. court-plaster” preparations on the sore violin, and took it to the nearest large supposed to have made b. There is signs of age and wear, and so closely spot. While this “near-skin” was not IMusk Typography In all Its Branches city to get an expert opinion. Arriving something amounting to almost intuition Mennen’s ?la™ Powder resemble the originals that they are cal¬ in this city, of 300,000 population, many quite the equal of the natural article, yet JL HYMN AND TUNE BOOK PLATES m the judgment of an expert of this I keeps my skin in healthy condition. culated to deceive anyone but an eminent violin teachers and music dealers advised character, and many an owner of a sup¬ she found considerable relief from its expert. We even have imitations of the New Violin Music on Sale use. In the case of a slight cut on the me to submit the violin to a German posed Cremona has his hopes shattered be kept; disconnt is the Tbo^sanlo^eacher^receive counterfeits, for there are many violins | Sample Box for 4c. stamp. ( flB violin maker and violin dealer, who was when he submits his violin to one of these end of the finger or finger tips made bearing the name of Vuillaume.and other the leading authority of the city on all great European experts, who form the From time to^imc.^We send piano, vocal, octavo, violin and organ music this way; any or a p sore by overpraetjee, the idea might re¬ eminent but comparatively modern mak¬ GERHARD MENNEN CO. sult in considerable relief, in an emer¬ No. i o S. Fnchs Street, Philadelphia matters pertaining to the violin. I de¬ Supreme Court in all matters pertaining ers which were not made by them at all. cided to do so and showed him the violin. to old violins. THEODORE PRESSER CO., 1712 Chestnut St., - Philadelphia, Pa. gency. It is at least worthy of a trial, (Market above Fifteenth ) Please mention THE ETUDE when addressing our advertisers. _ 369 368 THE ETUDE THE ETUDE _i' QUARTET. the tone on this string. The hard, nasal TRAINING a schoolboy glee In the present state of music such su- effect given out by most mutes is quite CLUB. who1 would achieve world-wide fame on prongs. When playing with it the notes Schubert and His Friends’ onVtheespeciahst-thl man who can do emission, and the sound soft and mellow! achieve It The^foI.ndmiotrrAh’eTlon- JOACHIM’S WAY OF TEACHING By ROEHLING zaley string quartet is a case in point. CAREFULNESS. Its history is quite a romance. In 1903 E. J. Coppet, a wealthy Swiss music by henry such. used on the cover of The Etude this month lover, resolved to form a string quartet, is considered by art connoisseurs one of which should take rank with the leading Joachim was a kindly teacher, and all string quartets of the world. He engaged the time I studied with him he treated the most beautiful musical pictures ever three former pupils of Cesar Thomson, me with the utmost consideration. I re- the famous Belgian violinist, Messrs, member that at one time I contracted the painted. It is published and copyrighted Adolfi Betti, Alfred Pochon, Ugo Ara, as bad habit of leaving my violin lying by the the first and second violins and viola, and about in all sorts of odd places. On one Berlin Photographic Company ing that they were'not to teach, to play struction. Suddenly, without saying a in orchestra or to accept solo engage- word to me, he walked over to the chair ments. Their entire time was to be de- where my violin reposed, and proceeded voted to the quartet, so that constant to sit down. With a shriek 1 jumped 305 MADISON AVENUE NEW YORK, N. Y. RCl,nceSof Mr.'coppe't oVthe 'shores laugh ing"at me.' and duckling ’■ r’"he Geneva, known as the “Villa fright he had given me. Needless to say, ,” which gives its name to the the lesson of carefulness was well Earned, This picture can be secured in large photogravure form (17y$ x 13 inches) at 36.00. In smaller photo¬ gravure form (10# x 7# inches) it may be pur¬ chased at 31-50. No more beautiful picture for studio purposes can be secured. Orders may be sent through the Theodore Presser Co., 1712 ( Street, Philadelphia, Pa., if desired. Ilf'1 Thus four yTarsanTmuch monev were spent by this enthusiastic Swiss gentle¬ Speed and Accuracy man. and the artists he called to his aid. That means the or whether its tours will “pay.” the mem- w n k -you n.tchVn r „ • Underwood bers can give their undivided attention to TaranteU. Un r,ir\v” ’Hf: the quartet. The members are specialists !«r when you mention Typewriters A World’s Champion is the UNDERWOOD The Machine You Will Eventually Buy ’ color from the lowest note oMhe Velio! r—8— Underwood Typewriter Company on up through the viola, to the highest J J J Underwood Bldg. ed) New York rh SONGS OF PRAISE AND DEVOTION By I. V. Flagler gripethCeSSreyinTvfpkces5 Themme aremsaepamedeby aVeciVd P'ateS' which COMPANY - 1712 Chestnut St., Philadelphia, Pa. 371 THE ETUDE a “Sherlock Holmes” in our place to ON SALE orders received during the try and ward off the complaint that is summer are given just as careful at¬ tention as at any other time. All our sure to come as to “Who stole my money?” “Why is my order not filled?” old patrons are invited to keep in touch with us this summer. Teachers who in an effort to find without a great de¬ have not as yet entrusted their orders lay, who- the sender is. Publisher’s Notes to us, were they to do so, would be Dvorak’s “Humor- We have just surprised at our promptness and liberal eske.” Arranged published an in¬ A Department of Information Regarding New terms. Our publications are edited and fer Women’s teresting Novelty designed exclusively for teaching pur¬ Educational Musical Works Voices with Violin for worn e n s poses and are in every respect reliable, Obbligato. voices in three helpful and valuable. parts with a vio¬ We solicit correspondence and the lin obbligato. Dvorak’s “Humoreske and stringent, but virile. When we go to orders of teachers everywhere. is well known and extremely popular listen for tone. handsomest girl was always selected, were adorned with many different kinds in its original form as a piano solo, also ‘good tone” or did he play with a “bad Six Hand Music. At this time of as a violin solo and organ solo and a The honor of representing “Queen of the 0f bells, somene Dass,bass, some trebleireuic aimand „ , , , Seasonable Supplies The approaching at 2 ounces for 1 cent. PRINTED the year there is c- \xr n c tone, and so on through our music MATTER CANNOT BE SENT BY piano duet. Those who have heard this (Suggestions for getting up a May-Day May" was much coveted, as all readers of Sir Walter Scott mentions ’ , ... for the Music close of the regu- a great demand for recital music and journey we know that it is tone that PARCEL POST. The result of making piece played by orchestras are doubt¬ Festival in the Open.) Tennyson will remember. It guaranteed 0ne costume, that was covered with Teacher. >ar teaching sea¬ commencement music. We have ar¬ son suggests the this mistake is very expensive. less familiar with the fact that the prin¬ the possession of a, rare combination of many as two hundred and fifty bells. counts. Tone is just what we put into ranged a number of our most popular Perhaps the most important direc¬ cipal melody combines well with the Shakespeare s works afford ample excellent qualities. The costume con- it, we can make it Ugly or beautiful as need of music for recital and concert compositions for six hands, especially tion is that no matter by what method oldTmelody “Swanee River,” and in this proof of the fact that dancing was one sisted of a golden Crown, long hair, tied we choose, our tone is our own person¬ purposes, also the selection and assign¬ for exhibition purposes. We append a returns are made, write the name and new transcription the melody of the of the chief amusements of England dur- by yellow, white and scarlet ribbons, a ality singing through the piano; perhaps ment of pieces and studies with which list of the compositions we have ar¬ ing and prior to the Elizabethan age. bodice of the finest scarlet cloth laced address of the sender on the outside of “Humoreske” is assigned to the violin the greatest happiness comes from im¬ the student may continue to work dur¬ ranged. They are arranged in a very- Dances were introduced from France, with yellow strings; an upper dress of every package. while the voices take “Swanee River” ing the vacation period. The ease with easy manner especially to meet the provisation, then one can take time to in three part harmony. The effect is Italy and Spain to swell the number of flesh-colored silk, with wide sleeves which a teacher may make selec¬ needs of the younger pupils. Most those of English origin, which alone were trimmed with gold fringe, and an under- enjoy the quality of tone. Kenneth Mail Order Music The summer sea- extremely pretty, and this should prove tions of tine kind from the Theodore teachers at the close of the session Grahame, in The Golden Age, calls it Supplies. son is almost one of the most taking Novelties for quite numerous. Some of these were so skirt of sky-blue silk displayed from the Fresser catalog or stock is well known, must have all of their pupils appear complicated that great care and attention knee downwards. She held in her left hand "the wild joy of strumming,” but we upon us; we real¬ women’s voices published in recent but all teachers do not realize that the at this recital concert, and one of the was essential to their proper perform- a pink, being the symbol of the season, ize, nevertheless, that a great many years. The piece is published in the musicians know he means improvising, entire catalog and our miscellaneous best ways to have the minor pupils ap¬ ance, and as they formed part of the na- Her companion was Friar Tuck, a jolly music teachers in certain sections of usual octavo form and may