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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
12-1-1917 Volume 35, Number 12 (December 1917) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 35, Number 12 (December 1917)." , (1917). https://digitalcommons.gardner-webb.edu/etude/36
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State., Alaska, Cuba, Porto Rico, Mexico, Hawaii, Philippine.,.Panama, Guam Tutu.la, and the City PRESSER’S MUSICAL MAGAZINE cl Shanghai. In Canada, $1.75 per year. In Eng¬ land and Colonies, 9 Shilling.! in France, 11 Franca, in Germany, 9 Mark.. All other countriea, $2.22 per year. ,n C*nad“- 20 cant.. - d be made by post-office or ex- bank check OTdrah, or registered letter. tnbutioa. on muuc-teaching and muaic-atudy are solicit angerous, and we are'not responsible Although every possible care ia taken the publishers are not rctpoouhU for aunuacriptt or pboto*rapht either while in ihcir po»teuton or in u*ntit. UnnvniUblc m*nu#cnpt« will DISCONTINUANCES.—Owing to the educational b« returned. character of THE ETUDE a majority of it. reader. t MONTHLY JOURNAL FOR THE MUSICIAN, THE • * !ah to mis. an issue. Therefore, the pub- MUSIC STUDENT, AND ALL MUSIC LOVERS ADVERTISING RATES will be tent on application. > pleased to extend credi t covering a Twelve Advertisement! moat reach thi* office not later than the Ut Months’subscription beyond expiration of the paid- Edited by James Francis Cook of the month precedent date of iaaue to insure insertion in the -of our subscribers not wishing to __ es of this convenience of remitting later will please send a notice for discontinuance.
The World of Music
A school lias been opened in Paris to teach castes. It is explained that this abandon¬ Dr. Arthur Mees conducted tbe festival, and women to be engravers of music. The school ment of German Opera is not wholly on ac¬ sixty selected players from the Phllsdel- Is a part of the plan of French publishers to count of the war, but rather owing to the at¬ ,— ...._J _ furnished the ... niu-einent and who are In need of aaalst...,. v. spread broadcast after the war French edi¬ titude of patronage during last season. strutnental support. More than a dozen Mrs. Evans was a lover of music and the tions of tbe classics. noted NOlulsts look purl, and through the drama, and In addition to her formal gifts Cape Town, South Africa, Is fast becom¬ efforts of Charles l. Rice (aupervlaor of to the Conservatory she helped many music Octville, Ohio, a village of some hundred ing a musical center. It rejoices in a mu¬ music in the public schools) several of tbe students, dancers sud others. Shortly before people, maintains a music club of thirty mem¬ nicipal orchestra, which gives weekly concerts soloists visited the different bitch schools and her death slt£ defrayed the expenses of a bers, and during the year has given over in an auditorium in the city hall. Other sang before tbe students. new organ for the South Congregational forty recitals. The success of this organiza¬ branches of music also flourish. irlan) Church. Boston, of which Rev. tion should be an Inspiration to every little Flint, Mich., which we havo before men¬ “* “ ~ r for many town in America. The Chicago City Club becomes sponsor tioned as being the first city to have a mu¬ for a series of twenty Chamber Music Con¬ nicipal musical director, Is about to erect Mascagni’s new opera, Isabeau is to open certs, largely string quartet. a stadium seating 12,000. George Oscar Philadelphia, on October 1.7th. celebrated a the Chicago opera season. The plot is said Bowen, formerly of Yonkers. N. Y . Ims been soul-stirring Festival of Bong and Flags. In to be a variant of the ‘‘Lady Godiva” legend. engaged as director of the Community Muale honor of the absent*men who lmve answered Association. tbe call to arms. Over 125.000 people as Hartford, Conn., is to have a fine new sembled In Palrmount Park, Including 10,000 auditorium, seating 4.000 persons, thus sive list of notable names, both musical and The death of the grand-nephew of Beet¬ singing school children and many local making musical festivals a possibility within general, could be compiled from those present. hoven, In au Austrian military hoapltal, Is choruses. Mmc. Ixiulso Homer, contralto, The programs, with the exception of a few reported—the last person living of that and Henri Scott, basso, assisted; also tbe works by English composers, were exclusively Police and Navy Bands. Airplanes sailing Milwaukee is the scene of an experiment American, and all songs wer- *»»- ",
tyes, it certainly has THE ETUDE DECEMBER, 1917 cleared my skin ” VOL. XXXV, No. 12 A (HJjriBttttaH Hunting iflitstr iFuatitml fur Antrrirana Eurrguthm'
Christmas—and hundreds of thousands of Ameri¬ First of all—talk about it. Talk about it to every¬ can fathers, sons and brothers away from home! Away one you meet. Tell them to watch the clock on Christ¬ front the music—the laughter—the Christmas love and mas morning and at nine start to sing “My Country 'tis the Christmas cheer! _ of Thee.” Tell them that they are members of the great Here is a world-circling idea which music workers chorus of Christmas cheer that is singing itself around and music lovers can employ to bring all Americans all the world to bring together on this Christmas the minds over the world closer to each other and closer to our and hearts of all Americans. Tell them that it is to give glorious ideals at this momentous hour in our national courage and confidence to our boys “over there" and joy and pride and comfort in the souls of all who stay at history. home. It is simply this. Let us have on Christmas morn¬ Second—Write or see the editors of your local pa¬ ing a chorus in which everyone who rejoices in the name. pers and do your best to induce them to give abundant American may take part—a chorus that will sing itself space to inform their readers of the Christmas morning around the world—a Christmas morning music festival music festival for Americans everywhere. Urge this for all Americans everywhere—this festival to be held with all your heart. entirely without expense and with no more preparation Third—See the school teachers and the local boards than remembering it. as well as all the clubs in your neighborhood and ask At nine o’clock next Christmas morning, the day of them to make announcements. all the year when American home ties are strongest, let Fourth—Have a talk with your clergyman. His all Americans, no matter where they are gathered to¬ enthusiasm will be invaluable. Ask him to have the gether— church bell rung for five minutes on Christmas morning, Around the Fireside at nine o’clock. On the Training Ground Fifth—In every letter you write, whether to a sol¬ In the Chapel dier at the front or to an acquaintance, take a few lines On the Battleship to tell them that you will he with them in the spirit of our In the Trenches- American Christmas at nine o’clock on Christmas In the Hospitals morning. On the Street Sixth—Do it yourself. Waiting for someone else to In the Cars do it means that it may not get done. Wake up in the Everywhere morning thinking about it and do not go to rest until you join in a great chorus or endless chain of choruses sing¬ have done something toward it. ing "America” until the thought @f our blessings in the Colossal optimism and undaunted courage is the “sweet land of liberty” will ring around the globe. . need of the hour—courage in the home quite as much as In what better way can we bring together m Christ¬ the field. This will be felt keener on this “Different from all Christmases” than ever before. mas spirit those brave souls at home and in service, Musicians! You who may have been wondering it not the glorious privilege of every music lover to wo what you can do through your art in the great hour of for this? . , _ need, here is an opportunity. Let us pray that it will Many will want to go on with some of the dear make every American heart stouter and more deter¬ Christmas carols and songs which bring gooc c ie mined, that it will give us courage to so continue this rich promise on Christmas morning. Let every mstru great fight for a glorious principle of freedom, that mentalist join in. Let the bells of every church ring out. “After years of experimenting with all sorts of things for my skin “Peace on Earth,” the real Christ thought, will be here is a handicap in your social or business life, think what it would mean to have )oUr I began to use Resinbl Soap. In a very few days I could see a marked problem solved so easily! Let all America sing as it has never sung before. in fact before another Christmas comes. improvement. T. Jz ?,CSin0! S?ap a’week and you will know why you will want it the year rou.idj Think what this will mean on Chr'stm%^-’.,^ £ With hearts thrilled with rapture and gratitude .“ h sJeems impossible that anything so simple as washing my face The soothing, healing Resinol medication in it reduces the tendency to blotches in thousands of American homes where here wH be i' s°°t1hes 'rotated pores, offsets the effects of neglect or improper tre?tme" j. t0 for the blessings that America has brought to all of us, twice a day with hot water and a delightful toilet soap can have done mal-A °a real beauty of the complexion, giving Nature the chance she n empty chairs—chairs of heroes fighting for ) though our eyes be javclcd with tears, let us all join in moie good than all those tedious, expensive treatments, but the fact make red, rough skins white and soft. * . m ^ this great chorus to exalt our ideals and our love of the remains that now my complexion is clear, with the natural glow of „ „ .purity, and soothing, healing medication also adapt Resinol Soap '‘OVerHowTn this he done’ How <*| ^glad tidings health and youth that I feared it had lost for good.” ! ea,r’ 3nd °f a baby’s tender, easily-irritated skin. , , ,ich homeland. May wc never forget nine o’clock on Christ¬ S°ap- c?nta,ns no harsh, drying alkali, and is not artificially colored, fs * If you are having trouble with your complexion, if you find that an unattractive skin W w'tbifn? entlrcl>;due to its Resinol medication. Sold by all druggists. For sample of this world-wide Christmas musica mas morning of 1917. free with miniature box of Resinol Ointment, write to Dept. 8-B, Resinol, Baltimore,*' quickly enough ? i t, 4 ^ - Page 788 TEE ETUDE DscEimn m DECEUBEIl 1917 The Automatic Faculty in Piano Playing Does the automatic faculty help in sight reading? Certainly. Unless we encounter the music of such The Mass of Christ WE ETUDE extremists as Dubussy, Schoenberg, Stravinsky or By the distinguished Italian composer, critic and journalist, By C. A. Browne Casello. where the reader constantly encounters new Allesandro Longo and extraordinary harmonies, designs and rhythms. It was because of a special mass „..ii . '* * The more the student’s fingers have been drilled to Christ," which was celebrated in the churcl oI play certain passages without conscious control, the {EniTOas Note.—The following interesting article ap¬ season, that the anniversary of the advent ofp* peared In I/Arte PianMU-a some time ago. The translation more naturally he will be able to grasp groups and play on Earth received ,ts name. First observe,! ^ was made especially for The Etude by Arturo Papalardo.] complex passages at sight. The proof of this is that J8 it was forty years later before it was dW I. shall attempt to gain the patience of the reader the very best readers will stumble at artificial figura¬ adopted as a Christian festival. Some It Steps in the Educational Work while giving him some rather indigestible brain-food in tions apparently without logical structure, such as one Julius. Bishop of Rome. for. the observatSf £ ta the realm of physiological and psychological subjects finds in the works of the modernists. The same thing His term ot office extended from \ n £7 of an Opera Singer put together with the competence of a dilettante. would happen to the reader of prose if he encountered HfUore :. .. 1,1 u- «W/ to to Others claim it was not until‘ablulthl'fif? ‘° ^ The subject and its treatment is not altogether origi¬ some obselete, unknown, foreign or newly coined that the exact day of its celebration beeam", nal with me. as it has been considered by the famous words. Between the technic of the tongue and that of nentlv fixed on the 25th of DecetXr■ By MME. AMELITA GALL1-CURCI scientist, Salvatore Tommassi, at his clinics in Naples the hands there is, however, an enormous distance. Do that time it had been irregularlv observed af k «■ v, p in 1874. He then awakened the admiration and sur¬ not belittle repetition in practice. Intelligent repetition times of the year: sometimes in December, S0Jw There is a popular fallacy which finds its expression prise of Anton Rubinstein, whose wonderful technic is the basis of much successful keyboard progress. Mme, Galli-Curci, who became famous with her hr si had in turn made a great and lasting impression upon ,nIpnl or Ma> : but most frequently in January in the phrase, “singers and musicians." This is not in New ^ork. On the ship he learned that another appearance with Hit Chicago Opera Association u year the scientist. Tommassi then set about to study the The custom ot decking our houses, shops' and peculiar to America, for it has its equivalent in Eu¬ pianist was to give a concert a few day* before his. and technic of the great Russian pianist with a view to dis¬ churches with greens, at Christmas-time, dates bad ropean countries. People use it when they really mean ago, has scored Ilit most remarkable success as a colora¬ would play the same concerto which he had selected, to a very ancient practice which was in voirae rent,,? covering the psychological faculties pertaining to the "vocal and instrumental musicians,” but the layman tura soprano that American grand opera and concert It was necessary to prepare another concerto, of which How to Attain Freedom of the Fourth before the birth of Christianity. Evergreens wereuS hands in the complex problem of pianoforte playing. accepts it literally. Even among persons of musical audiences have beheld in a decade. Before that she had he had the score. The only piano available was in a in the religious ceremonies of the ancient RoZ public position, impossible for study or practice. Con¬ The conclusion of the scientist was that automatism and Fifth Fingers professions, however, there are too many who overlook appeared with considerable success in many European the Druids, and even the Jews. In ,he church, fe was perhaps the chief faculty developed by the pianist the importance of musicianship to a singer. sequently he had to work with his score in private. He Within the remembrance of the present writer, the favorite decorations at Christmas-time, have longbl and South American opera houses, but her talents did in his hours spent in attempting to develop finger and not only memorized the work by silent reading, but There are.authorities who say that every singer who not bloom fully until she came to the United Stales. In hand technic at the keyboard. fact of the weakness and lack of independence of the fbe holly, bay, and laurel. While, in the home, the worked out