be had at he says: stock rept eventing all publications are pear is to have them play in a six tional festivities, it is quite certain that, monk, with shaven face, red cheeks, big the country do more work from now our usual liberal discounts. We would “Some notes have all the sea in them, always at the disposal of those who hand piece. These six hand pieces are as these were the May-Day festivities, the neck and plump figure, dressed in a dark until the fall than they do during the . be pleased to send copies^for examina- wish to examine and select teaching admirably adapted to this purpose as people were very fond of them. red upper garment, called a “capouch,” and some cathedral bells; others a wood¬ usual busy winter months of the year. land joy and a smell of greenery; in pieces, songs or studies. We are they are in reach of the players who In Sweden and other northern coun- fastened by a belt adorned with a golden always prepared to meet the teachers’ Our whole organization is intact; in some fauns dance to the merry reed, and have only taken lessons during the past 24 Studies for the This popular vol- tries the principal feast was the May fes- tassel; red stockings and shoes completed needs promptly and economically. fact better service can be obtained from tival, as well as in England. Its object this costume, and from the belt was even the grave centaurs peep out of their us from now until September than session. Left Hand. Czerny, ume will be Catalogs and information cheerfully Op. 718. added to the was to show gratitude and joy in wel- pended a leather pouch containing the otherwise. Our summer New Music is We shall be pleased to send any or caves. Some bring moonlight and some furnished on application. The “Music Presser Collec¬ coming the sunny spring after the long dainties given him by all the merry com- very popular. This is simply a contin¬ all of these compositions to our pa¬ the deep crimson of the rose’s heart some Teacher's Hand Book” suggests many tion. These studies are not intended for and dreary winter. pany. Friar Tuck, as will be remem- uation of the New Music ON SALE trons on the “On Sale” plan. are blue, some red, and others will tell things evi ry teacher ought to have, par¬ the left hand alone, but each one of Every class of society, rich and poor, bered, was the confessor of Robin Hood, plan of the winter months. That New ticularly at this season, and a copy will them contains important work for the high and low, joined in the general re- the hero of Sherwood Forest, of an army with silken standards and Music ON SALE plan which has been be sent without charge to any address Iris, Pierre Kenard. left hand along some special technical joicings; and mutual greetings and con- After him came the chamberlain of the march music. And throughout all the so popular with the piano teachers, has The Young recruit, F. G. Rathbun. on request. line, and the right hand is merely used gratulations were exchanged. Queen, dressed in white and blue, and sequence of suggestion, up above the now been extended nQt only to vocal, Homeward March, Chas. Lindsay. Betrothal March, Chas. Lindsay. to accompany or to complete the har¬ On these occasions the Morisco,'' or wearing long hair. little white men leap and peep, and but to octavo, organ and to violin. Under the Misletoe—Waltz, H. Engelmann. New Music During I n accordance monic scheme. Many of Czerny’s Morris Dance, was executed on a large Then came that part of the procession strive against the imprisonment of the There is no responsibility but the small Two Flowers, Carl Koelling. the Summer with our usua Twilight Son, F. N. Shackley. works are almost indispensable to the lawn, in the center of which was erected which caused the greatest merriment— amount of postage in asking that these wires, and all the rosewood box hums Months. custom we shall Twilight Idyl, P. A. Schnecker. piano student. Op. 718 is one of the packages be sent. It simply means that The Trumpet Call—Matilee, Loeb-Evans. the May-pole or May-tree. The leader of after the clown-namely, the “Hobby The tune that accompanies the dance in as if it were full of living bees.” soon send out best. The studies lie in grades 3 and 4. one receives a small amount of new this dance was the clown, dressed in a Horse.” The color of this most peculiar Yorkshire suggests the Mr Boffin of the first installment of the “Summer This new volume may be ordered music at intervals, any or all return¬ “No Name” Orders. We hardly be¬ yellow cap with black border, blue jacket, and restive animal was a reddish white, Dickens fame, with its unique title “The Novelties.” consisting of (a) piano lieve it is. neces¬ complete in advance of publication for red trousers, and black shoes. and its c , _ __ __ able which has not been used. of scarlet cloth so nearly Literary Dustman.” (Music example pieces, :b> songs, (c) violin music, (d) sary to explain what “no name orders” tated the barking of dogs, and strove __ _ A CHARACTER-SKETCH PARTY. A most complete stock of publica¬ 15 cents postpaid. touched the ground that the legs of the No. 1.) organ music, each in a class by itself. mean in our office. We have a great produce merriment by comic leaps and rider tions of all publishers’ works, publica¬ -•J invisible. The horseman was Note the wide difference in these These packages will go out at intervals many correspondents it is true, hun¬ gesticulations. dressed V J. S. WATSON. tions of our own for every need known during the summer months and will con¬ dreds and even thousands of orders are berPtS«TeqUe ^tSsmonTis meIodies' Others show that many very in teaching, liberal terms, large dis¬ bert Scene. sure tQ fascinate embroidered in gold. H,s dissimilar tunes were used. tain many novelties with which our received to be taken care of every day, counts; in fact there is every reason ., . , The president of “The Girl’s Music patrons should be glad to get ac¬ but it would be most surprising to our readers who like to picture the en¬ for mail order music buying. Send your and in h was sTuTk an im As far : reade/arVmnrZTln?,. Sludy Hour” entertained with a char„e- quainted A postal card request will those without experience to realize the vironment of the great composers in mens” osTrich plume,‘or The Etude ^ader are concerned, any- k h £ h next order to us, or let us send first suffice to have a teacher’s name en¬ number of orders received every day the days in which they wrote. Those tered for any of the above named catalogs. with no name signed to them, and it is who will read the Master Study Page r ii!sa.-23 --s life of some- V famous * composer. - classes of publications and this carries not only orders but money remittances of The Etude for March (not April) Your Order Not One of the most jumped from side to side comP°SIt,ons such as the very pretty I,fe nf 'nmP no obligation to buy—all the music will perceive what a frail flower of causing much excitement M°ms Dances of Warner and Atherton The point was to give it in as an ob- Received. usual reasons for every day with no trace as to the being returnable if not used. sender. It is almost necessary to have fortune Schubert really was. His o and amusement, especially If y°u decide to give it out on a lawn scure a w s possible and still be in- an order being delayed is the fact that packages of a when it strove to throw where no piano can be had within sound, telligible. A copy of a musical history On Sale Music On June 1st a its rider. Then followed 8et some violinist to play the tune of was given to the one guessing the most Returns. statement of ac¬ certain size are sent by express. There the squire, then “Tom the the dance for you. as fiddlers have done names. The president led off with the count will be sent are advantages in sending some pack¬ ages by express rather than by mail, Piper”^ (as a wandering at May Day Dances in old England for the following story, this will serve to to every patron of this house, giving but when that, express package reaches .... , __ mus,CIan) centuries. The foregoing description of show the manner in which the descrip- their complete account, ON SALE in¬ a small office where there is no deliv¬ dressed i blue jacket costumes i; quite sufficient and they may tions were given: cluded. This ON SALE part is not ery wagon the result is very bad. We with sleeves of yellow, be a elaborate or as simple included in the other statements of the the i This man lived many years ago i- have a great many complaints of this which was a bright“ w.of the-W.v Fpartakerso,»ianv.ia inIll theme Uetlice.dance. year. There will also be included with foreign country. We first hear of him kind, particularly from the South; the 11 ”ia”tIe Wlth yellow springtime outing of a music class will that statement a circular of information collar; his trousers were as an orphan, with not much in the express agent is supposed to send a be forgotten and will add great explaining about the returns of ON brown, and his cap red postal card notice that the package is terest to the teacher’s work and reputa¬ world but a violin, which he played some¬ SALE music and the settlement of the with yellow stripes. A times when his brother was not around. account. It is not a bad idea to wait there but he don’t do it. He swears Fleming, or Spaniard, and tion for taking an active part in the he does but he does not, so if an order pupils’ welfare. Then we hear of a long journey he took for this statement and the directions a Morisco, or Moor, dress- is delayed when there is apparently no lolltllm UU1C The ribbons streaming down from the certain purpose and after that he before making your returns. fanciful costume A few words one month in advance, reason for it, apply at your express follows the Piper, and the top of the po,e should be as many-col- 1>ecame an organist himself and a cotn- office before doing anything else; it however, will not be amiss. Settlement procession was closed by ored as possible. In some forms of the P°ser. He married and moved to a city may be there waiting for a call. for every account is expected by us the jester, or fool, who, dance the Performers interlace so that where he was teacher in a boy’s school, once each year, and we designate the hat in hand, wore a blue patterns are woven down the pole as He wrote a great many cantatas for these Music on Sale. In addition to the summer months as the most logical “Summer Novel¬ fool’s-cap, on the top of the dance continues. Here is a good old b°ys, some of whom were choir boys in time for the convenience of the great¬ ties” which we send ON SALE to which were sewn two Maypole Dance popular in Staffordshire, a church nearby-he also wrote pieces est number of schools and teachers teachers, the usual advantages of the large yellow donkey’s ears, and in the neighborhood of “Shakes- for his Wife to play and the end of their teaching season. We 2 for his ON SALE PLAN are offered to the His left leg was yellow peare’s country,” the words of the re- children to practice accept the return of all music that has profession and we take this opportun¬ and his right blue. The frain to which are, quoting from been sent ON SALE that has not been He was not a good business man and ity to say that our “On Sale” and dancing consisted of jump- memory: used or damaged. Music that has been he was also quite independent of royalty “Selection” departments are always ing ’round the Maypole, ordered on regular account is not to which was adorned with and publicity. He died poor and for kept busy during the summer partly And then the girls began be returned. As the return transporta¬ garlands and flags and To quarrel with the men, because many teachers continue their And bade them take their hisses back many years his music was entirely for¬ tion is at the expense of the customer bore the inscription, “A work then, and because other teachers And give them their own again! gotten until an enthusiastic young German • it is best to find out the cheapest Merrie May.” Many little take advantage of the vacation period composer revived one of his greatest method, either by regular express pre¬ bells were attached to the The r to select music and studies and other¬ music is as follows (the last two choral works. To-day you see his name paid, printed matter express which is dancers, and were consid¬ lines of the above refrain are repeated) : wise to prepare themselves for the next on nearly every concert program. Who 8 cents per pound, or 2 ounces for 1 ered indispensable. (Music example, No. 2.) teaching season. was he? Answer, BACH. cent; or by mail in 4 pound packages v 373 THE ETUDE 372 THE ETUDE by Mr. Lieurance, also some interest¬ New Gradus Ad This is the final r, thriven and a few that are not quite 7.—. f Theodore Presser Co. pacity for earning or marketing his pro¬ Beeth it contains the two popular ing pictures. ductions was so slight that he was almost Parnassum. Vari¬ volume of the The special advance price for intro¬ Special Notices ous Difficulties. By 50 e? I Oo. 49 and the easy sonata always dependent upon the bounty of series of technical ductory purposes for this volume will I. Philipp. s°na7o’ All of the Bagatelles, Op. 33 RATES-Professional Want Notices five his friends. This excellent picture re¬ works devoted to be 50 cents postpaid. 1 All other notices ten cent special purposes. a lome of the light variations, also vord cash with orders veals Schubert, at one of the many ofThe Rondos, Op. 51. The Rondo may, 1913 HOW THE ETUDE HELPS YOU It is now in course of preparation and Schumann’s Novel- This work is now gatherings where by force of his tal¬ the most pretentious of all those in i?nw SAUK. $18.00 Baritone Horn,-— will soon be ready. In this book are ettes,Op.21. on the market ents he became the natural axis. At It book. These are by no means all included all the various technical prob¬ and the special upon request, at our the piano is pe master himself and TO HELP OTHERS f Beethoven’s easiest compositions, but lems and passages which do not come offer which has been in force for sev¬ at his side is the tenor Vogl who did under any other heading, such as in¬ Ly comprise the best selection that Use ie number, not the title, VERY teacher aspires to succeed, not merely in the eral months past is now withdrawn, VJB, so much to make the Schubert songs E terlocking passages, cross hand pas¬ ran be made. They were originally PIANO SOLOS. GRADE selfish, money-getting commercial sense, but to suc¬ and the work can only be had at the Washington known to the contemporary public. At sages, leap, skips, bravura, etc. It will published in the Peters Edition Any 9899 All is Rosy, Polka, C. Lind- ceed in giving more and more of one’s store of wis¬ regular price. Mus. B. degree. the back of the room are sorte of be a very interesting volume and es¬ tracker can find use for this work, and ^—Kansas. 9939 Bavarian Polk' »0Wt'-(Bay- Schubert’s matjy friends, who included dom to the musical world, to succeed by enlarging the pecially useful to those working in we shall be glad to send it to any of rische Volksweise), L. ^ A LITTLE TEST FOR AMBITIOUS Meyerhofer, the poet von Schober, musical field through those who come in immediate touch modern music. pUr subscribers when it is published 9874 Lofe°teFay'' (Fee D’Amourj PUPILS. Ballet-Divertissement, n. ^ Doppler, Spaun, Pachler, Grillparzer with him. Mr. George Chadwick Stock, (one of the most Our special price for the coming for only 20 cents postpaid. Reiff, Mus. B&c., Lansdowne, and the brothers Huttenbrenner, all enterprising of Etude friends), has been promoting the month will be 20c postpaid. Put the following English words into MUSIC written m 9875 Margarita Valse Op. 17, of whom were devoted to the genius Selected Classics In this volume lessons H. A. Farnsworth.. • • /z interests of The Etude in his community in a splendid This Italian. . composer. who needed the love and tender care Mastering the (These words are in constant use m f„CrirrmoS"eCtDr: A.Sd 'wSk 9777 Pledge of Love 8ong with¬ manner. Mr. Stock edited the Voice Department of the Buffalo, N; Y. -- out Words, Op. 27, H. <'■ of good friends so much. This picture Scales and Arpeg¬ £„?By”dA. ,our music books). The Etude for February, and saw to it that those in market in amplj 'Hahn ••••■ V 'Mo'rVh' * appears as an Etudf. cover through a gios. By J. F. Accented (Marcato). 9938 Jubilation, Festive March, his community who would be benefited by hisideasbecame time for teacher^, O. Moter .. ■ • ■ • • • ■ • special arrangement with the Berlin Cooke. P*- sarrs: Agitated (Agitato). care of the Etude; : _ 9923 Spanish Dances. I. Op. IA 4 acquainted with this issue. Previous to this he had sent in to introduce it Photographic Company from whom ranged in easily playable form. Every Air (Aria): . M. Moszkowsh i . . • • • • • many subscriptions justbecausehebelieves that innoother before the end of the teaching season 9924 Spanish Dances, II, Op. 1-, beautiful engraved (photogravure) cop¬ one of the great composers is repre¬ A iittle slower (Poco meno mosso). 111 v i1 M. Moszkowski ■■ ■ ■■■ ■ and become thoroughly acquainted with ies may be obtained. See special ad¬ way can he bring so'much musical light to those around sented. Vt • can imagine no better edu¬ Altogether (Tutti). Postal brings catalogues. 9926 Spanish Dances, IV, -Op. 12, it for regular adoption. First of all it. Moszkowski ■■■ ■■■■■■ * vertisement in this issue. The original him. Perhaps you would like to read his friendly letter: cational work for young violin students Always loud (Sempre forte). Ooffey Music Co.? Central.a. 111. 9921 Petite Mazurka. Op. 2. w. it is the most comprehensive manual painting in oils is by the noted Ger¬ tending t< cultivate the style and taste Animated (Animato). Sapellnilcoff .....••••••• {J “ The entire April Etude is full of most useful informa¬ of scales for daily use in print. It per¬ 9951 Sonata, No. 16, J. Haydn. . 5 man artist, Carl Roehling. and at tlv ame time promote a knowl¬ At Pleasure (Ad libitum). 9925 Spanish Dances, III, Op. 12. tion. I have sent out by mail 3000 circulars like the ad¬ mits the teacher to start preparatory edge of the best in musical art in pre¬ Beginning (Capo). whir purchased. ’ Make aw offer. Address, M. Moszkowski •••••,-\ ” vertisement I put in the Symphony program, and besides scale study with much younger pupils 9901 Arabesque, E. Meyer-IIclmund b Spanish Dances, In the original paration (or the further study of the Dying away (Smorzando). * “ V -~-e of The Etod*. 9963 Marcia Fantastica, Op. 31, have placed hundreds of these circulars for distribution in than the ordinary scale book, and at Op. 12. By M. form for four larger works of the great masters. End (Fine). WANTED. Position as Teacher of Piano, No. 3, W. Bargiel....- ” leading music stores. I have personally secured 31 new the same time it carries the entire sub¬ 9950 Sonata, No. 13, d. Haydn. . • b Moszkowski. hands,. this vol¬ Our o cial price for introductory Fiery (Con fuoco). Young11 Ladyt0wlthana Conservatory Degree. 9927 Spanish Dances, V, &9,ler0' „ ume is one of the subscriptions and will get more. Every musician who works ject to far more advanced stages than purposes .luring the current month will Graceful (Grazioso). Op. 12, M. Moszkowski... 6 the usual scale book. The introduction best known of all Moszkowski’s works. for a periodical like The Etude helps himself incalculably. be 15 cents postpaid. Held (Tenuto). 