the fingering for the entire concerto, and and mistletoe combine hopes to accomplish much should be a musician. The In slow playing it is possible to think of each single two outer fingers of the hand, was made much more with the holly, as popular this article she tells HOW and WHY, for the first played it successfully ai his concert with only one decorations. word is “must," not “should.” The proof of this is note as the notes come in succession and each note is of a bug-bear than it is at present. Exercises of a hid¬ time. rehearsal after his arrival in New York. evidenced in the fact that every vocal artist who therefore played at a separate command of the will. eously unmusical nature were deemed indispensable, We must put all Christmas decorations in place before The attainment of the sense of absolute pitch and Christmas Eve, if we wish to be true to the ancient achieves greatness is a trained musician, Not because In fast and complicated passages, however, separate and the question was gravjsly discussed, but never set¬ the kindred faculty of silent reading are difficult to customs: otherwise the sylvan sprites that are abroad I was a pianist before taking up vocal study do I say commands to play each note are impossible. It is tled, whether one might not with safety and benefit, many, but come almost naturally to a few. But the on this evening will not enter the house to bless the that every singer of serious intentions must be a mu¬ therefore necessary to have complex, or. shall we say, have a slight surgical operation performed which would ambitious student must renumber that the arduous inmates with their protecting presence. sician, but because I know of no great operatic inter¬ compound commands for the different notes or groups free the tendons of the fourth finger. study is valuable, not only for what it accomplishes, of notes to be played. preter who is not also a thorough student of music. but also for the mental discipline it affords. The musi¬ The reason that this matter has passed more or less The Music of Christmas To illustrate more forcibly how one can execute A Garden, a Caruso, a Muratore or a Tetrazzini is a cal mind has increased infinitely in power after weeks into welcome oblivion or ‘‘inocuous desuetude,” to bor¬ The music of Christmas-time has always been of a complex movements automatically, the famous scientist delight to the conductor because such an artist comes or months devoted to these studies. gives the example of a man who goes out for a walk- row Grover Cleveland’s dignified phrase—is that by cheerful kind. In Chaucer’s writings, the word Carol to the footlights with a role carefully learned and with abandoning the absurd superstition of a perfectly quiet is used both in the sense of dancing and singing. And destined to reach some goal and then returns to his such complete acquaintance with the score that every Vocal Training and Brains home after having seen dozens of objects upon which hand, and allowing the hand, when these fingers are to in olden-time b ranee, a carol was a dance. The ’earliest criticism and request of the maestro is immediately The vocal apparatus is helpless without the accom¬ he has concentrated his attention, talked with friends, be used, to assume a position favorable to their use, English Carol was in the Norman-French-- tongue, -and understood through mutual understanding of technical paniment of brains. It is not only necessary for the etc., and yet has given practically no conscious com¬ we have once for all solved the problem and cut the appeared in tlle thirteenth century. It is worthy of essentials. The singer who tries the soul of the con¬ vocalist to have brains, but more so to use them. The mands to the movement of his feet. Indeed, he never Gordian knot. remark that no great battles were fought on Christ- ductor hardest is he who has only dabbled in music mental capacity of the pupil should be equal to that of thinks of the streets and is not conscious of selecting To nartinilari*A. ,„t,» c . mas Day- Battles have taken place on the twenty- a rei —when the fourth and fifth fingers fourth, and on the twenty-sixth of December; but the while developing his vocal powers, and such a super¬ the teacher, and if superior so much the better. Too the somewhat intricate road or streets leading from ™ ficial worker never arrives at lasting success. many pupils take it for granted that a teacher who has his home and back again. He is merely conscious of °ruany 3X,ng duty’ they shou,d be anniversary of the birth of our Savior has ever been well on the keys: the wrist at the thumb-side of the To draw a parallel: You cannot learn a foreign lan¬ the fact that he is to reach a certain goal and his observed by a cessation of hostilities. trained one or several fine artists will, by some vague hand should be somewhat sunk, and the other side of guage satisfactorily without mastering its grammar. means of locomotion immediately become automatic Edward Everett Hale said: “In countries or cities legerdemain, do the same fur them. No matter how the hand should be somewhat raised. Then if these fin¬ and take him there over gutters and hills and down where they are blest with snow or ice, there is no The scientific knowledge of music is the grammar of great a teacher may be, his or her work is futile if it winding alleys without giving it special thought. gers cannot move sufficiently by themselves, help them better fun than to hunt up the largest sleigh which the the language of song. does not meet with complete understanding in the pupil. out by means of a slight rotation of the wrist. With a most enterprising stable-keeper can furnish, and then The all-important factor is Yhc brain as well as the Thus a pianist who plays an arpeggio or a chromatic The three fundamentals necessary to a grand opera little practice, one may soon acquire even a rapid vibra¬ drive around and pick up such children as will not voice upon which the teacher is working. This is my ■ scale fluently does so because it has become automatic artist are the voice, a correct ear and musicianship. Al¬ be apt to have a sleigh ride; and with four good advice to the vocal aspirant. Don’t sit back and say by through practice. The fingers could not do it without tory oscillation of the wrist which will serve to execute though this is the order of their relative importance, a shake, if need be. horses, and a good-natured driver, drive them _ implication to your instructor, “Now make me a voice." the command of the will, but the command is essen¬ they should come in the opposite rotation in the cur¬ and down dale, singing Christmas Carols; the substi¬ riculum : Musicianship first, ear second and vocal train¬ The teacher, at best, is only a critic and adviser, and tially a complex one. It is for this reason that the As aan added aid, cultivate the habit of moving those tute, for our times, of the trudging around of those ing third. can only lead you to accomplish at much as your men¬ virtuoso pianist must work long and intensively upon joints of the fingers which are injliedded in the palm little folks, who sang perhaps under King Alfred's tality and vocal organ are capable of mastering If his repertoire, repeating difficult and complex passages of the hand. The palm of the hand is not a solid, in¬ The most comprehensive medium for the vocal stu¬ window: dent’s study of music appears to be the piano, and this you make a faulty tone and your mentor corrects it, o> thousands of times, not merely for the purpose of ert object, like a chunk of rubber, but is capable of “ Carol, carol, Christians, ™a.v become useful later, but I also recommend the rather, leads you to correct it, be sure you understate smoothing out the passage and memorizing it but for much independent motion and change of shape. Piano the sake of establishing the automatic faculty. This Carol jogfullg.” violin. This latter is nearest to the human voice, not just bow and why before going further, Don’t go on pedagogues in time past have failed to realize that fact should not be taken to imply that the virtuoso pianist inly in its tonal emissions, but also in its demands upon blindly, satisfied that the tone hat been improved, or sufficiently. Properly trained, the little finger really is an automatic player,—although he would be if he •he accuracy of the player, A violinist, like a vocalist, you will probably lapse into the tame error again. reaches back, not to the body of the hand alone, but did not possess a sensitive soul. The automatic facul¬ Footlight Fear and Fever must make his own tone and pitch, and the training of That ii the way to train a parrot hut not the voice and ties must be so developed that they are wholly and practically to the wrist, making it one of the most •he former is admirable preparation for .the latter, intellect of an intelligent singer. If the teacher cannot completely at the service of the soul in order to insure efficient of the fingers, and by no means a weakling. By George S. Stewart while both of these instruments are indicated for the make you understand juat how each step is accom¬ artistic expression. vocal student, if one or the other must be eliminated, I plished, then one of two things is certain: You art Too much thinking may develop what is known as Most of the students who have footlight fever to* would prefer that the violin be maintained rather than very atupid or you have a had teacher. the phenomena of Amnesia,—that is, the inability to nothing whatever of footlight fear. The urdeal« •he piano. In the first stages of development of the silent read¬ remember special words. Everyone knows that it is How to Use the “Etude’s” Educa¬ going out before an audience is one that is so sei Whatever medium the pupil does elect, it must be ing faculty, it is necessary to start with an authentic Hear Your Own Voice and Those of Great Singers extremely difficult to remember names or verses of tional Supplement that many strong men have been made to qua e, *en up seriously. The statement that a singer must key from an instrument of set pitch—a piano if avail¬ The student of the present day has facilities one poetry if suddenly pressed to do so. When one thinks though they had the palsy when they face the 08 a)so be a musician does not imply simply a player of able or whatever is, even a tuning pipe. I have used hundred per cent greater than did those who studied too hard they simply do not come. A verse long known Realizing the need for an appropriate portrait glare of the footlights. • wordy accompaniments, but a master of essentials, the latter often when traveling or sojourning where a before the various reproductive machines variously by heart absolutely refuses to come to mind. How¬ to supplement the biographical studies in The Footlight glare seems to have a. strange hip theory, harmony, and even a student of orchestration. piano was not conveniently at hand. As the beginner described as phonographs, talking machines, etc., wcri ever, by lightly repeating the preceding verses and Etude, we present with this issue a portrait which effect upon the inexperienced. It has often heenf goes on reading through a piece of music it is necessary perfected. leading up to the verse you have forgotten it all comes may be framed in a very ingenious and original cussed by psychologists and is in line with c Training the Musical Ear occasionally to check up by sounding the instrument We not only have the opportunity to hear and study available to make sure that the mental car has not back with great fluency. manner at slight expense. Simply procure a good forms of effects that bright objects suddenly In bringing the ear as near to perfection as is hu- in private the methods of the world’s greatest singers wandered from the pitch. As the habit of carrying Once established that the fingers play with agility piece of window glass measuring exactly eight by before the eyes seem to have upon the mind. , Possible, the pupil should aim at nothing short and the actual results of those methods, but also are the key in the mind grows, this checking becomes less what the mind commands through the will it must be ten inches; a standard size that can be procured If you have planned a recital with a earefu y ^ I abs°!ute pitch. As the method for this training is able to hear our own voices and correct errors and and less necessary until finally the student becomes clearly the passages to be played. While even children m any store where glass is sold. Place the glass adequately prepared program only to find Tgely specific it is hardly necessary to give its details, deficiencies. absolutely independent of any assistance from an w- can grasp passages of moderate complexity, such as the over the face of the portrait; fold over the edges moment you went before the footlights you t on conservatories of standing have their established This is not mere theory, for it has been practically simple scale or (he simple arpeggio, there arc advanced of the paper so that the plain border on the back like an aspen you realize what a serious thing ethods, which are pretty much alike, and only differ '‘AsTe'faculty of silent reading becomes set, the mind demonstrated in my own experience. 1 never readied There is only one cure for footlight fear ^ musicians who can not seem to grasp clearly some ex¬ of the portrait covers the edges of the glass all fording to the variations introduced occasionally by “ picture of the tonal scale so completely my present profidency until I bad heard and studied tended complicated passage, either because of poly¬ is footlight experience. Just as a skittish horse ' my own voice re-created mechanically, and have learned around. Neatly remove unnecessary white paper ,nd,vtdual teachers. Sat the chance of error or wandering from the p.tch phonic density or technical obstructions. Therefore margin and paste down in passe-partout fashion. beside a locomotive and held there u|,tdJ”50‘r sjngtr -^side from the recognized exercises and tests which more and achieved more since I made my first phono ness disappears, so must the young performer ^ graving two years ago than I did In all my life befor when the faculty of clear vision fails, the pianist can A hanger may be made in the shape indicated ,applied thoroughly for this purpose by a good 'S If'ffiis'practice is carried on simultaneously with the not be sure of the passage. above the biography from tough paper and pasted he led up to the footlight glare until the «cher, i would advjse the pupi, when far enough ad- that. This is the first time I have told or written this disappeared. Any student who expects to *P ^ fact for publication, and I hape that each vocal student In all such cases the pianist has only one recourse. on the back. Schools, conservatories, private I j’-to cldtivate the habit of silent reading of music, and each teacher who reads this will tak« its full He must play the piece time and time again until it teachers and students will thus obtain a most ex¬ a theatre or a hall where there are foothgn» ^studying and memorizing by reading without singing, lnr «* l",|“ “,1 •""W'1"'’* import and act accordingly When an artist ia tenta- becomes absolutely automatic. But it is not the auto¬ cellent framed portrait at the cost of a few cents at least insist upon a rehearsal with all in or using any instrument to sound the notes tivcly engaged to sing for a recording company, the matic faculty alone which leads to great artistry. The supplementing the study of the master in this issue ,ights on , ! Iv,f0rf smaB ‘he score. By this process, the musician becomes '’Ywo.