9888 fi contains the very convincing opinions As arranged for two hands, these char¬ This I have found by experience in writing for and in In time (A tempo). VIOLIN STRINGS FREE. For name and of great pianists upon the indispensable address of five of more Violin 9941 Gavotte, '6p. 14, G. Sgam-. ^ acteristic dances are almost equally ef¬ advertising in The Etude.” The Organist. By The special offer Loud (Forte). fective. It is surprising how well they value of scale playing, something which If you would like to help in promoting The Etude in Geo. E. Whiting. on this volume is Mark the melody (Ben marcato il T aSSii 9932 Berceuse, Lullaby, Op. 13, sell thus transcribed. This volume has should at the very start help the hereby with¬ of Violin. Delta, Ohio.____ A. Ilynskt) . ‘ your home district, let us send you full information upon been added to the Presser Collection, teacher in making the necessity for drawn. M is a large and elegant work ^Not'too fast (Non troppo allegro). ■ RUSSEL. I. M E T H ODS S1 U M Mft PIANO DUETS. this subject. You cannot fail to be helped and you cannot daily scale study apparent to their SCHOOL,. I.o'uis Arthur Russell invites cqrre and we are offering copies for intro¬ and it will prove a substantial addition Second (Secondo). mmiHenre reearding his Summer Normal 9937 Military Match, T F- Fiaoier 4 fail to help others. A postal request is all that is required. ■ backward pupils. This is followed by 9879 Caprioante, Marche de Con- ductory purposes at a specially low to the library of any organist or stu¬ Slow (Lento). Classes the Normal Institute of M-s e Can cert, P. W'achs.• • • • ° carefully graded steps in elementary dent. The volume contains some special Segie HAIL Manhattan, and the College of price. During the current month cop¬ Soft (Piano). Music, Newark. These sessions. 9858 Dance of the Winds Galop Subscription Department, THE ETUDE scale study including writing exercises. de Concert, Op. 17, A. J. ies may be had' for 20 cents postpaid. arrangements which are not to be Sweet (Dolce). Peahodu, Jr. ° Scale markers (which any teacher can found in any other collection, together 1712 CHESTNUT ST. PHILADELPHIA, PA. Spirited (Con spirito). . 9944 Tr^ 5 Troyer’s Lecture on Teachers continu- make at home), and exercises on the With some excellent original material. (The equivalents in Italian are given Indian Music. ally seeking a nov¬ two-finger plan by which the teacher Bou», w PIANO STUDIES, ture-^^estr-Th^^SK elty, something to can teach a young pupil all that can be Double Note Ve- This book is now “ ,he K“ “y b' “f £ w“SoK. serious teachers and students, winning 8(594 The New Gradus Ad Parnas¬ favor throughout the country. sum. Double Notts. 7. give their recitals a touch of freshness, known about the keys (scale outlines, locity. By Jas. ready and the Philipp. will be delighted to learn.that the Indian etc.) in two or three weeks. These H. Rogers. /“‘(.I.S LIST OF OPERA COMPOSERS, VIOLIN AND PlANO; Music lecture prepared by the dis¬ tonality exercises are an enormous? 9581 Chanson, Op. 397, tinguished Savant, explorer aridauu iiiusi- Melodic Studies, This is an excel- it will be positively withdrawn. This economy when the actual scale playing drawn. Teachers or students desiring WITH TITLES OF THEIR reSptionsfwliile1 shopping while ttaveiing and ready for Herman lent volume to first volume contains the popular son- is introduced. Right on to the end, BEST-KNOWN WORK. on all Occasions should carry inm unher pu.ocr”~“ -» itornell. Op. o»i, op. z, v. cian Carlos Troyer, materiel for the study of double notes, Bohrn . 3 ' . Vetter. use for purposes atas of Haydn, and there is sufficient the book represents a step in advance (Mark with a pencil the composer you use. It is so arranged that the teacher a verv important department in mod¬ PIPE ORGAN. both musical and jn this volume for the average student. may use it as the basis of a studio in every branch of scale and arpeggio ern technic cannot do better than to know about. How many stones of the SiSSKpisli 9829 Communion. Op. 20. E. E. recital reading as;tnuch or as littleuLtie as t«ch“‘<*1 with PuPils ™h? haYe Pafsed It is very seldom that more than the study. All notes are written out in full secure a copy of this work. We shall opera can you tell)? Truette ■■■■■■. 2c, 9735 Adoration, Atherton.. .. . •... ■'» desired. The lecture gives a large and the elementary stage. It is a first class, first voiume ;s needed to acquaint a for the pupil. The author, lames he pleased to send it for examination BalFE, Bohemian Girl. 9515 Festival Postlude, G. H. comprehensive list of Indian pieces s«°nd grade book of studies, planned student with the style of Haydn and Francis Cooke, was engaged in the prep¬ to any who may be interested. Debussy, PllUas and Mehsande. 1>; ;h A’spc Howard --'J, transcribed by Mr. Troyer from the a . g technical lines and certain to Haydn makes an excellent preparation 9831 Offertoire. Op. 19. E. E. aration of this book for over seven Bizet, Carmen. cool delicate bloom to the complexion. . Put truette . actual- performances- of the Indians bring about satisfactory results if prop- for Beethoven. years. It is quite as practical and clear Vocal Instructor. This wort is at Delibes, Lakme. up in white and pink and sent anywhere o erly studied. This volume is to be - i a j • .1 receint of ten cents in stamps or com. F. i. SONGS. their cliff dwelling and wigwams. They as his Standard History of Music which By E. J. Myer. %*£*&£ Flotow, Martha. Hopkins. 37 Great .Tones St.„ New York. 9811 His Loving Kindness, G. 8. have the romance and fancy , of Hia¬ added to the Presser Collection, and °“5 ^f1*1 °®er dunng the Pre“nt has met with wide use. His actual Gluck, Orpheus. our price for introductory purposes is m0nth Wl11 be 35c Per c0Py Postpaid. THE MAY ISSUE OF THE VICTOR watha andu willwm give juuiyour patronsuiuiuus some- -- . teaching experience covering over ■the plates will be ready in a very short Gounod, Faust. T MAKING-MACHINE BOOKLET offers thing to remember. Nothing better 15 cents Per ?°Py postpaid, twenty years, personal acquaintance time. This work is one that every Humperdinck, Hansel and Gretel. Old Fogy, His The could be imagined to get the average . with the great virtuosos of the time and vocal instructor should possess. Mr. Leoncavallo, I Pagliacci. swnrs « JS who under pupil and studio audience out of a rut. sica! Zoo. By This volume is Philosophies and their ideas upon playing, as well as Myer speaks ex cathedra on all matters Massenet, Tra'is. _ including^ KreisTer1,1 Maud • P0W|J,0,merarAaOa VOCAL DUETS The price of the book is 50 cents. The D. Wood. now ready and Grotesques. de guerre, Mascagni. Cavalleria Rusticana. an extensive- investigation of teaching relating to voice culture. He stands as SassoiT'l?the The Victor system of changeable needles gives you complete musical control JL11C v iglcm. --o . - . the different selections to the requirements of differ¬ Full 1 ent rooms, and to meet the tastes of different people _enables you to hear every record just as you want to hear it. _ “But,” you say, “when Caruso sings or Mischa Flman plays doesn’t the Victor record it exactly as the artist sings or plays it ?” . ,. . / Absolutely true to lif^-but there is this import¬ ant difference: The Victor record is the artist just as you would hear him if you stood beside him on the stage, while what you want is to hear him as you would if seated in the audience — and the system of changeable rJ^JSr« “r_ „ „ tt„, needles enables you to sit in the first row or the last row or any place in between, and to change your seat MSS*— for each individual selection to hear it to the best / ^Tbe Victor system of changeable needles and the ^5 %s%»' swag1 as EKSHsO tone-modifying doors of the Victrola give you perfect control over the music, and enable you to bring out the full beauties of each individual record. Soft tone The Victrola Needle . produce. g|ii;;k'ss t- inally sung or played-parucularly suited for large rooms and halls, and for dancmg. ... MORRISON e= THE NEW HAVEN gSr S sssjw* es 5SSSSS; ~ ' tUcleiaa t*one " Subdued tone The principle of the change- able needle is the only r— tract new yqrk / rect one to insure perfecl &slSP^i®sH results, and the repro¬ ducing dualities of VEQN r&a'ysr normal Victor Needles are e.«t,r;ffi Tto be producoNl'nt^the absolutely right. Any Victor dealer VolGRUBILl^eSC: NORTHWESTERN Sgsu will gladly play any music you wish to hear and demonstrate M0RTIM ER WILSON kS. 0BE60NS5S5§Sg£ the value of the change¬ .SOUTHERNSSg able needle. bSAteWESS r Talking Machine Co-, THEORY AND NORMAL COURSES VIRGIL M""%ferAS-.r5STl„, sassi BURROWES VIRGIL ,, DUNNING 2S. VDNENDE “kWmlks PROFITABLE VACATION COURSES FLETCHERTsaSr-L THE STANDARD HISTORY OF MUSIC KEBNBSS5SB5BS '"'A-i A FIRST HISTORY FOR STUDENTS AT ALL ACES STORER aaaSagag By JAMES FRANCIS COOKE. _ P«'CE- S' 25 Eight Delightful Weeks of History Study Ey the Shore. Anywhere r outline, based on the forty story-lessons in the very successful ZABEL BROTHERS gpssrsss StanIahrdHis°rory! of Music, may be employed by any teacher, anywhere. - Music Began. Music in the Early Church. How Notation Was Evolved. The Tioubadou-s and Meistersingers. Polyphonic Music. Palestrina. Early Erglish Music, MUSIC PRINTERS tfeek. Opera and Oratorio. Scarlatti and His Contemporaries. The Bach Family. Early French Music. The Story of the Organ, the Violin and the Piano. Ifeek. 1. S. Bach, G. F. Handel, F. J. Haydn, W. A. Mozart. and engravers Week. Gluck, Beethoven, Schubert, Weber, Mendelssohn. Week. Schumann anJ the Age of Musical Romance. Opera Writers of the Nineteenth Century. Great Teachers of the Pianoforte. Week. Chopin, Liszt, Wagner. Modern Italian Composers. Rubinstein. Great French Composers. GIVE THANKS AND SING” Week. Modern Masters. Brahms, Grieg, Tchaikowsky. 