^rf-'l <•' ,n I”'1', rUT first step is to make a test record. This is done not pianist must combine with it a knowledge of historical P* The Etude, and providing the reader with a It is also a fine idea to appear first h ^ ,L-Uj0med to “hearing” the notes mentally. While audiences and that is one of the reasons only for the purpose of ascertaining whether this voice tradition, harmony, counterpoint, musical aesthetics. home U deCOrative picture for the study and s dbes not produce the sense of absolute pitch, it has rriS”; engraves satisfactorily, hut to start the singer on a His musical ear and his technical faculty must also be student should welcome all opportunities Jen,denc>- to strengthen the results to that end ob- fSjS,b cm *•» »<>.. tmU* brought into play. at pupils’ recitals organized by the teacher ed in class or private lessons under a master. servatory. : Page 790 THE ETUDE pECEMBER 1917 THE ETUDE Page 791 preliminary course of training in phono-graving. Even Christmas Carols Reading Detached Chords the greatest artists go through this process before There is a certain common form of arr . making records to be placed on the market. It gives ™ one a most peculiar sensation to hear one’s own voipe By Nana Tucker which many find quite difficult to grasp coS”*® least in sight reading, on account of the wide* coming out of a box for the first time. It seems a little bit uncanny until the novelty wears off. You apparent lack of connection between the ***** The singing of Christmas carols is an annual observ¬ study this record carefully while an expert explains to beat of the measure and those on the next °” 0”t ance in our class. The music is provided well in ad¬ r you the various imperfections and their causes, and The secret of doing this with ease and certain* vance of the season, and each pupil expected to famil¬ gives you a long list of “Don’ts.” Perhaps only one will illustrate by a passage from the left hand ‘an’! Musical Reputations and How They iarize herself with it, and to be able to sing from test may be necessary, but more likely others will be one of Chopins compositions: partot memory. It is one of the happiest of our happy times, needed. Even after you have had one or several records and looked forward to with an interest differing from released to the public, you will make some that will not are Achieved that attaching to the usual Christmas festivities. pass the committee which selects those to be marketed Carols in strict form are not so easily available, but and those to be destroyed. I have kept a copy of each there are carol-like hymns that answer quite well, and By HENRY T. FINCK of the imperfect records, for they are more instructive enable us to vary the program from year to year. than the good ones, and am having a machine specially Certain ones we could not think of leaving off: “Hark, In reading this the mind should n adapted for recording on soft wax for use in my daily t grasp the chords the Herald Angels Sing!” by Mendelssohn; “Silent Distinguished Critic and Author vocal practice in my apartment, in numerical order, but rather perceive (1), (3) Night,” by Michael Haydn, and other favorites. "O I would advise every ambitious vocalist to go to one (7), as a melodic phrase in octaves, while ’chord (4) Little Town of Bethlehem,” the words by Phillips of the recording companies and have at least one record is to be apprehended from its relation to chord 12) Brooks, is beautiful, sung or recited. As is Martin not from its position with regard to (3). ' ’ A prominent lawyer once said to me that “a pro¬ made and a transmitting copy stamped. It will cost as aldme Farrar, Lillian Nordica, Emma Eames, Zelie de his admirers by launching serious orchestral and choral Luther’s hymn, beginning fessional man usually spends the first ten years of his much as a dozen or more lessons, but will be much Dr. R. T. White, an eminent English musical an Lussan, and others, had rare personal beauty to facili¬ life trying to get his name into the newspapers—and works betraying futuristic tendencies, consummate tech¬ more valuable. If I were directing a school of vocalism “Away in a manger thority, recommends that when a young pupil fira the rest of his life trying to keep it out of them.” tate a successful debut; but their vocal and histrionic nical mastery, and delightful originality. 1 would install a recording outfit in it as the most attempts to read a passage such as above he should be A crib for his bed. He happened to be a millionaire and did not need gifts gradually relegated that to a secondary place. A reputation based on real merit—as in the fore¬ valuable adjunct next to the employment of the most directed at first to practice chords (2). (4). (6), (g) going instances—is the only kind that has a solid and The little Lord Jesus any “free advertising.” I assured him that professional talented teacher available. as a continuous series. Miss Novaes and Percy Grainger lasting foundation. If Paderewski's early success had Laid down his sweet head.” musicians do not act that way. Most of them are Experience has shown tl reilly been due, as his Jealous foes declared, to his )■ helpful ambitious to get their names not only into “Who’s Two particularly interesting recent instances of how We have found it well to intersperse the carols by expedient. fiery locks and his dimly lighted recital halls, it would Who," but into as many newspapers as possible; and if real reputations are won are those of the Brazilian bits of information given by One pupil and another ndt have outlasted one season. He triumphed because they do not succeed, many of them go to the adver¬ pianist, Guiomar Novaes (pronounced No-vah-esh), Three-Measure Rhythm bearing on Christmas. As, for instance, the connection his interpretations revealed the genius of the great and the Australian pianist-composer, Percy Grainger- of Christmas with the old Roman festival; the signifi¬ Are the Black Keys Poisonous tising department and pay for the privilege of calling composers, as those of no pianist since Rubinstein had cance of Christmas candles; the customs in different public attention to themselves, year after year, to the two genuine artists, whose appearance has confuted the done. He made the matinee women so enthusiastic in By Philip Gordon, A.M. to the Thumb? end of their career. lands of observing Christmas. Or, some one who re¬ pessimists who dolefully descant on the alleged dying- their comments that even men—American men, mirabile cites well, may give a Christmas poem, or part of a As every’ beginner knows, all scales on the piano are That helps to build up a reputation, and a reputation out of the race of great musicians. dictu!— got the habit of going to his recitals. His fingered in such a manner that the thumb is used only If music were written entirely in strict four-measure specially beautiful Christmas hymn. But to combine the in music is more important than in most other pro¬ Miss Novaes enjoyed the advantage of being sent playing to-day, after three decades of successes, is on white keys. rhythm it would soon become very dull and monotonous. usual class recital with the carol singing is not to be fessions. A teacher who has one does not need to by the Government of Brazil to Paris to continue her more entrancing than ever, and all attempts to injure Indeed, by the time the patient teacher has succeeded The four-measure phrase with whiclv no doubt, the thought of; it must be a distinctive occasion, prepared hunt for pupils; they hunt for him. He can make his studies. That its confidence in her was not misplaced a reputation so firmly established on merit recoil on student is already quite familiar, is subject to a great for in the true Christmas spirit. An abundance of in leading a pupil to mastery- of the scales, the pupil own terms; his dinner-pail is full every day; and in was shown when, at the entrance examination of the those who make them. deal of variation. One form of variation is the so- attractive material is to be had once the mind is set is apt to realize this fact in a much exaggerated form, summer he can travel and rest, at home or abroad— Conservatoire, she took first place among 388 contest¬ Paderewski and Josef Hofmann called three-measure rhythm. The formal relationships to it, no known festival, Christian or pagan (and and imagine that there is something highly improper war and submarines permitting. And just as pupils ants from all parts of the world; the members of the hunt for teachers of established reputation, so man¬ existing between this interesting structure and the Christmas seems getting to be both), having so. much and pernicious in ever using the thumb on a black key. jury, among them Debussy, Moszkowski and Faure, Perhaps the most noteworthy thing about the popular If conscientious, the pupil will often make the most agers and clubs pursue famous singers and players, normal type need not be discussed here at any length, charm in its very suggestion, or being so much written being so impressed by her wonderful playing of Schu¬ success of Paderewski is that he achieved it without painful and quixotic efforts to choose fingerings that allowing them to practically make their own terms. suffice it to say that the usual feeling is that of a four- about. mann’s “Carnival,” that they subsequently asked her the aid of the least trace'of charlatanry. Not once follow this supposed rule. Surely, the question, “How are reputations achieved?” has he stooped to conquer. During a quarter of a measure phrase with the first measure omitted. In¬ We use candles—white candles everywhere—for light¬ to repeat it. Did ever a young girl have a brighter Another thing that encourages this superstition is is all-important from the practical as well as the ideal century I have attended nearly every one of his New stead of the customary form j—| ja. we have — | OA. ing; and the rooms are dressed in English ivy, grown feather for her cap than that “encore”? the old-fashioned editing that is found here and there point of view. York recitals, and in all this time I do not recall a Our two examples make this quite clear. The first at our home with a view all the year to this time in certain editions, in which the traditional scale¬ The war frustrated her projected European tour and single piece on his programs that was cheaply effective is from Brahms’ Hungarian Dances. The entire dance Not until after the carols do we add any color. The fingering is followed pig-headedly in cases where the Lillian Russell and Marianne Brandt she came to the United States. But how was she to or sensational. He lias placed his phenomenal techni¬ frozen cream also is white, and white frosted cakes is written in this three-measure rhythm. make her reputation here, with no money to make cal skill entirely in the service of the best music. Never context plainly calls for an exception. The fence around fame has many gates by which it are used. One year when the refreshments appeared, herself known by a public recital? Fortunately a Bra¬ has he attempted to show off his own skill either as a The usual accepted fingering for the scales is with¬ may be approached. The easiest path is that which is No. 1 each tray bearing a number of plates, on every plate zilian journalist and Maecenas, J. C. Rodrigues, sup¬ player or a composer—indeed, he has played his own was a little lighted candle in a tiny candlestick—an out doubt the best for general practice and for nse paved with beauty. A succis de beaute has launched in scale passages under perfectly simple and normal plied the funds, and after two recitals at Aeolian Hall pieces all too seldom. effect which gave great delight. Always each pupil many a young woman, giving her the publicity needed conditions, but the pupil should not be taught that it she was one of the most favorably known pianists in is given a little candle on leaving, to be set in the for a favorable start. The most conspicuous case I Extra Encores applies to everything, every where, in piano music remember is that of Lillian Russell. When, in the the country. She, too, has beauty, of the Portuguese window on Christmas Eve to light the Christ Child’s type, but that is, after all, one of her minor assets. It was at his recitals that enthusiastic women began feet. In many cases the very best and most sensible lin¬ early eighties, she made her first appearances in New the habit of leaving their seats and crowding as near ing in some particular case will be that in which the York, in “Pinafore” and the “Mascot,” the audiences She won her reputation by her ability to interpret the Another year the refreshment was served in the din¬ the stage as possible, demanding encores and extras thumb is used on a black key, and the pupil should be were so dazzled by her beauty of face and form that great masters as if they themselves were at the piano. ing-room, the young guests standing around the long until the post-recital was almost as long as the pro¬ encouraged to use it without suffering the pangs of a ber crude singing and acting—for she was very young With her rare gifts she would have won the same table lighted with candles. As the teacher played, success had she been as plain as Marianne Brandt. gram itself. This, to be sure, has been a sensational Here it is quite clear that the phrases are each three guilty conscience. -were overlooked. People listened with their eyes, "Hark, the Herald Angels Sing!” in the studio where Grieg’s enthusiasm for Percy Grainger did more than feature of his recitals, which has done a great deal measures long. The accents fall on measures one, •he critics along with the rest of the spectators; and they were assembled, they took their places and marched anything else to make him favorably known at once; to “advertise” them. But no one censured him for three, four and six. That is, the first and the fifth Miss Russell woke up 1 to find herself famous. She toward the sound of the piano in the dining-room, his own personality and his electrifying performances these scenes—except some rivals who w’ould have given measures of the usual eight-measure sentence are A Time to Rest and a Time to Grow soon improved as a singer and as an actress; but to which had taken up the music that, of course, they had did the rest. His genius as a composer came to the anything to see them enacted at their own recitals. omitted. The' student can convince himself of the •he end of her career she realized the stage value of been taught to associate with the composer. After assistance of the pianist; his delightful arrangements They helped to establish Paderewski’s reputation, in a truth of this assertion by adding a measure at the By Bernard Schwartz her beauty, and in recent years she has contributed beginning of our extract and another after the third the refreshment—a