1 he Art Song. Famous Pianists of Yesterday. Great Virtuosos of To-day. Great A Book of Sonus That the Violinists. Composers of Valuable Pianoforte Pieces in the Smaller Forms. Composers of Teaching Pieces. Week. Music in America. Masters of To-day. Summary of Musical 1 COLLECTION of over one hundred of the best liked full-of- History. Formation of a Music Study Club for Next Winter. * Reviv‘ls’ Pr**r We Will Help You in Securing a Class The compiler has spent a large sum of money in securing the rights Send us a postal request for information regarding our “Special History to use the choicest gems from many other books, and the result is a 3 Plan’’and receive in return the material which will enable you to start at book of songs unequalled for beauty, tunefulness and popularity and make your plans for turning your Summer from Waste and Loss to .1 Introductory price, 10c for a sample copy. Profited' Pleasure. Wee have a specialspecial"introductory introductory price by the dozen. 5 Copies, 15c postpaid. $10 a 100 (not prepaid) THEO. PRESSER CO., Philadelphia, Pa. RESSER CO., 1712 C 377 376 THE ETlilt THE ETUDE be used liberally if there are moths by the composer. Such v.sible indicating THE ENEMIES OF YOUR PIANO. THE LOST ART OF MELODY. NEW ASPECTS OF FINGERING. Chopin’s temple without removing these Three pianos out of four show traces of is necessarily imperfect, little more than Instructive stiff sandals. Nowadays, nearly every moths, and a tuner should be employed BY J. CUTHBERT HADDEN. a skeleton. You must clothe this skeleton BY JOHN C. FOWLER. BY J. S. VAN CLEVE. great pianist comes out with a startling once a year for this reason if for no with the warm, palpitating flesh of ap¬ collection of ideas as to finger selection, other. Moths can be found in the piano Piano Book One begins to wonder whether the propriate expression. Your piano has four enemies, the which at first makes us pause. The un¬ when they are nowhere else in the house, writing of melody is a lost art. A cyni¬ When I was a boy, the old-fashioned weather, dirt, moth and mice. derlying law of these systems is the at¬ In attaining this object two distinct and every housekeeper should look for cal music critic remarked not long ago, method of placing the fingers upon the branches of fingering must be employed. To provide against the weather, you Free tempt to utter the composer’s music as them here. avowedly after a big dose of Debussy, keys was still in full swing. Perhaps First, you must make such a selection of must hire a good tuner. The changes adequately as possible. Thalberg used to Your free copy of our latest book, . Strauss and Company, that “tunes are Plaidy might be considered the high fingers as will secure an accurate delivery in the weather from day to day throw MOUSE-PROOF PIANOS NEEDED. despised nowadays.” I do not know that priest of this cult. -I was taught to curve sit quietly erect in front of the middle “The Pith of the Piano Problem of the notes; second, you must see to it your piano out of tune, but the greatest Mice sometimes do great damage in a is all wrapped up ready to mail. tunes are despised by those who like to the three joints of the digits to ninety of the keyboard, and scarcely ever lifted that your fingering defines, with the dis¬ trouble occurs when the fire in the house piano, especially by chewing off the bridle We are merely waiting for your listen to music, but there is some ground degrees, and to keep them in that posi¬ his hand into the air. This suited his tinctness of a finished elocutionist or is lighted in the fall, changing the atmos¬ straps to make their nests, which they name and address before sending it. for believing that they are despised by tion most religiously. The fingers must style and his compositions and transcrip¬ tions. Liszt threw his hands and arms actor, the phrasing, which is partly in¬ phere from the summer heat to the dry build under the keys. These are rest(£cd “The Pith of the Piano Problem" the creators of what, in these times, is rise and fall at the metacarpal joint, like represents the first attempt to show dicated by signs legato, non legato, demi- artificial heat, and again in the spring only at much trouble and expense. The often taken for music.- Scarcely a com¬ tiny mallets, and then must do nothing wildly about, gazed at the ceilifig, and staccato' and' full staccato. when the fire is put out and the opposite you how to judge a piano. It is poser of any standing in Europe would generally' behaved himself like one in¬ nest should be removed when found by written so you can understand every else. The arm must be held quiet. I change takes place. You should, there¬ dream of writing a haunting rilelody, as¬ was not permitted to use its natural toxicated with the spirit of free emo¬ Lately I have listened to two of the the tuner. Every piano ought to be built word and it contains a few simple fore, employ your tuner just after the rules which will save you from the suming that he could write it. Become a weight. tion. Joseffy leans far over the keyboard world’s; consummate masters of pianc- mouseproof, and the owner should take mere Gounod, a Balfe, a Bellini? No, in a curious attitude which I have often playing, viz.: Busoni and Godowsky. fire has been permanently started and care to keep mice away from it. A. trap mistakes so often made when con¬ No sin was greater than that of put¬ sidering this all important question. no; positive ugliness were better than heard commented upon with wonder. Nothing was more evident or more ad¬ after it has been finally put out in the may sometimes be set in the lower part. ting the thumb or fifth finger upon the The fact that “The Pith of the that! And Sir Hubert Parry was never mirable in the performances of these spring. black keys. These ceaseless pedagogical Von Biilow has often told us in his edi¬ It is best not to keep the piano in a Piano Problem” is published by the more sane than when he said that ugliness If your piano is tuned once a year warnings were suited to the music of tion of Beethoven’s sonatas.to divide the magicians of the keyboard than the in¬ cold parlor in winter, for, when the room makers of the “Piano with a Life in musical composition is chiefly the the eighteenth century type, which was passages between the two hands accord¬ finite refinement of their articulation of only, then have it tuned at whichever is warmed, the change in temperature, Time Guarantee” is the strongest makeshift of melodic incapacity. ing, to convenience. the phrases. So delicate is their phras¬ season it is to be used most. It should besides throwing the piano out of tune, evidence of its dependability. Vincent Wallace, the composer of really conceived for the flimsy action, The task of the executant is to utter ing that it was like contemplating the be tuned at international pitch, that is, produces moisture on the cold strings Won’t you send for your copy Montana (his centenary is about to be and shallow dip of the harpsichord, but one cannot enter even the vestibule of the tones imagined and visibly indicated wing of a butterfly through a microscope. the A above middle C should produce and metal parts and* thus rusts them. today ? A postal will do. celebrated), talking once to a friend four hundred thirty-five vibrations per about “rising composers,” declared that Keep the piano in a room that is used minute. This is the pitch at which all SOHMER & CO., 317 Fifth Ave. there was “not the ghqst of a tune in the every day. Always tell your tuner of any the best instruments are now tuned. You NEW YORK whole lot.” The observation was made defect in your piano which specially an¬ sixty years ago- What would Wallace Selected Magazine Combinations at Reduced Prices must have a tuner well known in your noys you, for this will help him to do say about composers risen and rising territory, and it is better to keep the his work well. now? After all, Haydn was right. “Let SPECIAL OFFERS Popular Combinations SPECIAL OFFERS same tuner as long as he gives satisfac¬ Music teachers will serve their patrons your air be good,” said the old master, Class No. Our Price Class No. Our Price tion. You can help keep your piano _ in if they will use their influence to keep “and your composition, whatever it be. condition by placing it against an inside 23 THE ETUDE . 23'THE ETUDE . . . i <£*"*. OC 23 THE ETUDE . . !$0.65 pianos properly in order. In small com¬ will be so likewise, and will assuredly de¬ partition, so as to avoid exposing it to munities, teachers should get the pianos 23 McClure’s . . 22 (Modern Priscilla . . 50 Current Literature ( * j-- light. It is the soul Mr. and Mrs. Crosby Adams CHICAGO SCHOOLS CHICAGO SCHOOLS EMIL LIEBLING will conduct Two Special Summer Classes Piano Teachers’ Institute July 14-26, in Kansas City fotntigrbools July 31 to Aug. 13, in Chicago bush temple conservatory June 30th to August 2d, 1913 For Teacher* of Piano in the study, discussion, Caruthers School of Piano N. Clark St. & Chicago Ave., Chicago Mr. Kenneth M. Bradley, Director At Kimball Hall, Chicago A Summer School of Methods for Piano Teachers SUMMER NORMAL JUNE 30 to AUGUST 1, 1913 MUSIC STUDY 1} FLOWER TIME June 23, to July 26, 1913 Address EMIL LIEBLING Classes in Technic-Ear Training-Harmony Teaching Lectures given by Julia Lois Caruthers, Director Kimball Hall : : Chicago By Rober Pi schen Material and Methods-Musical History Interpreta¬ Classes in Technic, Ear Training and Harmony, and Children’s Dem¬ CATALOG SENT ON APPLICATION tion Analysis—Round Tables onstration Classes given by Elizabeth Waldo McCrea. Take a catalog of a representa- Classes in the Teaching Material of Piano Literature given by Meda the country. Even the universi¬ WEEKLY RECITALS AND LECTURES Zarbell. These Classes include technical and intrepretative analysis tive music publisher, carefully i00lc pre< fcE. H. ScOTT ties maintain Summer Schools in JEANNETTE DURNO _ Special Courses in- of the compositions played. it through, and observe how very1 Weekly Recitals and Lectures given by the Faculty and assisting artists. " SPECIAL "NORMAL COURSE " certain departments, and these have PIANIST Languages . offering strong work for Piano Teachers preparing to fil many composers have named theirj Expression This Course meets the needs of Piano Teachers in all Grades and Departments College Positions or to meet other high requirements. been exceptionally flourishing. Will coach pianists and piano teachers during MUSIC Public School Music of their work and specific exposition is given of Miss Caruthers’ methods for pieces after flowers. One page I Dramatic Art faculty including h taJ*e*jJy 0ne Thousand Teachers In music the Summer Music the summer, from June 15th to August 15th. Conducted by «>■ --»------children. These methods have a wide and growing acceptance, and her work "Piano Mme. Justine Wegener Western Conservatory, Mailers Bldg., Chicago have just examined starts with but¬ 4140 LAKE AVE. :: CHICAGO, ILL. Mr. Ernest O. Todd Technic for Children ’ is a standard text book in leading Schools and Conservatories. Schools stand very high, no matter ^^“diyHe^W^dard A?JUo» ** Miss Adelaide G. Lewis terflies and ends with mignonette Mr. Edward Dvorak For booklet giving full information address Secretary whether you decide to spend your MBanykJu.U RUeT Mr. Emil LeCl.rc, and between them are lozen titles ke application ii 724 FINE ARTS BUILDING CHICAGO Summer in study beside some glor¬ Students wishing suggesting the fields, the flowers, the HAROLD HENRY ious wooded lake, in some seques¬ The- Bush„ Temple-: ConservatoryConservatory annoansounce. that MISS, ^ mctGRACE with triumphantSTEWART successPCnJER’ m her^o recent ha. . woods, the mountains—the great years m Europe with tn May and wUl accSt a limited number of students. tered count-, town, in the midst of Concert Pianist open world that make us breathe! The Mary Wood Chase School of Musical Arts blooming fields or flowering mead¬ For terms or appointment write r catalog and special literature addre..:- _ Epworth, Lulling ton-on-the Lake, Michigan deeply—the wonderful renaissance ows, or in the heart of some hustling, 426 Fine Arts Building, CHICAGO, ILL. Summer School of the year that we call Spring and Courses in PUno, Voice aid Violin. Special Teachers’ Training Course and Lectures on “Natural Laws in CPECIAL Summer Course of Vocal interesting metropolis, you are sure to Puno Technic,” Child Training and Teaching Material by Mary Wood Chase and Associate Teachers. Chil¬ Summer—the season of new life, dren’s Classes. Students of all grades accepted. Ideal location for Summer Outing combined with serious ^ Instruction. Weekly lectures on profit. Rest usually makes rust—a study. Bathing. Boating and Fishing. Frequent Concerts and Recitals. For illustrated circular address voice by Mr. MacBurney. Weekly new thought, new hopes and new1 Mrs. Stacey Williams Secretary, Mary Wood Chase School of Musical Arts, 630 Fine Arts Building, Chicago, Ill student-recitals. Special Normal Work. real vacation is the kind that gives Centralizing accomplishments. VOICE CULTURE AND REPERTOIRE Special coaching under William Lester, you the opportunity for change. If coach-accompanist and composer. School of 405-406 KIMBALL Q J-J J Q AN OLD CUSTOM. you live in a great city you will prob¬ A G O SEND FOR CIRCULAR Because Summer has a few hot ably long to work in ‘the country. If Music CHICAGO MUSICAL COLLEGE Fine Arts Building, Chicago Gertrude Radle-Paradis DR. F. ZIECFELD, President days when no one can do very much you live in the country a trip to the Special Announcement '/IIIH’ Director more than loll around, the whole city is a vacation. Do not he afraid Fifty Years of Supremacy in Every Branch of Music Progressive, Scientific and Practical Mrs. Williams will conduct classes during glorious season has a bad name. of the city in these days. Govern¬ Methods the months of June, July and August. An unusually attractive course is offered Make Your Vacation Have you ever been to a Summer ment statistics show that in the case Results Positive with special advantages for teachers and hotel, filled with people who devote'; of many large cities the standard of SUMMER TERM BEGINS SEND FOR ART BOOKLET No. 8 earnest students. Write for Catalog Now. Profitable two months to killing time? If you \ health is even higher than in many , anna PARKER-SHUTTS, S — CHICAGO JUNE 21st Many teachers have developed profit¬ have you may realize what a miser-. 1 country districts. Even though the Suite 612 Fine Arts Bldg. able summer schools and summer classes by judicious and timely adver¬ able lot they are—how scandal, city is not so attractive as the coun¬ Re^suar, Chicago Musical College. Bo«1fvaSrdfcK&' tising in The Etude. Our readers thrives in such a hotbed of indolence. ;] try in the Summer, it has compensa¬ The Columbia School of Music are all of them music teachers and In fact, you will note that these tions in the way of Summer amuse¬ music students, beginning now to plan r Herbert Miller PIANO VOICE VIOUN,STHEORy! PUBLIC SCHOOL MUSIC for summer vacations. unfortunates work far harder to have ments which make up for the lack all Departments. Announcement Now Ready. iSEarly Re^o^AlSed”rcegisirauo Whether those plans include a short a good time than the average stu¬ of flowers, fields and woods. New Mr. D. A. CLIPPINGER period of music-study at some seaside Vocal Instruction Address J. B. HALL, Manager, 509 South Wabash Avenue, CHICAGO, ILL. dent working to accomplish a pur¬ York in recent years has become a or mountain resort depends entirely on I_ ~~~ _ Master of Voice Building and Interpretation your advertising. Begin now to keep pose. great Summer holiday playground, 808 Fine Arts Building His system of developing the Head Voice has brought to him singers your name, location, and dates before and, indeed, many other large cities CHICAGO, ILL. and teachers from all parts of the country. these prospects. THE POPULARITY OP SUMMER STUDY. Money for Vacation I have become likewise. Write for advertising rates. of your musifloving friends will subscribe if you bring The Etude to their attent.on. Dear Mr. Clippinger: I want to express my faith in your system Some years ago Bishop Vincent Exceedingly liberal commissions. Ask for particular.. of developing the upper voice, not only for what it has done for me THE SUMMER STUDENT. but because of the invariable success I have with it in my teaching’ the exude realized what a distressing experi¬ SUMMER CLASS TOE ETUDE, Ci.cul.M... D.pt- Che.tnut St., Fh.I.J.Ipb.. | Paul R. Utt, Director Keokuk School of Music. One of the reasons why the student 1712 Chestnut St., Phila., Pa. ence the pronounced pleasure-seeker For Professionals and Students Mr. Clippinger is the author of Systematic Voice Training. Price had during the Summer. He also who studies in Summer is so likely one dollar. Send for circular of Summer Term. Address ’ realized that there were thousands of to succeed in his musical life is that Cosmopolitan School of Music and Dramatic Art D- A. CLIPPINGER, 410 Kimball Hall, CHICAGO such students as a class represent r MRS. W. S. BRACKEN, President Complete School o! Technic ambitious people who longed to get Musical Kindergarten Method Unsurpassed faculty of 60. Course ofatudyba.edm.bert modem educ.t.on»l principles. Diplomas. those with energy, brains and initia¬ FOR THE PIANOFORTE ahead in the world, but were too For the Nursery and the Cla«* Room -PIANO, VOICE, VIOLIN, DRAMATIC ART, PUBLIC SCHOOL MUSIC, ETC. tive plus. All executive music study by busy during the Winter to take the By DANIEL BATCHELLOR American Conservatory ISIDQR PHILIPP time. During the Summer there is physiological as well as psycho¬ and CHAS. W. LANDON logical. The student who dabbles in Price. $l.SO 304 S. WABASH AVE., « •• .. CHICAGO, ILLINOIS. Price, $1.50 were no opportunities for study at philosophy, mathematics, botany or This work, especially designed for the Twenty-seventh A compendium of modem technic bv n that time. This condition pointed to . use of mothers and music teachers, is the irior Teache ...... unr.va.ea tree .dvant ?n L,Co°ntem,p0V^ teacher, exhaustive In chemistry may leave his work for a first complete musical kindergarten method metronomes •J* details, including all forms of finger a real need, and accordingly he * ever published. It is a concise and prac¬ We handle only those SUMMER NORMAL SESSION chords and arpeggios founded the first Chautauqua in 1874. few months at a time and then re¬ tical exposition of the art of .'“parting We retail more Metro¬ Every instrument we sell of five weeks, tomjwjg to July 26th, 19x3. Lectures and Recitals by eminent artists and a??ple “ote?- octaves, trills, tremolo, giiss- musical knowledge to the young Bv Jeans nomes than any house is guaranteed against of the best makes ob¬ ando and bravura. All the exercises .I turn to it. His technical work is ner both pleasing and attract ve. By means tainable. carried out in full through all keys a^d The Chautauqua idea gave people n the world. mechanical defects. JOHNJ. HATTSTAEDT, President. are treated in a variety of rhythms Co confined almost entirely to writing. of this method young children nmy be P pus .annotations and directions are sun with a higher purpose than “loaf¬ started in music at a period far earlier THE STYLES ARE: plied m order to facilitate the proper study ing” an opportunity to spend their The music student, however, must ?a^h“e0r1nrtodu^edeninanCaentertilnlng of the exercises. This work Aav be used American Maelzel with door attached.?2.2S S3.2S look to a slow, gradual development manner to attract and hold the attention HJE Summer vacations to real advantage. nf the child, many drills, games and other American Maelzel with detached lid. 2.25 3.25 R W O O D Jn the train of the original schools —a development which will not suf¬ niayful devices being employed. The hook French Maelzel with detached lid . • ■ ■ • • 2.50 5.5U Plano, Georgia Kober; Organ contains a fine collection of rote songs of the library of any pianist. J. T. L. (Best) French Maelzel with detached lid . 