feature planned always with all of English and Irish folksongs made audiences bubble perfectly legitimate way; for lie played these additions many articles to the women’s magazines describing the to his programs in an inspired way partly consequent measure of our extract. They will both be unaccented possible thought—the return was made to further sing¬ over with joy; and when the danger seemed nigh that daily exercises and other methods she adopted to pre¬ upon these very exhibitions of frenzied enthusiasm. and will bring out forcibly the exact similarity of this ing, and good-byes said decorously and happily. Scientists used to tell us, “Nature makes n° he might be classified as a mere arranger, he astonished serve it as long as possible. • Second to Paderewski only is that form to the normal type. The entire piece should be Something not done any previous year is always to It sounded reasonable enough. Yet if we look » Yet there have been plenty ot sing¬ other Polish pianist, Joseph Hof¬ examined ; the passage in two sharps is very interesting. be desired. Once, during a winter of much suffering matter we shall find that it is a maxim which i Our second example (from Haydn’s quartet, Op. 20, among the poor, each pupil was requested to bring a very misleading. .. L.at les whose fame exceeded hers but mann. His career suggests the ques¬ No. 1), which we abbreviate and compress on one contribution of her own clothing, and it was beautiful Probably you have come across many pupils ffho, like Schumann-Heinck, the tion as to whether being an infant stave to save space, is particularly interesting because it to see the happy interest with which they came with first make very brilliant progress, and then, , greatest and most admired contralto prodigy helps to achieve an enduring shows very clearly just where the accents fall. The their bundles, and the interest taken in their dispo¬ ently for no reason, come to a standstill, an of our time, make no boast of sim¬ reputation,' sition. second and fifth measures are dissonant in harmony; mark time, or else deteriorate. What is to ^ ilar doll-like personal beauty. The As a rule it does not. Timtf was Another year, one of our number was in the hos¬ when the exploiting of juvenile talent they are therefore unaccented. Here, too, the student in^uch a case? Now the reason, of course, dramatically illustrious Marianne pital. She was studying violin as well as piano, and or skill was profitable. Audiences of interest. It is necessary to find some way “fandt was probably the most homely being an enthusiastic little student was practising one marveled on seeing and hearing mere ing the interest of the pupil. , g,0* Prima donna that ever trod the oper- evening on her violin before the open fire, in her When a child develops into a man it d°eS rovfth is tots on the platform exhibiting a dig¬ atlc stage—yet she took all hearts nightrobe. Before she was aware the light garment steadily, so many inches per year; but t e g ^ ital dexterity equaling that of expert was in flames, and she was terribly burned. A shower and minds with her superbly im¬ adults. But that is seldom the case of Christmas cards was sent to her, all mailed together fast.IS* at others. That is how nature ' *4 passioned art. Liszt called her now: people have learned that from the studio, and affording opportunity for the pupil v fhe German Viardot-Garcia,” and nearly all these todlers, though clever expression of a sympathy that carrying the Christmas dropped it for some time begins aSa‘n’ _e5 rapM agner was so deeply impressed by with their fingers, do not exhibit the spirit meant more to the pain-stricken one than at any of the work acts as a stimulant and . the** ®r art that he invited her to be one soul of music. other time it could have meant. progress. As soon as the novelty w . und # °f his Bayreuth artists. When at- Rubinstein had no use for these in¬ is a tendency to lose interest. Now I na' my tention was called by her to direc- fant prodigies, knowing that nearly can aid his understanding the structure by supplying an the best method of curing this to be as >° ’ '-ves the all of them merely flash across the additional measure before the first and before the lons *n the text as to Kundry, “a Liszt himself thus luminously estimates the work pupil mark time for a little while. w|,at K1 i horizon like shooting stars and then fourth measures of the extract These added measures 0Un& woman of the greatest beauty,” of Ludwig von Beethoven: “For us musicians, the work pupil’s mind a chance to digest thoroug y that disappear forever. He realized, how¬ will be unaccented, just as are two and five. •oh, she protested, she could not of Beethoven is like the column of cloud and of fire been learnt in the past. Then I choose s atteII1pted ever, that a notable exception was Those who are acquainted with Beethoven’s Ninth 'Ve up to, he replied: “Never mind that led the Israelites across the desert—a column of is noticeably more difficult thantD0 hard; I® Josef Hofmann, whom he conse¬ Symphony should not confuse this three-measure o beauty; I need a clever actress another °»hore!—j" U. iJoixand. cloud to lead us by day, a column of fire to light us Music teas a the « quently accepted as one of his few rhythm with Beethoven’s “ritmo di tre battute.” The before. When my pupil says, “Th!s„lS an5*er's' a that you are; cosmetics will do by night, so that ive may march day and night. His afraid I shall never be able to do it, that y°® the rest.” pupils. latter means that each measure is but one beat in length obscurity and his light equally trace the way that we “It is rather hard, but then you must I’m and that it takes three of these one-beat measures to Adelina Patti, Emma Calve, Ger- should follow; the one and the other are a perpetual are now entering the fourth grade, e c., make a measure of the true rhythm of the piece commandment, an infallible revelation” you can do it if you only try.” Page 792 THE ETUDE
When little Josef first came to New York he was succeed five hours’ worth; plenty have natural voices is Compulsory Music Study Ad,fa about eleven years old. I went to the Windsor Hotel equal to mine, plenty have talent equal to mine, but I to see him. While he was sitting on my knee, I showed have worked.” him a large picture in Harper’s Weekly of Siegfried’s Mme. Birch Pfeiffer relates that one day she left By Mae-Aileen Erb fight with the dragon. Looking at me, he asked, “Are Jenny Lind practicing the difficult German word, “zer- __ there any dragons in America?” splittre,” and when she returned several hours later The question is often asked by parent,, "a Yet this boy, so juvenile otherwise, played as maturely she found her still wrestling with the same “jaw¬ pay to continue instruction when the chi d’ i* thirty years ago as he does to-day. Indeed, there were breaker.” interest whatever in the lessons and rebd l > details in his playing of Chopin’s concertos that I doubt Lilli Lehmann writes, in her book on How to Sing: practice ? toe dii], if he—or any other pianist—could match to-day. It “After I had rehearsed a role a thousand times, I would John heartily dislikes school; is John n was inspiration, it was genius, pure and simple, that go into the empty theatre and rehearse single scenes, stop school? Certainly not. Why no^V^5 The Successful Study of Octaves taught him to play so divinely. It was through that as well as the whole opera, for hours at a time.” cation is.now a recognized necessity Tohns inspiration, continuously manifested, that he achieved If teachers would urge their pupils to read such care for his music; is John allowed to stop hist! By the Distinguished Pianist his reputation—a reputation that even his occasional books they would often accomplish more than by In many cases, yes. Cl!0 lapses into a blase indifference have not dimmed. merely technical instruction. By teachers, I mean Why? Because the American people do M « ERNEST HUTCHESON honest, decent teachers, the kind of teachers who read realize, as yet. the vast benefit derived from 7 Fritz Kreisler and Maud Powell The Etude. of music. Among the older European nation 2 | The following article is one of the most lucid, orig¬ Some of the greatest musical reputations were by more are acquainted with classic tradition J stance, one would think much more of acquiring a misguided editors, ruins the legato effect of the upper no means achieved rapidly, like Hofmann’s. Fritz The Charlatan and His Reputation the innate aspiration for the worth-while refill* inal and helpful pedagogical discussions that The flexible ‘circling’’ movement of the arm than of the (t. e., the important) voice. Music is regarded, not as a luxury, but as a nej Etude has ever been privileged to present to its readers. position of the fingers on the keys:— Kreislers, for instance. While he is now generally Oara Louise Kellogg, the great American prima In nearly all right-hand octaves the upper voice is, acknowledged to he the ‘Paderewski of the violin,” Octave-playing appears to be regarded by a large' as 1 have just remarked, the more important, because donna, writes in her interesting Memoirs: “To young Parental Discipline Needful it took him years to win his place on the summit of the girls who are contemplating vocal study, I always say number of teachers as a mystery. The inquiring pupil, the ear conceives it as the true melody. In left-hand Parents weary of the practice problem; yet nun,, musical Parnassus, Season after season he played in that it is mostly a question of what one is willing to in search of tangible help and explicit instruction, is all octaves, on the contrary, the lower notes arc more European as well as American halls to small audiences. parent will say: “If 1 had only practiced or been 7 give up. If you really are prepared to sacrifice all the t,m often put off with vague and unsatisfying general¬ important, for they arc heard as the true liass. Great Doubtless he would have attracted the larger public to practice when I had the chance, what a Dw! fun that your youth is entitled to; to work and to deny ities. There is no good reason for this. Octaves are Fingering That Solves Octave Problems care should be taken, therefore, to make the little sooner had he been willing to make concessions—to Music would be to me now.” A child does not'* yourself; ... to make music the whole interest of merclv one branch of technical study; a somewhat Staccato octaves may, at the option of the player, huger of Unit hand* play distinctly. In fact, it is indulge, like most fiddlers, in sensational Paganinian the importance of the study or know how mud, j* he taken either entirely with the fifth finger, or with your existence; if you are willing to do all this, you special branch, it is true, hut as amenable as others to wise to go even further and allow the balance of tone tricks of virtuosity. But he never cared for these will want it when older. He lives only in the present intelligent research and practice. the help of the fourth finger on black keys. In legal.' to preponderate in favor of the little linger. To ntake may have your reward.” He cannot look ahead into the future. For this» dazzling displays of ornaments rivalling those of a To play octaves well, it is first necessary to culti¬ up for this, the thumb in octave-playing should do The trouble is that barely one in a hundred of the son every child must be guided by the experience oiH Donizettian prima donna, He set out to win with vate a rational hand position. The thumb and the girls who aspire to stage honors has the courage or elders, who know what is best for him. almost all the work in measuring the distance of simpler and more artistic methods, playing soulful little finger should lie bent inward at the tip when leaps. the perseverance to do such work, and make Such sac¬ Here is where DISCIPLINE comes in. If a a melodies in a soulful way. It often gave me huge playing white keys, so as to avoid the possibility of rifices. Most of them practice mechanically, read no has learned through experience, that by coaxing jii Action, and What It Means in Octave Playing pleasure to see how his audiences gradually but steadily books but novels, dodge honest teachers who tell them worrying his parents to a certain point he can eventu¬ striking two notes instead of one. For black keys, grew, until, a few years ago, the largest halls began In nty opinion, octaves should at first lie prac¬ the truth, and place themselves in the hands of charla¬ ally win his own way, he will naturally take full on the other hand, the thumb may without danger to be too small, and hundreds of chairs had to be put tised forte, slowly, and with a portamento action, tans who promise for a certain sum, to land them in vantage of their weakness. On the other hand, ifi be spread. The unoccupied middle fingers must be on the stage for the overflow audiences. His return using the whole arm, keeping hand and lingers firm, the big opera houses in a few months. parent accustomed to filial obedience, says, “Practice- held well out of harm’s way, so that they cannot from the trenches merely accelerated this achievement; and preserving a loose and yielding wrist. This is A parent or child may find it as difficult to distin¬ that practice will be accomplished. strike additional tones. Some players hold the mid¬ it would have come in a year or two, quite without the Iwst method of acquiring n good position (en¬ guish a charlatan from an honest teacher as a poison¬ dle fingers straight and high: others keep them such sensational aid. Encouraging Instances suring cleanness), avoiding from the outset stiffness ous toadstool from an edible mushroom. But any curved but raised; a few pianists hold them sharply Maud Powell is among women violinists what Fritz of the forearm (the great lianc of octave-playing), instructor who promises to land a pupil in the opera The writer has in mind several cases which would recurved, hut few students will care to adopt this Kreisler is among the men. The last time I heard her and developing power without harshness. prove that enforced continuance of lessons is highh position, which is too cramping except for quite house in so short a time must be viewed with suspicion Next, octaves should he studied wiih a staccato play she seemed to me not only the best of her sex advisable. The first example is somewhat different and alarm—alarm because he may actually succeed in large hands. I leave this to individual preference, action, using the hand from the wrist. This is best but quite equal to any of the men who wield the bow, from the others. This boy, after two years of indif¬ thus placing her if she is very beautiful and has a insisting only on the main point—to keep the un¬ done with a lighter touch, piano or meseo-forte, excepting Kreisler. She, too, achieved her reputation ferent study and erratic practice, had made no per¬ lovely voice; but it is absolutely certain that in such occupied fingers out of mischief. and in increasing speed. The hand ami fingers by setting herSelf a high ideal and living up to it. The ceptible progress, was voted untalented, and allowed a case the voice will break down under the premature The hand itself should be high, the knuckles not should still keep their fixity of position. leading orchestral conductors soon vied with one an¬ to drop his music. When the boy was fourteen, ■ I strain; it will not last much longer than the few months bent inward, else wrong notes may easily he Last, the legato action should lie practised. Here other to secure her co-operation, and her delightful school entertainment in which several other boji I sounded by the inside of the hand itself. This recitals have been enjoyed all over the world. She of its training. The rest is silence—and tears of played piano and violin, brought him to the realiiatto i the lingers come into play, though their independent anguish. happens, in fact, far more commonly than might he did not lower her standard by making a tour of the of the pleasure to be had in the ability to play. After | action is still small; consequently the hand-position supposed. is less fixed. One can hardly do belter, in studying globe as soloist of the Sousa Band; for that band is There are men—and women, too—who have made much persuasion, his mother, loth to repeat the forr | The position of the hand and fingers, except for legato octaves, than follow the principles laid down one of the best of its kind, and its audiences call for reputations by thus selling beautiful girls and voices experience, consented to a second trial. His pro?