5.UU ‘t.z.i ~ Cyril DwIght.Edwnrdo, (i innumerable excellent schools other fer interruption of any kind, a devel¬ «?i kinds It is a complete manual, hand¬ SSSStMe MUSIC somely gotten up and substantially bound. PRICES NET TRANSPORTATION ADDITIONAL DISCOUNTS ON TWOOR MORE „ , „ ’ ’ term begins june 20th opment which knows no season of f T Suite 711 Fine Art Bldg. THEODORE PRESSER CO. than Chautauquas have been estab¬ THEO. PR ESSER CO., PHILADELPHIA. Theo. Presser Co.Philadelphia,Pa. H U U L CHICAGO, ILL. 1712 Chestnut St. Philadelphia, Pa. lished so that one may find no lack indolence except the nightly sleep to ETtJDE when addressing our advertisers. of splendid opportunities in all parts refresh the body. 1 — Please mention THE THE ETUDE THE ETUDE Gr&nberry Piano School NEW YORK SCHOOLS NEW YORK SCHOOLS ' IX WEEKS GEORGE FOLSOM GRANBERRY, Diekctob TEACHERS’ TRAINING COURSES A CONDENSED COURSE FAELTEN SYSTEM DUNNING SYSTEM OF MUSIC Booklet CARNEGIE 1IALL, NEW YORK For tantngtbools NEW YORK SCHOOL OF MUSIC AND ARTS STUDY EOF* BEGINNERS Teachers 56-58 West 97th St., New York City MAKES YOU A SPECIALIST Virtuosos RALFE LEECH STERNER, Director Students HOW SHALL I GO ABOUT XT? enough time and energy to go on Practical and Artistic in FOR MANY YEARS NEW YORK CITY'S PRE-EMINENT MUSIC SCHOOL July 14 to August 23 Music students make a mistake in 5th her work. Since then she has Theory and Application Two connected buildings delish.fu.ly situated between Central Park and the Hud.on Rrver ton very successful, and has been Presenting a new world in music alike to be¬ postponing their plans for the Sum¬ ginners and advanced pupils. “ Progress, ” the The von Ende mer too long. The best way to do ntour with a big orchestra, earning 20th century slogan along every line of human in¬ o many times as much as she earned SHOULD terest and endeavor, has never been more thor¬ is to begin by getting in touch with oughly and practically exemplified in educational School of Music the teacher with whom you desire as a stenographer that she can hardly lines than in. the dormitories and studios 58 W. 90th St., New York to study as soon as possible. Write realize it yet. Of course, there are DORMITUKlt.3 fli-m ___ Dunning System of Music Mri.OertmdeB.BlMtMgJ to half a dozen schools made fa¬ some who fail dismally, but the stu¬ SPF.f.I AL SUMMER COURSE for TEACHERSandPROFESSIONALS Study for Beginners Pianoforte, Singing, Violin dent who would succeed must not let miliar to you through advertise¬ ____ . . TI7U.K v„,, Nperl in Your Work and Theory Departments Burdened teachers are realizing this more each ments. Ask for their literature, the failure thought get into his heart USE year, also that there is a demand for experts along and mind. N othing comes in musical this line of teaching. Endorsed by Leschetizky Distinguished Faculty Including inquire about the price of board, find Terms, including tuition, board. Concerts Weekly Scharwenka, de Pachmann, and many others, who progress without sacrifice. Deter¬ DORMITORY IN THE SCHOOL *racticing, teacher’s certifi- SEND FOR BOOKLET Pronounce it the most scientific and best in use for ALBERT ROSS PARSONS out the possibilities for recreation; PROPER CHAPERONAGE cate, etc., on application eginners of any age. The only system whereby Dean of American Piano¬ ask about the amount of music you mine the cost of the sacrifice and the truly normal idea is carried out. forte Pedagogues. will be expected to bring. The re¬ then make u , in your mind whether Summer Normal Training Classes for Teachers open Portland, Oregon, June 23d; SIGISMOND STOJOWSKI turn letter will give you an inkling it is worth paying- for. The writer Chicago, Ill., August 11th; New York City, Represented by assistants of the character of the U icher, his knows of some students who have A TVTTVT/'MAUC SUMMER COURSE for September 23d. Address for particulars, preparing students for him BECAUSE standing and the interest lie is likely paid for sacrifices far too great. If CANNON S PIANO TEACHERS Mrs. Carre Louise Dunning HANS van den BURG you feel that your health is endan¬ -— JAMESTOWN-ON-CHAUTAUQUA,iaMESTOWN-ON-CHAUTAUQUA, n. Y. 11 W. 36th St., New York City, and Portland, Oregon to take in your work. Most all IT helps double and treble classes. teachers have circulars describing gered, by no means study in Sum¬ IT charms pupils and satisfies parents. JULY 14th to AUGUST 24th IT is modern, scientific, progressive. Miss Gertrude Paine, tahJp !'^°"n teacher on JEAN MARIE MATTOON their methods, plans and districts. mer; go to a sanitarium. But if you IT advances unmusical pupils. INSTRUCTION WILL INCLUDE , , IT is psychological as well as musical. Pupil of and for six years The teachers can publish certain are healths enough to be “at large,” IT teaches pupils to think. in Houston, Texas, under the same conditions as Mrs teacher under Leschetizky Special Preparatory Course, The Lead‘^p'l^toiM ’ Dunning conducts the classes. Address, Miss Gertrude things in circulars that can not be there is little danger of your study IT makes hard problems easy. Paine, 1023 S. Burlington Ave., Los Angeles, Cal. in Vienna. IT makes hard work a pleasure Technical and Interpretative Analysis, Repertoir __ said in person or in a letter. In affecting you. Bach, Czerny and IT develops unexpected powers u n children. LOUIS STILLMAN Class Lessons Weekly, Open to Students Taking Full Summer Course_ Mrs. Zay Rector Bevitt, ®?a pieminentro“'n™t reactteacher of writing to the teacher state as defi¬ Chopin are quite as digestible as IT ^ musk'st’udy fOUndati°naavanCe< San Diego, Cal. Author of “Concentration ITS system ofnotadonand meter study i and Technic” for pianists, nitely as possible your needs and Huyler’s, Whitman’s or Maillard’s, A. H. BAKER, 53 halugie NEW YORK and call fo, far less physical energy IT makes specialties of ear-training am „ • ^ , ;n July 14th, unde. .... means. Take the teacher into your sight playing, and makes tram position easy tor children. Rector Bevitt, 3914 ThirdSt!'sah'l)iegoS.S’ Mr* confidence. Tell him that you can than tennis or golf on a hot day. nd the confident not waste your time and money,- and le best people. The Above Pictures Are of Prominent Teachers of the Dunnine .Wan, and patronage of ask him to tell you frankly if you THE “ONE-METHOD” TEACHER. has survived the te; . of twenty years, The American Institute STUDY HARMONY haS progressed wi and COMPOSITION can accomplish what y<3u h. -pe to ac¬ absolutely up-to-d BY ELIZABETH C. COBB. of Applied Music INSTITUTE OF MUSICAL ART 0F ™E C,TY ~ by MAIL complish in a given time. Perhaps - FRANK DAMROSCH, C NEW YORK JOHN B. CALVERT, D.D.,President (The Metropolitan College of Music) you have planned too mm i\ When the prospective pupil enters the burrowes AN ENDOWED SCHOOL OF MUSIC 212 West 59th St., New York City studio the first question is usually, “What COURSE OF work'aml^botWs^will ^bea'cceplfd*5 mlencled 0nIy for students of natural ability wtth aa earn ALFRED W00LER, Mus, Doc. THE SPIRIT OF SPRING. I do you charge for lessons?” The second For analogue and full information address Secretary, 120 Claremont Avenue 322 W. Utica SI., Buffalo. N.Y. question i usually, “What method do The quickening that comes with Special Summer Session, June 23rd to August 1st you teach:-' The conscientious teacher MUSIC STUDY the first Spring day—the now blood | INTERNATIONAL cationL^acencv is often at a loss to know how to answer Unusual advantages for .teachers speeding through your veins, the ; the second question. She maintains the Kindergarten and Pri™ary. MRS. BABCOCK 28th Season Begins September 29th THE VIRGIL deep invigorating breaths are all a “one price” system for lessons perhaps appHration. KATHARINE BURRO WES, QFFERS Teaching Positions,__ KATE S. CHITTENDEN, Dean. *, Ifges Conservatories, Schools. part of the energy that normally goes —but, shall she maintain the Send for circulars and catalogue. PIANO SCHOOL CO., Also Church and Concert Engagements method” system for her instruction? with the Summer. Do not let any- To accept one method and follow that 42 WEST 76th ST., NEW YORK CARNEGIE HALL, NEW YORK one persuade you that the Summer method only seems to announce that all must be a period of blissful sloth- 1 other methods are wrong. It seems to The “ Tek ” Crane Normal Institute of Music fulness. Of course one cannot ex¬ the writer that the plan of discarding the Learn Harmony and Composition The Bergman Clavier accumulated riches of the musical edu¬ TRAINING SCHOOL FOR SUPERVISORS OF MUSIC-Both Sexe. pect the girl whose conception of cational workers of the past in favor of The Bergman 2 and 4 Octave FrankCroxtonl method^practiciteachtag^^Gra^uat^'hold’iinpoitant'positi'ons iu'coneges^'city a^c?normal schools instrument8 for travelers happiness is a hammock and a box some one new method is a hopelessb' the Bergman Technic Table of chocolates to have any desire to I narrow course. Of course, unless the Wilcox School of Composition POTSDAM, N. Y. Rat E. 225 Fifth Ave., New York City, N. Y. (Raised Keys' TheFRATftrs^T^" do anything which will benefit her teacher wishes to come to a standstill he the Bergman ChildS Pedal must keep abreast with all the new future. But the student with a real PUBLISHERS OF -- methods. This is expensive, but the suc¬ “THE VIRGIL METHOD” Books I and II purpose in life will make opportuni¬ cessful teacher is the one who does this THE PIANO PEDALS,” How, When and WL* *, * • • * $3.00 ITT VIRGIL Weeks