- , h’gato octaves, should be held with some firmness. by kullak in his “School of Octaves." A brief re¬ the best there is, with a liberal admixture of lighter to equally unscrupulous managers. Morally, such teach¬ ress this time was extraordinary and showed that hr view of the most important features of Kullak's pabulum. ers are not much above the level of white slavers. trouble was not lack of talent but lack of desite and It is not easy to combine this fixity of hand with the desirable relaxation of wrist and arm, just, as system will be useful to readers not familiar with The careers of these two eminent violinists, like those One of the world’s greatest teachers, Leschetizky, to application. He awoke in time, but many wait m | it is not. easy in ordinary finger-work to combine his trratise. of Ysaye, Wilhelmj, Joachim, and many others, show whom Americans flocked by the dozens, declared that too late. | firmness of the nail-joints with.complete relaxation 1. Flexible use of the wrist, raising it for black that, as a rule, it is well that reputations should be while often they are willing to work, “their main fault Another case to be cited is that of a child is their extreme hurry.” And that is what gives the blessed with a touch of genius. Though dullin scW elsewhere. But it is very necessary, for if the hand- keys and depressing it for white:— accumulative. It is this kind of a reputation that, as position is lax the octaves will be sloppy and un¬ charlatan his opportunity. He caters to this hurry and work, music has no difficulties for her, and si»«® a rule, is the most firmly established and lasts longest. clear, and if the wrist and arm are stiff the tone finds it profitable to himself. He places the girls age of six, she has delighted every one wit" James Huneker says well in his latest book, Unicorns, will be hard. others hear of it, and rush into the trap, in a hurry. beautiful improvisations. Unfortunately, indolent that Maud Powell “will never be finished because she self-willed, she objected so strenuously to the P* Practice With Scrupulous Care will always study, always improve.” Selling Reputations tice of things essential to musicianship, that hern® At first, one should practice with scrupulous care found it necessary to sit at the piano with her, o * not to let any keys except those of the octave be so How Impatience Ruins Musical Reputations , , , -- hi mat oi i more hours daily for six years. Frequently her much as touched. This is too severe a precept to 2. Training of the thumb to make smooth bindings :- It is largely because young artists usually lack the genuine artist, the reputation must be accumulative was called upon to administer more drastic t he observed in free playing: in the end it will suffice E».t. patience *to work for an accumulative reputation that It has been well said, by a prominent editor, that “mam She is now a brilliant pianist at the age of ® ^ if no extraneous keys are moved, even slightly. Mr. Ernest Hutcheson. so many fail. teachers do not merchandise their reputations properly has outgrown her aversion to practice, and ev« Only in this way will the octaves be invariably clean When I began tny career as an author I was so when they are once achieved. They are afraid to as! dreams of a career on the concert stage. B ?nd accurate. I wto should receive. TW playing the use of the fourth finger becomes "Utah jy. fortunate as to have the eminent historian, John Fiske, had been permitted to follow her own early i There should he no fixed position for the wrist. A chiefly on black keys but often also on the white. as my adviser. When I confided to him my disappoint¬ well the value of a trade-mark, and he indeed of ter tions her great talent would have remained u high wrist with low and bent-in knuikles is especially Urge hands may even use the third finger to advan¬ ment* because my books on Romantic and Primitive sells a trade-mark for a fine figure where there is no oped. to be guarded against, and is almost always indicative tage as for example in the chromatic scale .- Love had not brought me the $100,000 I had wildly exchange^ whatever of the commodity.” The Problem an Old One ^ ot stiffness. The forearm should remain loose, allow- hoped for, he wrote to admonish me that I must be Printer’s ink, while a considerable part of the game The struggle of parents in modern times ^, lnK the wrist to rise or fall as occasion may demand, patient and plod on, piling stone on stone, as he had of getting on in the world, is not the most important ferem from that of former days. BeetM*® h is very important that the elbow should be loose, done before he had won. part by any means. There is more money waS in child in the eighteenth century, was '°,rceY. it will be convenient to most players to hold it a tn e Among the great singers I have known, Lillian Nor- than usual. A stiff elbow is one of the most printer s ink and in newspaper and magazine adver¬ hours at the piano against his will, but who c ^ In slow passages, a change of fingers on one key is dica was preeminent for her perseverance, and patience tising than in anything else. So few teachers and to estimate the significance of this training Prolific sources of failure and fatigue. often possible and helpful: in overcoming obstacles. Had she been satisfied with later years, and its value indirectly, to W •s” much for the position of the hand and arm-. ;Searl?aTml ^ * * va,uelcss * is used the lovely lyric voice of her girlhood she might have jear in and year out and intelligently used 1 i who have studied and loved his incotnpara ^ ^ Cef.,rc leaving this phase of the subject, however. I enjoyed lasting popularity in the concert halls, in ora¬ »' publisher who h.s often reiS.d’.dver.llemM Genius only visits the favored ^ew’ i—yboard^ should like to point out the necessity of playing white torio, and in light, tuneful operas. But she aspired because he could not see that thev could lead to anv couraged if your child does not stay at the jnd black kevs without a noticeable shifting of the to be a dramatic soprano—to sing the great Wagner ultimate profits. He feels that it is just as good bus^ the half-day and has to be pulled away r° ^ ".an<1- It is true that a white-keyed octave is easier roles—the Briinnhildes and Isolde; and she succeeded, cases are the exception rather than the n ^ ^ " 'aken at the end of the keys: hut if this is done, Beware, however, of changes of finger like the M- with the aid of Anton Seidl and that very clever musi¬ “ !°'hlZ ,r°m l0!in* money cation and perseverance count more in t-'ety change from white to black keys or vice versa cian and coach, Romayne Symmons, who knew the These bindings arc quite easy in sliding from black than talent minus the above qualities. demands a great displacement of the hand and forearm. Wagner scores by heart and went over the parts with to white keys- difficult in passing from white to black, White keys, therefore, should usually be attacked well the great prima donna over and over again until she and quite awkward in passage* of continuous diatonic “P Pn the key, as near the black keys as possible and knew them by heart. In a talk with me at the time character. The thumb can lie trained to a quite sur¬ It,SIC should charm unaided, but lls e ,, fU‘; naturally o»e should play black keys as near the end oj I was writing my “Success in Music and How It is :r when we use our imagination and ^J prising dtgrcc of skill in this respect. Won,” she said: “If you work five minutes, you suc¬ .,e key as possible. Exceptions may of course ie M .11 of the people somehnufJfcs or .om. l,:' 3. Training of the outer fingers in binding, by pass¬ may be grouped : > as to assist the mental grasp of Can You Pass This Normal Tea; ing long fingers over short or short fingers under them : long:— 1. Grouping round a central, or stationary point. Prepared by F. Marion Ralston A teacher in a prominent school in the Ex,{; — — — sends us the following examination which ^ to all students in the Normal Class (First q Wa,®'« mmm Piano Teaching. Can you answer all the'neSter)« Beethoven s Characteristics as a Pianist If you can not—better find out ’•why" Th qUeSt'0'11, of teaching are becoming more and more'll TUs Inu,'„iH a,M, h tht Frmch rtm Musica the time. sev*re jj 'he well-known Parisian Journal, and is especially instructive. Jio„Hr”iyw' ^ 4. Sliding between two white keys with the fourth How Was Beethoven Most Noted Among His or fifth finger:— 2. Grouping by succession of black and white keys. may nervousness in performance be „■ profound and so strong, has the most simple and correct come: • si Contemporaries ? prodigious force, intelligent character and also bravoura pose at the piano; no grand gestures, no flowing locks and velocity." Afterward his brilliant career as a vir¬ —-r 3- Explain clearly the use of fingers, hands As we dream of Beethoven, it is the author of sym¬ of hair; all his contemporaries attest that as he plavcd tuoso was suddenly ended. He became deaf. in technique for children in their first year phonies, quartets, sonatas, whom we see; it is- the he seldom seemed to raise his hands, one saw nothing 4. How does a knowledge of literature Master who renewed, enlarged, transfigured all the but his bending of the fingers; from which it follows Exit the Pianist Beethoven e increase o forms of music; it is the man who has created the most value as musicians? that one can be a great pianist without romanticism He appeared yet a few times in public, hut more and beautiful things with sound. But for his contempo¬ and without stage tricks. 5. State the keys which may be transposed by more rarely. Soon, likewise, he ceased to play before The most important of these points is the flexible use 3. Grouping by intervals. mg signature but not letter names of tones, and2 raries, at least for the contemporaries of his youth and his friends. He heard nothing more, he could not judge Wonderful Art of Improvisation ; Rivals Hint at of the wrist. This may at once be applied to the play¬ to do with D s, Ss, X s, b’s and bb’s in each case. Us maturity, he was not altogether that; more than a of the strength'of tone. He made his forte so violent (omposer he was a pianist, a pianist wonderful. and Demoniac Possession that it would burst line’s head, and his piano so light ing of staccato octaves, and more particularly to pas¬ 6. Write all of the Intervals from the tone C. to ih sages of repeated octaves. For instance, Liszt’s ar¬ octave C. telebrated among all; and for a long time it was the But it was above all the improvisations of Beethoven that one could not hear it at all. Ignace Pleyel, tiefore whom he played in 1805, found his playing full of faults, rangement of Schubert’s "Erlking” is extraordinarily universally recognized talent of the pianist which which let loose enthusiasm. Czerny, in his Autobi¬ 7- Name the octaves on the keyboard and descrd* and Spohr, who listened to him some years later, writes : difficult and fatiguing if performed with pure unaided gained recognition for the works of the composer. ography, has left us an interesting account of the im¬ “It was not altogether a pleasure." Little by little, he hand-action from the wrist; but if the wrist be alter¬ What were the qualities of this unparalleled pianist? pression which they produced. It was shortly after the In the above, one thinks the passage as entirely com¬ 8. Define : Tctrachord. major scale, phrasing, ifa. ceased completely from playing; hi* fingers lost their nately depressed and raised the piece is robbed of half What was his virtuosity, his sonority, his touch; his arrival of Beethoven at Vienna. “Jelinek, who was posed of leaps of a third, not alternately thirds and prctation, improvisation, rhythm and triads. aRility. Beethoven the pianist was no more. But hu¬ lingering? How did Beethoven play?- What would we one of the most celebrated of Viennese pianists, said its terrors:— fourths. manity has no need to regret it, however cruel for him 9. How do you memorize a piece? jot give to know how he interpreted his own works, to one day to my father that he was invited to a musicale 4. Grouping by melodic figures, irrespective of rhyth¬ was the endurance of deafness. If lie had remained a 10. What is the value of musical history? Write receive at first hand explanations of the intimate depths in the evening when he was to measure himself with a mic division. virtuoso, would lie have produced the sublime works very short history of the pianoforte. of his thought? It is a secret guarded by the past. stranger pianist. On the morrow, my father asked him of the last years of his life? It is fn grief and the Notwithstanding, thanks to the ample testimony of what had been the outcome of the tournament. ‘Oh!' solitary passion of his soul that he fBlind his last those who have heard Beethoven, one can form an idea exclaimed Jelinek with consternation, ‘I can't bear to quartets and his last sonatas, and great as was Beet¬ Some Pianos I Have Known of the nature of his playing. think of yesterday’s, soiree. Satan inhabits the young hoven the interpretive artist, lie stands effaced before man. iTiave never heard such playing. He improvised Reethovcn the creator. By E. A. Gest All fast repetition, even if not prolonged, is im¬ A Strange Pair of Teachers and a Real Master on a theme given by me as 1 never heard Mozart him¬ mensely aided by these wrist-actions. Take the fol¬ What Instruments Did Beethoven Use? There is only one thing worse than a poor piano, He commenced to study the piano at Bonn, under self improvise. Afterward lie played his own compo¬ lowing examples:— sitions, which are admirable ami grandiose; and lie It remains to say a word of the instruments which and that is a worse one! But even those almost hope¬ the direction sometimes of his father, sometimes of a drew from the keyboard effects such as 1 have never served Beethoven and by the aid of which he produced less collections of hammers and strings can be musician by the name of Pfeiffer; and many citizens thought of even in a dream.’” The young man "in¬ in hi* hearers such powerful impression. It is probable great advantage. of Bonn have preserved a memory of these strange habited by Satan” was Beethoven, and Jelinek, who was he made bis first studies on the clavecin, although the We all have had. at some time or other, an professors, who had ti e custom, when they returned terrified on this memorable evening, was one of his pianoforte was not entirely unknown at Bonn, and one tunity to practice on a bad piano, and we have atari from the tavern at midnight, of waking up the little may well believe that in his studies with Neefe he used Some of the most complicated octave passages imag¬ coldest admirers, as was but natural. During a score said, on such occasions, “This is a good chance to do Beethoven and making him play for them until morn¬ one of the new instruments. After he went to Vienna inable can be made easy to the brain by these simple of years, say until 1802, Beethoven’s renown was in¬ some practicing, but I just can’t stand that avrfnl ing. But Pfeiffer had soon nothing more to teach him; he played only upon the piano, and we know what processes ; and of course what is made easy to the brain credible; his compositions were not always understood, piano.” he then had lessons from a real master, Christian N'eefe, pianos were his: one instrument of Broadwood, one is instantly made easier to the fingers. but he was, without dispute, the king of the piano, even The next time such a chance occurs, make the most who had been one of the best pupils of Carl Philippe by the judgment of his rivals. instrument of Erard—primitive models, of which ex¬ of it, and gain something by it. Emmanuel Bach, and who, at the same time that he amples have been preserved, and of which we know Broken and Alternating Octaves Cramer said that he was the first of pianists “both For instance— transmitted to little Beethoven the severely classic for perfection of mechanism and for power of expres- the sonority to be monotonous and feeble. If from Try these first with an unmoving wrist ; then take Broken octaves are performed with a tremolo action, them he drew heroic effects, it could be laid only to Suppose the keys do not rebound quickly. technic of the theoretician and famous virtuoso, intro¬ And Czerny: That he had not his equal "for them with a quick upward motion at the points marked the fingers almost immovable, the arm swinging very Practice something with much repetition of one note, duced him to a knowledge of the works of the great what one heard in the music. loosely and rapidly by the use of the pronator and V, and you will easily convince yourself of the gain and see how firm and well defined your own finger Johann Sebastian. (The foregoing article was published some time supinator muscles. Many difficult passages in broken both in facility of performance and certainty of reper action must become to get good results. Then *ta A notice published in 1783 in the Dresden Musical before the outbreak of the present war when the noted octaves are to be found in the works of Beethoven, tition. It may be added that this applies to repeated you go back to your good piano you will be surprised Mogasiiie furnishes proof: “Ludwig von Beethoven, French publication got out a scries of special issues on and many of them are customarily translated into alter¬ chords of all kinds as forcibly as to repeated octaves. at-your own improvement. a child of twelve years who shows much promise of the great German masters. Notwithstanding the war nating octaves by modern pianists., For instance, the Suppose the action />f the damper pedal is slugfi- J"ent • • ■ ■ plays principally the Well-tempered and the natural prejudices that arise with such condi¬ following, from the last movement of the C minor clavichord of Johann Sebastian Bach, which his teacher, tions France has prepared to republish the works Combined Actions Concerto:— and blurs things most distressingly. . Practice something that requires much change Mr. Neefe, put into his hands. . . .” Thus he fas¬ of the German composers. Reethoven. Schumann. The wrist-movements which we have been consid¬ Schubert, Mendelssohn, etc., edited by French writers pedal—legato chord progressions, etc.—until yon ® tened himself to that chain which binds one to another ering necessarily bring the arm into play, and it will ■he greatest spirits in music. and musicians. She is not permitting the military and actually pedal cleanly. - be seen that legato octaves are actually performed by Beethoven worked several years with Neefe; after¬ political situation to interfere with masterpieces of Result—great improvement in pedalling, which « a combination of finger, hand and arm-action. Many ward he became his own teacher, and his talent was art.) be noticed on your good piano. _ H brilliant staccato passages require the use of both hand ally developed by the time he quitted Bonn to go to Suppose the tones do not vibrate or v>cnna, in 1792. and arm. The arm must obviously be helped out by the Practice a legato melody, and make it sound Do You Know? hand whenever the tempo exceeds a very moderate Result—much improvement in melody playing an“ Do you know that the Irish poet, Thomas Moore, Great Success in Vienna speed. Again, the hand very frequently does not suffice production stored up for future use. played the piano and sang his own songs so effectively to give the needed force for beats or accents. Nothing is usu; lly played :— Suppose the soft pedal makes no effect Vienna was then the center of musical life in Ger- that his listeners, among them Lord Byron, were moved e without tk is more commonly useful, therefore, than a reenforce¬ Practice to produce a really soft tone any; the most celebrated virtuosos sought a hearing to tears? ment of the hand by impulses from the arm at points use of the soft pedal. src; such, however, was the force of Beethoven’s Do you know that tile striking place or the point of stress. Suppose one key does not sound at all. . e»t, that though young and unknown, he quickly gained on the piano wire where the felt-covered hammer hits Exercise your "gray matter,” and transpose face among pianists of the first rank. He filled with it, may make a big difference in the quality of the piece, so that you will not need to use that W, ^ usiasm all the amateurs and astonished all the tone? The tone is richer and rounder when the wire Many other things might be at fault; but n0 l lsts’ as much by the perfection and power of his is hit at the most favorable point. It is more strident when hit near the bridge of the wrist plank in which what is wrong with the piano, do not let n: crpretation of known works, as by the abundance the pins are set. In the old harpsichord a different an excuse to omit practice. Take it as a *uc. 7 t v0tr ‘l . orce °f his imagination when he improvised on quality of tone was produced by a so-called “lute” This alteration seems justifiable, the second version to overcome some weakness of your own, an P B'ven theme, a talent at that time greatly appreciated. without which one would have no hope of passing stop, which affected the strings near the bridge. peg one notch higher up. The Grouping of Octaves effective °' * ^ bUt mUch more brillian‘ and Ther arrist• He united qualities the most diverse. Do you know that of all the one hundred or more fc were those who admired his “virtuosity so.ex- pieces written by Liszt's famous rival, Thalbcrg, only The grouping of octaves, which the last i imple Alternating octaves • ~ -- -’ ..— J-1— w .. . - , e first systematically used bv J ChC'rf kaordinaoary that the like has never been i one survives—his variations upon "Home, Sweet somewhat primitively illustrates, is of such great value . naeissolin, though they can be traced from the tech Practice Individual Tones in a Home”? Even this is rarely heard in this day. Nev¬ »iit|artJ and a8a''i, “his prodigious ability and the ease that it deserves more extended notice. We must regard ertheless. Thalbcrg in his “Art of Singing at the Piano." a——-*—J-J ’ nique of Bach. They are played like any other staccato By Grace Busenbark «rl l cb be rr|akes an end of difficulties the ltiost not only the merely mechanical ease gained, but also octaves; it is only necessary to keep the alternation and through his other sets of pieces, did much to . deVelopitf Shn™ tab*® ’’ Others there were, and they are those advance the art in his day. the mental aid afforded by the process of thinking the A sPi-ENniD exercise, valuable not only for 5e testimony is most valuable, who celebrated the Do you know that between thirty and forty men octaves in groups instead of isolated tones. Busoni 2,Ke',irhlt ,he ta"d! “ - -35S independence of the fingers,, but also f°r e solm DECEMBER 1917 ..'' C-Sif WeiLr--- the ETUDE Pane 797 — -- The Teachers’ Round Table Conducted by N. J. COREY How to Study Two Against Three’ Thu d'Partment "design'd to help the teacher upon questions pertaining to “How to Teach," “What to Teach," etc., and not technical trobl* taimng to musical theory, history, etc all of which properly belong to the Musical Questions Answered department * By FREDERICK CORDER Ftul name and address must accompany all inquiries. Professor of Composition at the Royal Ac'ademy of Music, of London, England Stuttering be a good one for you to try in a case like the one you To Promote Musicianship “Is there such a fault as a student stuttering mention. Perhaps the most annoying difficulty of the many while playing? If so, would very, very slow prac¬ Children should be placed in actual contact with “Kindly recommend a book on table exercise, that confront the pianoforte student is the occasional by playing the fourth bar over a few limes by itself. tice remedy it?”—C. M. on harmony suitable for young becl" '0116 music as much as possible, being enabled to listen to a occurrence in music of duple and triple accent simul- Then turn back to the beginning and with the aid of Stuttering is sometimes found in pupils whose brains, great deal of it, letting it “soak in” to their sensibili¬ . taneously or in close alternation. It is a little curious our formula your difficulty should have vanished. Half with the eyesight as pilot, go faster than their technic ties and thereby developing a love for it, and the that composers, great and small, have always ignored way through the piece the melody goes into the bass is capable of following. Practicing easy pieces, al¬ ability to comprehend it better when endeavoring to and the triplet accompaniment' to the R. H. but this I have seen no announcement of a book of an this difficulty and have frequently turned an easy piece practice it later. American children hear it too little, is merely like lrar J of the Sainl-Saens example, instead though the first obvious remedy, is not always efficaci¬ into a difficult one by its occasional introduction. And Mr PharlM T i«2, 11 K°' " w"» found s„ helpful Unit i arents go to good concerts, but send their children cises designed only for table work. The reason! ous. A very useful factor in the cure of this trouble it is still more curious that scarcely any pianoforte of bar 4: our formula still applies. Having mastered to the movies, and then wonder why they do not have this take a still slower exercise, the well-known Ro¬ is the cultivation of memory. Playing without notes handVdV” fiVCufinger eXercises> and all preliminlj instruction books, or “Schools,” even the most com¬ Corder^TtM BV'at,1,1,111 teacher* «"'l student*. Mr. will occupy the mind in another direction, and help a better musical taste when they grow up. With a hand and finger shaping exercises, etc., as outlined and shnnld’!!! L rf* upon10 the subject In further det.ll mance in B flat of Kuhinstein. How often has one pendious, give the simple method of overcoming this ana should be Immensely Interest tin- to Etcuk readers. ] materially to obviate the stuttering. Begin with very pupil such as you mention, I would, in the early stages many of the teaching manuals, may be practiced on fc heard this pretty trifle murdered by people who will difficulty once and for all. Pupils are generally left to short sections of a composition, increasing the amount avoid many studies, and let the exercises be few and table to the advantage of the student. I know® not take the trouble to use their brains! All the same, struggle with it again and again every time it turns up to be committed as facility is acquired. If stuttering simple. Select little pieces. The child thinks of music earnest student, who has been limited in her pracfa Rubinstein ought to have known better than to intro¬ and are wofully confused by the manifold aspects of has become a habit, playing from memory will aid as something pleasing, and is bitterly disappointed when for several months, on account of illness in the house duce this difficulty into so simple a piece. To any one the obstacle. Let us go into the matter sensibly and greatly in acquiring confidence, assurance, and the confronted with and made to work at a lot of dry who has practiced her scales and arpeggios on the * who has really mastered the foregoing there is little commence by making a list of the six different ways ability to go ahead. Of course the trouble will reappear exercises and studies. The reasonable side of the mat¬ of a table every day. She says she estimates the pro* trouble, except to keep the swing of the slow crotchets in whioh these combined accents can occur, tabulating when notes are. again attempted. In this, firm and ter does not appeal to him or her at so early a stage distances for each, and works diligently every morn™ steady and to get lack from the triplets to the synco- m the game. Do not forget that the child is human them in the order of difficulty. ? JTTJ measured counting must be insisted upon. Very little She further reports that in speed, flexibility and favor- 1. When each part (or hand) has 6 notes, the accent of the average counting makes any recognition of meas¬ able condition of hands, she has accomplished wonder? ure, but simply plods along with each count exactly only differing. * Pupils as Wise as Teacher Of course she cannot learn the fingerings, etc., for Ik In all such cases one thinks of the common unit of 4. An unusual pattern like this is easily like another, a dead level of monotony. The pupil 2. When there is consistently two against three played j J"]j J various keys, but with the progress she has made sit pulse and leaves the details to the fingers. The speed learned and applied to a whole piece, or section of a should be taught to speak the accented beats very firmly quite quickly. compels evenness of flow in the stream of notes, and piece, hut it is not so easy to have it always ready in and the unaccented ones almost in a whisper. This will £vv»"'» can quickly apply what she has gained to all the keys 3. When there is consistently two against three, with this in their minds many people practise quick one's mind when wanted; so I have found many pupils develop the feeling for measure, which is a most im¬ as soon as normal conditions have returned in tie not at full speed. scales or arpeggios two against three under the vain who think they have mastered it come to grief over a portant factor with those who have acquired the dis¬ household. She says that she has gained so wonder¬ 4. When this double accent only comes occasionally. delusion that they are thereby acquiring teal inde¬ solitary two-against-three appearing unexpectedly. Thus agreeable habit of stuttering. With this, on the part “S-r1”- waH 1 “"M fully that she is grateful for the experience she ins 5. When the double accent is complicated by synco¬ pendence of the two hands. Such practice—any auto¬ cradp Uwhn-hU s“ggest sonJe Pieces In about the third had. in Mendelssohn’s Duetto (Songs w. w. No. 18) there of the pupil, should go the rigid determination to strike grade which are expressive In character?”