Courses ties for Summer where none appear most persistently. II “PRACTICAL. EXERCISES IN HARMONY PLAYINrU”e °m ’ 125 It is almost impossible to find a hook CHOICE COMPOSITIONS, Grades 1, 2, 3, 4 5 fo^Pian ‘ 1-50 to exist. For Teachers and or method that may be used “from cover Five New Songs for Home and Concert Use,’ byMrs^A. M. Virgil paying her way. Practice Clavier] Advanced Students to cover” without the necessity for mak¬ Liberal Discount to Teachers e , r _ Far superior in its latest construction to any _____- sSendend fortor CatalogueCatalogues WITH OR WITHOUT BOARD. M e know of one student who was ing some special adaptations for pupils whose personal shortcomings indicate a other instrument for teaching and practice. P IT’ I°LCe' ?,rgan’ Violin’ Elocution, a capable stenographer. Her ambi¬ MRS. A. M. VIRGIL, virgil piano school Public School Music, Normal Methods slightly different treatment at times. tion was to study voice with a VIRGIL SCHOOL OF MUSIC | Director, | AND CONSERVATORY Lockes Primary Plan, etc. Certificates! Some young teachers stick religiously to 1 eachers Course J _ Catalog. Teachers educated in Europe. famous teacher in the East. She the method they have studied with some FIVE WEEKS’ SUMMER SESSION teacher. They even consider it heresy to Begins Saturday, June 28th Marks’ Conservatory of Music secured a position in a branch house consider any other method. They re¬ E. M. BOWMAN For catalogue and prospectus address : June 25th to July 30th 42 West 76th St., NEW YORK E. F. MARKS, Director of the firm in which she was em¬ 2 West 121st Street New York cover from this plan ere long and see the NEW YORK ployed, and by means of this engage- importance of investigating many different A. K. VIRGIL, Please mention THE ETUDE when addres; ment paid her way and still had methods. 383 382 THE ETUDE THE ETUDE EASTERN SCHOOLS COMBS BROAD ST. SIXTY.SECOND YEAR WESTERN SCHOOLS Lawrence Conservatory CONSERVATORY Sununr you are assigned to a teacher especially ifbools Peabody Conservatory of Music adapted for developing the best in you. Daily MUSK! BALTIMORE, MD. —- reports beep the Director in touch with the CENTS HAROLD RANDOLPH Director r aKING THE COMMONPLACE DRAWING in stamps sent to EFFA ELLIS The Leading Endowed Musical C vatory of the Country you ample opportunity for Public will give you the lesson on how PA SUBLIME. SPECIAL ONE-YEAR COURSE It cannot be denied that a continued to teach the keyboard, and in- k troduce Melody, Rhythm, second SUMMER SESSION SSas Allegiance to certain preconceived ideas !nchoSren BY HENRY SUCH. J Music Form, Harmony and ‘ ts lifeless and meaningless music, J Eartraining. Hulsteyw, violinist; Bart Wirtz, ’cellist; Harold’ D. Phillips, organist and° composeri^tHARZEsTir "5vzi,;tr^t"z!sz. which were significant in the be- SiAnSgTcRhMool Bochau, baritone; Virginia C. Blackhead, Elizabeth Coulson and Henrietta HoLraAos Speciai Modern and scientific methods insure to \ inning lose their significance Schumann Effa Ellis Keyboard Harmony School courses .in Musical Interpretation, Normal Training, Solfeggio, Public School Music, etc. Single studies you economy of time, money, labor. Recipro¬ Wilhelm j, the celebrated violinist,! well-paying poslllona for lb”h PM‘ S10 to jS30. Lectures and Recitals by eminent artists and educators. C‘—' !’-J cal relations with the U. of Pa. Training used to tell an amusing story of his ex Hd that Beethoven could make the com- ?Ue0DoL'.°1e0Art° Domf.Ue Science. ry,i™l Trying and Training School for Teachers lonplace sublime. It might be added WILLIAM WOODS COLLEGE end Manual Training Unexcelled ^u Ipmem-Strop* Courses for Teachers, Public School periences in America when touring thi - s Bldg., OMAHA, NEB. Music, Tuning Course. LADIES’ DOR¬ country. At that time America was les MITORIES. A School of Inspiration, taS-SS?!: Enthusiasm, Success and Loyalty. accustomed to visits from great artist LOUIS G. HEINZE, Director of the SCHOOL OF MUSIC than at the present time. Wilhelm;’; playing was greatly appreciated, especialh HEINZE SCHOOL OF MUSIC ^01 Shenandoah Collegiate Institute, Dayton, Va. the noble tone he produced in performing 1714 Chestnut Street, Philadelphia, Pa. Pianoforte, Violin and othe? ItringedTnstrament"8 $£*®sSS3S$S&Sl Piano students and teachers should not fail Bach’s Chaconne. Once after giving ; to take up the Special Summer Course. Valua¬ Band and Orchestra, with weekly concerts. Pipe ble points and^helps for successful piano teaching, concert in one of the larger cities oi THE ART OF TEACHING n8“c'afc£eaSSsM!“'9■' S27SSper yean rNo Earas. University of Pennsylvania America he had returned to his hote Summer Normal Conducted by W»Ce for terms end additional information tember 17th. Students fro tes.be^oz 11 Summer School tired out with incessant traveling ape HAHN MUSIC SCHOOL, DALLAS, TEXAS Term: July 7th to August 15th concertizing. He was somewhat annoyed Theoretical Courses in Music, includll therefore, when a visitor was announced Harmony, Strict Counterpoint and Modem Cou The visitor proved to be an old farmer, “DECIDEDLY THE BEST” terpomt, offered byjbofessor Hugh A. Clarke. NORMAL CORRESPONDENCE COURSE " _ • Publi<- - - School Music his wife and three lanky daughters. offered by I x. Enoch Pearson, ^v. ^jusjc “Is this Mr. Wilhelmtch?” asked the TEACHING TEACHERS HOW TO TEACH delphia Public Schools, avaa.^ Peda g gifts a d and Supervision, Sight Singir farmer. Modern Ideas of Touch, Technic, Pedal, Metronome and Hand Culture, and How to Teach Them Wilhelmj, smiling at the novel pro¬ nunciation of his name, admitted that Address, JOHN ORTH, Steinert Hall, BOSTON J. P. WICKERSHAM CRAWFORD it was. SUMMER SCHOOL u Director of the Summer School : 35, College Hall, University of Pennsylv: “Waal,” said the fanner, “Me and my Music Education OF MUSIC PHILADELPHIA, PA. wife and daughters have traveled over 1 STATE SUMMER SCHOOL eight hundred miles to hear you play the Summer Normals MUSICAL INSTRUCTORS FOR COLORED TEACHERS ‘Tchackon,’ and we was too late to get n there is a CALVIN B. CADY, Principal Recommended to Fourteenth annual session begins June 23d and con- SHEPARD SCHOOL OF MUSIC into the concert room. Won’t you just Conservatories, Colleges, Public and Private Schools tinues five weeks. Thirty-two specialists. Total ex- penses 314.00. Limited accommodations. Send Personal Piano Normal Course play it for us now?” ■ PHILADELPHIA MUSICAL AND LITERARY BUREAU $1.00 atonce and reserve lodging in advance. Till August 1st “Wilhelmtch” protested that he had just -June 26-July 29 1710 Chestnut Street, Philadelphia, Pa. Address, State Summer School Piano Normal and Harmony Courses played it at the concert and was weary A. & M. COLLEGE GREENSBORO, N. C. By Correspondence from want of sleep. Send for Educational Literature MRS. F. H. SHEPARD, - Orange, N. J. miles to hear it, tm i;i-» 1 COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN 15 Claremont Ave. New T orn - to go back witho e it.” Wilhelmj, whn HOME STUDY 1 QUA OF A H NORMAL COURSE BY CORRESPONDENCE nature, finally ; 1 Teachers all over ^J1001 at BrldSeP°rt opens July 16, Special Course persuasion, at.anC dnSpeiayeedda!he gleat" Bach § Diversity School of Music ■ teeing results. “’'°rld“ ‘ Write for°partleuIarsmalU°S ‘ 8te’'1 “"“ns “J* ‘‘e °”e ajste“ PUBLIC SCHOOL MUSIC H^HRAWING TtiE rs Minneapolis, as used in the Public Schools of New York City masterpiece as only he could play it. At X "HOOL OF MUSIC the end of theie performance he waited for * Ma* Eilh^-If.. s. ti ORATORY E AND s JRA^TIC JRTst some sign of RR| lal 1 r— College of Fine Arts —i his wife and the three lanky daughters, SUMMER SEASON OPENS JUNE 11th* to PoRt-Graduate, equal in standard to similar Syracuse University The New Haven School of Music recitals. For full information, address, Voice, Violin, Piano and Musical Theory and His- but none was forthcoming. Finally the 1 |BDS«elled advantages for the study of music. Faculty tory taught by Artists and Successful Teachers farmer said, 1 Sl2°SPfri,ksD Rngulsr four-year course leads to the ■ 1 degree of Mus.B. Special certificate courses. Special “Was that the ‘Tchackon?’ ” | students may enter at any time of year. For cata- work- “Yes,” admitted the virtuoso, “that was ■ logue and full information, address. Registrar, Bach’s Chaconne.” ■ 1 Syracuse University, Syracuse, N. Y. 63 Dwight Street, New Haven, Conn. “Waal, all I can say,” drawled the THE KROEGER SCHOOL OF MUSIC farmer, “is that it wuz the durnedest ugliest piece of music I ever did hear.” 1 1 DANA’S MUSICAL INSTITUTE Jane 16*to August 1, 1913 WARREN, OHIO THE HAGGERTY-SNELL’S SUMMER ■ * p^tv^ S&sSr&.te “!*»*?- a™**- SCHOOL OF VOCAL and PIANO MUSIC I Brendu Summer School | for 64-page catalogue blue book and historical sketch to WM. if DANA^ R.A.M., Prest* * * ^end AND_ f THAUTAUQUAin ■ #. ■ it* i i /**\ I IA ieSi-. HUGH A. CLARKE, Mus. Doc, Detroit Conservatory LESSONS by mail of Music Fral|c“ L. York, M.A., Director . -a tersCo^R|dJan^1ati“d| * In Harmony. Counterpoint and Composition full particulars address, School of the Plano J History ?oNK£r- J. O. STAKELY, Secretary BEGINNER’S BOOK A SUMMER VACATION ■tree and Broad Sls„ ATLANTA, GA. 4632 Chester Are., Philadelphia, Pa. By THEODORFTHEODORE PPFccitdPRESSER MIJ s 1 c * WRI T.I M P Sight Singing, Scales, Intervals, * * 1 1 I V clinch every subject. Writing exercises^; ioPT'T an,d answers a« given to | Tnads, Chords, Transpositions, Writing for Orchestral Instruments The utmost care has been given to evero t™d““d at the very start, perfeet Beginner’s Book as it is possibleTo^ake! !^ ofteE new bSb r°?ITIVELV THE BEST COURSE IN AMERICA eamestly solicited by all wW^v^toV0!111*1?' ,A trial of Liberal discounts. Ve to deal w,th elementarytary piano instruction.m,Llu Thwdo,. Pr.„„ Co., I712 Chestnut St.. PNU.d.lphj., p,.