—K. E pations, rests, etc. matic practice—is of no use at all. There is only one the key but once. Stuttering is not the fault of striking Children of seven would be able to understand only ' 6. When the accent alternates between 2 and 3. Your ability to be considered in the third grade will way of learning how to play two against three and we the wrong key, but of hitting at the right key two or the most elementary principles of harmony. What littk 1. When the least common multiple is always in will now proceed to grapple with it. errice° much depend uP°n ^ amount of technical ex- evidence there is no difficulty beyond deciding which more times. Accented counting will assist the pupil to is given children should be mostly, a matter of dictation, 3. In all matters of music an actual example is worth of the two accents you desire to make most prominent. strike correctly with the count. That practice should don?Sneak!—praCt,Ced f the (lualit-v of the work and administered in extremely small doses. One of the yards of explanation. Here is the formula for playing l.„. I. \ T.,31 be done slowly in the early stages of learning a piece be able to nl 3 gT way’ however- y°u should In Giopin’s Walts in A flat (Op. 42) two against three or three against two, whether both be able to play the scales in four octaves in all keys simplest presentations of the subject is Orem's Tit goes without saying, for this is a sine qua non with all in one hand or between the two. That ingenious crea¬ without referrmg to notes, with a fair degree of rapid- Beginner’s Harmony. As to composition, that should players from Paderewski to your own pupils. ture, Camille Saint-Saens, has written it down for all T’ , accen*ed m groups of four. The arpeggios be a development from the study of harmony. Any I once had a most exasperating case of stuttering time. The Study in which he has embodied it, however Even Mozart his a few similar awkward places, but should also be learned in the same manner, in the mS books that I know of are for advanced pupils. I do which was entirely overcome in a very few weeks by thor¬ comes rather under my sixth category, and there 1 he does not introduce them so freely as Beethoven. keys at east. Mastering of Scales and Arpeggio not know of any devoted strictly to composition that oughly working along the foregoing lines. With some shall return to it. One example from Grieg I must not omit, because the excellent compendium for you to use as a standard of pupils the stuttering habit is an outgrowth of the are intended for children of the age you mention. piece in which it occurs (To Spring) is so popular: accomplishment. In it you will find full and complete attempt to advance too rapidly. The pupil stumbles explanations and directions which will be an invaluable because the music is too difficult. In this case take up Involuntary Composing easier music and work as above. In other instances notnp Know.£owe wIi he s;followingveach herselfpieces thatwill * hichanswer vo„r stuttering is simply a matter of carelessness. With “I have a nine-year-old pupil who has been study¬ the melody will always assert itself and the accom¬ these you will have to begin still farther back and npemee ^V*eJr?ak. of Dawn; Charles Qodard, ing piano for six months. In her exercises she In¬ panying 8th notes supply all that is wanted to make serts notes which are not written. What will over¬ * # •• #>» • reform a defective character, afterwards proceeding come this?”—K. C. it coalesce with the left hand part. But in Schumann’s along usual lines. Systematic sight-reading is also a cC£ &&. tTX, £TdlLRrrr:. Here nine students out of every ten play in the second Thon,^ Under the Leaver, and Simple Confession'- Eventide (Op. 12, No. 1) help, especially the practice of four-hand music, with You can best get at this matter by treating it jocosely You have to memorize this rhythmical pattern- half of the opening liars ) J J instead of J J the teacher if possible, in which case the pupil will be at first. Tell her that she is supposed to be learninj The“ ■» —a words to it; that is the best way: drawn along almost by sheer force without finding an how to play what the composer has written, not bo* opportunity to hit at the keys more than once before to compose, or even emend or correct the compositM”5 h k a f> I »»r> but if they cannot master this (“not very hard!”) I proceeding. _ Do not confuse the stuttering habit with Scale Fingerings of famous musicians. Tell her that her additions m wish they would play the last notes with those of the that of playing wrong notes. J Jj J J JJ J sound very nicely, but that the composer might «* Two over three, two over three right hand. For, curiously enough, Grieg writes it like them; if he had wanted the notes in his piKe or not very hard, not very hard so on the return of the theme, where the eighth-note Slow at Seven would have inserted them to begin with. Get a Having got this into your head turn up Chopin's .Study accompaniment would have made the two against three easy. An occasional triplet among normal duplets is interested from this standpoint, then gradually ■** in A flat_No 2 of the three posthumous studies—and * seven-year-old pupil who seems bright, of course harder than the other way about, because iwiny awkward. a disagreeable effect, none of which, however, sents no more difficulty than the Chopin Waltz. The gradually become prepared for more rapid’ progress n, These suggested substitutions only occur in have any right to be inserted in tbe given comp051 works of Brahms present many examples of this kind • —— t:~- • • • later. Many parents (practically all with the unin¬ of cross-accent, so many, indeed, that that composer formed public), and some teachers, expect too much which is being learned. , ^ seems unable to refrain from accenting an even group of a child of seven. Small children have weak hands The most common additions that pupils ac(,u!rJ|](f< r Pf t of six notes now as three twos and now as two threes. and in the majority of cases are unable to encompass habit of making are playing octaves in the bass ^ many difficulties. This is the reason why the kinder¬ only one note is written, and filling up chm- s1 1 ,s not a very clever device. .. . ,.~1 Rapid passages of two against three present littie garten courses are an admirable introduction to piano omitted notes. It is rather unusual for a c^' . °rnWij< S. The slight difficulty met with in the Mendelssohn difficulty so long as they lie comfortably under the playing for the little tots. In them the stress at the to insert notes, but if they are a part of the har^ Song Without Words. No. 30, and also in the Rubin¬ ngers. The following is typical: beginning is placed upon the development of the musi¬ the habit may indicate an innate musical sense. ^ stein Romance, illustrates to somr extent my fifth hqad. cal nature, instead of upon keyboard ability. Training where fingerings happened to be marked ^ tSfUl1’5'0 pupils are very apt to let their natural talent ru ^ When either the triplet or duplet is incomplete, or there with standard fingering ea ln accorHhnce sis -as Ki. SSSsZSSt is a syncopation or subdivision* the difficulty of apply¬ of this sort is excellent for small children, and means with them, and lead them into all sort9 of trou XSlv. riven Se, fc entire h, W . “ * matter ot hSiZ '"S,8"’ ing our formula is decidedly increased. Tlu* follow¬ much to them in the development of the musical fac¬ this reason such students are liable to see"1 ^ 0niy ulty, and the future musical understanding. The Kin¬ Have you ever realized that if you admit tW m is something to be thought, more than someth; mUsit thought of or about, that at the same Se 1 8 that in order to have a right conception of L adl® while the celebrated “double rhythm” study is best But a moment’s thought will make it clear that we have here not two against three, but four against three, must be able to think one single tone? music Mf regarded, not as two against three at all, Now, can you think a tone? which is another story altogether. This demands a paper all to itself, which I must try to supply at some There will he people who will answer that they I™ High Lights in the Life of Verdi they can think a melody, but do not know wheth. future time, if the subject is not beyond your depth not they can think a tone. et"er 0r (at least I don’t mean you, but those other less intelli¬ What is thinking a tone? gent readers of The Etude). Interesting Aspects in the Career of the Great Italian Master It is carrying it around with you in your mind out singing it, without whistling it. ’ Can you do it? • \ .? Verdi was born at Roncole, Italy, October 10, 1813. Yes! you can. Anybody who is not tone deaf nr named Pietro Siletti, had a great dislike to Proves!, but as if the right hand part agreed with the left, only Verdi’s father and mother kept a small inn, and in taking away all their musical scores and other be¬ Pianographs insane can do it. ou can test yourself. Strike a U and (partly for this reason) endeavored to dissuade longings. with a syncopated accent. addition a little shop where sugar, coffee, matches, at the keyboard. Walk around the piano, and th™ young Verdi from a musical career. It happened, how¬ tobacco and clay pipe's were sold. Once a week Verdi’s Verdi next fell in love with Barezzi’* daughter repeat the tone. This will be the first proof to ™ ever, that Verdi was called upon to act as substitute father walked to Busseto with two empty baskets, mak¬ Marghcrita, and in 1836 they were married, with her that you can think a tone. Cultivate this ability and organist on one occasion when Siletti was saying Mass, respected father’s cordial consent, in spite of his son- ing purchases from a certain Barezzi, a prosperous you will be able after a short time to hear more and and he improvised with such wonderful beauty upon in-law's youth and poverty. and hearty man, who later greatly befriended the young the organ that Siletti was quite moved, and entirely Verdi, with his wife and two children, left Busseto The greatest gain that can come from studying Verdi. reversed his opinion. and settled in Milan, in 1838, where after a number of music is that of putting more joy into life. Verdi was a good and obedient though somewhat A very charming piece by Madame Chaminade, called What riches of beauty there are in the pleasures Verdi, by this time, needed a wider field, and thanks struggles, disappointments and delays, he obtained per¬ melancholy child. The only thing that roused his eager M6ny a person’s success in life depends upon how that come from to a charitable foundation known as tile Monte di formance for his first opera. Obrrto, which proved a Scaramouche, is removed from the repertory of ordi¬ interest was the occasional passing through the village Thinking rhythms . . Pieta, he was granted a scholarship of $120 a year for moderate success. Other operas followed. nary players by one formidable passage which really agreeable he makes himself to others. The agreeable of a hand-organ. When this happened, he would chase music teacher rarely fails. Or thinking tones and tone characters. two years, to study at the Conservatory at Milan. Verdi now seemed well-launched on hi* artistic ca¬ demands independence of the two hands. after the itinerant musician as far as his little legs Or thinking melodies or melodic forms. reer. but dark days were ahead. First his own ill¬ would carry him. Memorizing should not be overdone. Ability in Or thinking tone combinations, harmonies. ness, coupled with some money-troubles, then the Verdi was net much over seven years old, when sight-reading is impaired if too much reliance is placed Or thinking tone color combinations. illness and death of.his two children and lastly of his parents bought him a spinet. At that date the upon the memory. Both should be cultivated. his lieautiful young wife—all within two months! What do we think; Jiow do we think if we hear spinet (a small form of harpsichord) was already music? Verdi, in the midst of these heart-breaking trials, The inquisitive mind learns much. The new chord almost out of date, the piano having come into com¬ was engaged on a comic opera, Vn (Horn o di Regno. or new effect is mere sensuous exhilaration unless the mon use, so doubtless they obtained a second-hand No wonder it proved a dead failure! In his de¬ mind begins to investigate. one at a very reasonable price, but even making due spondency he determined to give up being a com¬ r Hints on Touch and Tone allowance for this fact, it still shows that the poser. At this period, he speaks of reading the To become an accomplished musician does not re¬ parents must have had some inkling of their little Bible, as the comfort of his solitary life. The Habanera rhythm in the L. H. should be practised By Viva Harrison quire a lifetime of “drudgery.” as some erroneously son’s musical talents, to incur the expense in their Verdi, a few months' later, was sought after by separately until you can shut' your eyes and play it— very humble circumstances. the manager, Mcrelli, who had a wonderfully fine think. Just a little natural aptitude guided into proper then you must, as usual, ignore all but the triplets. I. Strive to produce a round, mellow, sonorous tone. Verdi had friends, who deserve remembrance, opera-lihretto for him—Xabuco, by Solera. He at channels, plus reasonable persevering industry, will Too much contraction of muscles tends towards rigid¬ even at this early age. Written in pencil inside his first refused to have anything to do with it. but attain the desired end. ity and hardness. Excess of laxity and feebleness old spinet, was found the following: “I, Stephen Mcrelli was persistent, kindly, tactful, and not to be results in weak and insipid tones, lacking in character. Cavaletti, made these jacks anew, and covered them put off. so presently Verdi was composing again. Make of your music a definite purpose and master ppp II. At the beginning, play with high-lifted fingers, to with leather, and fitted the pedal; and these, to¬ Verdi had a droll encounter with his librettist. PUP it with unceasing enthusiasm. mm develop finger muscle strength, independence and free¬ Solera, in connection with this opera. He wished gether with the jacks, I give gratis, seeing the good certain changes made, and that without delay. Mind-wandering is fatal to success. dom of muscular action in the third joints. disposition of the boy Giuseppe Verdi for learning Pip III. In scales, arpeggios and broken chords, ii to play the instrument which is in itself reward Solera said lie would “think it over,” whereupon m m A good practical knowledge of music is the Open the first and second joints are equally concerned, as enough to me for my trouble. Verdi locked the door, put the key in Itis pocket, and Sesame to the hearts of civilized mankind. well as the metacarpal joints, hold the fingers close to Verdi, with earnestness, practiced on the spinet declared he would not let him out until the thing 6. The greatest difficulty connected with duple and the keys. Elasticity and flexibility will be the result. picking out the chords, scales and little tunes by ear. was done. At first Solera lost his temper, but triple accents is not when they occur simultaneously, Thinking is as much a part of learning to play the IV. In rapid passage work, the fingers should glide One time, however, he got out of patience and began finally thought lietter of it, sat down to write, and in a few minutes the desired changes were made. because then, as we have seen, they can both be con¬ piano as it is in writing a book. Music without over the keys, in the manner of a glissando, producing to strike the poor, unoffending spinet with a ham¬ Verdi’s Xabuco proved a great success. He was verted into triple, but when’ they occur in irregular thought and imagination behind it is like a sermon a zephyr-like effect; velocity will be gained. mer, when his father intervened and administered now well launched on hi* career, and one opera fol¬ alternation and the mind has to be switched off from without ideas. V. Exercises developing strength, elasticity and ve¬ necessary punishment. lowed another, with alifiost uniform success. the one to the other. The well-known Schubert Sere¬ locity in the fingers, wrist and forearm working in Verdi acted as an acolyte, assisting the priest at Verdi signifies, in our language, "green.” and nade, familiar to all pianists through Liszt’s transcrip¬ The necessity for study and work, in order to become unison should be employed. One kind of touch sup¬ mass, but was so enchanted by listening to the organ when his opera, Xabuco, was the fad of the day, tion, is a peculiarly difficult example of this: proficient in music, is what makes it a valuable accom¬ plies what the other lacks. that he quite forgot his duties, and was somewhat the ladies wore green dresses, in compliment to him. plishment. If music were something requiring no ef¬ severely punished by the priest. After this, Giu¬ Giuseppe Verdi is equivalent to Joseph Green. fort, no talent, no thought, very few would give it the seppe’s father engaged Baistrocchi, the local Verdi’s robust vigor of mind and body, which en¬ slightest attention. What is worth having in this world The Morale of a Real “Musical Family” organist, to give him lessons. abled him in old age to return to his art and even usually costs something. (ifrTra----.) Verdi had lessons from Baistrocchi for a year, to excel former achievements, was doubtless partly \» if rrrr ■7 r* rrrr due to his out-of-doAr'life as a fanner, for some In addition to practicing for practical achievement in Everyone who has read the biography of many musi¬ and made such wonderful progress that at the end sixteen years, during middle age. music, don’t forget to read about the subject It will cians is acquainted with the fact that in the great of that time his teacher declared he had learned all L, i majority of cases, the would-be artist has been oblige he had to teach him. Verdi, besides farming, had a hobby for painting m he a great help. If you read half an hour on musical to act contrary to the objections of his family an Verdi was but ten years old when he was ap¬ pictures, but his attempts in that line were of but topics a day, you will be a master of the subject in little serious significance. friends in adopting a musical career; there are, ho* pointed as organist in the room of old Baistrocc i- six years. VERDI AND HIS FAMOUS BARITONE. VICTOR M AUREL, BEFORE Verdi, when composing, liked to have some one ever, families in existence where, quite on the con¬ Verdi’s parents were much gratified, and began to THE PERFORMANCE OF "OTEU.O. to listen and comment on any new musical idea. He The triplet is only an ornament to the melody which Practice may not always be a pleasure—there are trary, the tradition is all in favor of such a plah- consider sending Giuseppe to a school in Busseto. 8 runs for the most part in ordinary notes and it goes would often call in his wife for the purpose. circumstances when it’s hard work—but it always ends It was the writer’s good fortune to be persona® oatta, a kindly cobbler and friend of Giuseppes Par5" ’ Verdi met with a curious experience at Naples, in against the grain to apply Our formula to it. But if Barezzi himself advancing the money needed for board acquainted with such a family, in one of our lav?e' boarded the young scholar, who walked home to connection with the production of his opera. Luisa we do not, the tune gets distorted into and entirely !„d Lddentals, while a nephew of Selim’s who was cities (the father a violinist of much more than lo» cole every Sunday morning to attend to his duties Miller. There was an amateur musician named Capc- spoilt. in comfortable circumstances, made him welcome to a The phrases that give you most trouble should be eminence), where each member of the family *a organist. ' cclatro, who had the reputation of bringing ill-luck- The Study of Saint-Saens (Op. 52, No. 4) already played over and over again until they become com¬ destined from the very cradle to follow the fa® Verdi, on one of these walks, lost his way. e in being what we would call a “hoodoo." Verdi’s friends quoted, is designed as an exercise in this particular paratively easy. Otherwise you will make “the same traditions, and even his particular specialty planned a canal, and nearly perished in the cold and ar , ''verd'i now met with what ^'hfwa! made earnest efforts to keep him away from Verdi, difficulty. Beginning with the following rhythm: mistakes at the same places.” by the parents. . p was rescued by a 'kindly old woman who was passing from the theatre, in short from everyone having any¬ ^r'ed’Tschohrship3 S°thc’^fHan Conservatory, on One brother was to be a violinist, one a vioton by and heard his cries. _ - mpn. refused i schotoW „„ sptcM aptitude for mustC thing to do with the new opera. They succeeded, until Self-criticism is a helpful factor. Don’t let your and one a pianist. All three were commendably^ Verdi had two vears’ schooling when Barezz. the end of the second act. when Verdi was on the playing be “good enough.” tripus in their musical studies, and gave Sra1 L "oned before, offered him employment in his business stage receiving congratulations. Capccclatro, the ‘ jet* evidence of real talent. Bound together by £e at Busseto. , absolute dunces-there V ,lis 1>est foot tatorc,” as the Neapolitans called him. then broke into Experience, so the old saw says, is often the best cordial affection, they looked forward with P,easu ,s Verdi found Busseto a very congenial pla^ w ®^ is nol ev.n’ pe,S“ psychological moment; po.iib|y the circle of friends and greeted Verdi most warmly teacher; but your teacher can impart the results of the possibility of working together in future con ^ almost everyone was interested in music. H'f and Almost immediately a heavy piece of scenery fell and experience. forward ’’ „„ bc„ advanuge. in But alas, the pianist-brother became enamore Barezzi, played the flute in the cathedra orchestra.* came near smashing both Verdi and his unwelcome Understood the clarinet, horn and ophickide. admirer! The last act of Luisa Miller had but a cold Keep up with the music in your vicinity, your church business career, and after overcoming great opP° “ SftSSii—f from his father and some reproaches from his ^ be was president of the Philharmonic Society. reception. your town If you hear good music that is new to you it adds to this triplets of quarter-notes, syncopations ers, he was allowed to give up Music and fo Verdi, without neglecting his occupation, attendee Verdi had little love for personal display. His attire make an effort to find out what it is—the name and ,r.i S'ssri'S and every conceivable complication, yet the whole is own bent, though it produced a temporary es u rehearsals, and undertook the task of copying was simple, usually black or dark blue. When called before the king, he had no court dress, yet he was In ‘his way you wil1 he accumulating ment with his family. We are glad to be a“ L,:,,# Parts from the score, showing such an >n e tice reducible to our original pattern nri- useful knowledge of good compositions. that this brother is now a really successful ^ “rovesi, the cathedral organist, began to a e aways neat, never slovenly. Verdi left a large box of manuscripts, with strict Finally, I must quote one trying little passage from man, and in the summer often entertains .{(J ?.f him> and give him. some sound tra,n,nS , “e t0 Don’t mistake speed for efficiency. There is no effi injunction that they were to be burned when he died. Beethoven’s Sonatina ‘alia Tedesca,” which is harder brothers at his suburban home. The three the first man in Busseto to advise young Giusepp His executor, Campanari (brother of the famous con- than anything we have had yet: takesV timeh°Ut thorou«hness- and lhe latter usually occasionally revive the memories of youth by P make music his vocation. D • until trios during these pleasant reunions. Verdi had the guidance and help of Pf -est he was sixteen. His former Latin teacher, a p Page 800 THE ETUDE DECEMBER m, ductor), carried out this command without opening the THE ETUDE Page SOI box. What if some masterpiece was destroyed through Verdi as a Farmer Mme. Chaminade Doing Her B't his whim? Who can tell? When Verdi composed “Aida,” he did it with one The following very interesting letter from th Verdi was an operatic composer, par exfellance, but hand on the hoe and the other on the keys. After this French composer, Mme. Chaminade, who has h n°tfl1 he had a great longing to write a masterly string- operatic triumph had stormed the world, his ambition gaged upon some articles for The Etude t-u® en- quartet. His one effort in this direction, however, r----•-*-for writing scores seemed to give way to u:-thesehis ambition articles have been delayed Th*. . wlV shows that this particular form of art was not his for raising stock. He was prouder of his success in French woman is giving all of her tint? and'* ^ to her country. c and ln«®e strong point. developing his Italian estate of Sant’ Agata than he Editor The Etude: A Master Lesson Verdi now came to that period of his life when he was of “Trovatore” and “Traviata.” produced his most popular operas, Rigoletto, Trovatore J’ai re(u plusieurcs lettres de vous et i’ai eu Verdi was especially proud of his horses and cows. By DAVID BISPHAM, LL.D. and La Traviata. His Masked Ball (originally Gus¬ The Verdi breed was famous. He did not hold himself de vous repondre au moins deux fois pour vousT- tavo III) was objected to by the censors on account helas, toujours la mime chose: e'est que down to the conservative farming methods of his neigh¬ ON of what seemed some local political allusions of a une minute a moi pour penser a la musigui I ® bors, but studied all improvements. The sweeping nature not to be allowed, and the scene was hurriedly moms pour ccrire sur un sujet quelconque— ]> • changes in American methods especially aroused his changed to Boston. “Richard, Count of Warwick and cepte la president dun maison de convalescent«* Robert Schumann s Famous Song,“The Two Grenadiers’ Governor of Boston,” is certainly an interesting com¬ interest. He ordered all the ingenious .machines for tames et je sms tenue d’etre toujours a man posu i posite phenomenon. saving labor and time that were used in the United surveillance-} a, done du abandonner momentair ‘ t Verdi’s name, about this time, became a patriotic by¬ States, and tried to persuade his tenants to take up toutes mes occupation artistiques et remettre tom The Two Grenadiers is perhaps the greatest patriotic directs that his Cross of Honor he placed on his breast, London the writer and e distinguished singer and word. He was made a sort of popular hero, and modern methods. A large part of his great estate was plus tard—apres la guerre. * )ng that was ever written, not even excepting The his musket by his side, and his sabre girded on him, so composer, Sir George H schcl, who both figured on leased. His tenants loved him like a father. Je regrette vivement de ne pouvoir vous donner mi Marseillaise, for in addition to the many merits of the crowds assembled under his window shouting “Viva that he may lie there fully armed to arise, if need be. the program, had chos< respectively to render the Verdi!” To explain fully how this came about would When Italy, after three crop failures, suffered from isfaction mats vous comprenez, n’est-ce-pas que mn composition itself, Robert Schumann has introduced from the dead to help his beloved Emperor back to the different versions of the ng: but when attention was hard times, he didn’t give any of his tenants a chance devoir est de me rendre utile et d’aller au pt’us pressZ the noble refrain of the inspired and inspiring French lead us too far into discussion of Italian history during throne again. called to the fact and offered to make national anthem. Whoever sings the Grenadiers should the past century, but in the thoughts of the people, to beg for a lower rent. He lowered it before they had et le Plus presse en ce moment, e’est de soigner nos This is the story which has been so thrillingly treated another selection. Hens tel i I, “No. you tijtg time to ask. soldats— Verdi was V.E.R.D.I.—Viva Vittorio Emmanuele Re have vividly in mind a picture of what, no doubt, by Schumann. No wonder that he was inspired to Wagner’s setting and I chumjim's; it will FTltalia (Long Live Victor Emmanuel, King of Italy!) Do all you can for the farmer,” the great musician Veuillez croire cher Monsieur a mes meilleurs sen- animated the poet Heine when he wrote the verses include in the declamation of the final lines of this interest the audience to s two," This was timents. Verdi’s operatic works are too numerous to discuss would say. “Italy is not a rich country. Good agricul¬ C. C. Chaminade vhich later, Schumann, who set so many of his poems, stirring poem the ever-glorious strains of La Mar¬ done; and the writer hat ly placed both v in detail, but Aida, produced at Cairo, in Egypt, in turists are more important for its welfare than mediocre Translation. translated, into the language of music. The result is seillaise. tide by i his own recital programs. It 1871, deserves mention. After this he composed no musicians, poets, lawyers, and politicians.’ —~ "T v. . . _ of the gems of musical literature. For seventy- i undeniable, however, that valuable as Wagner's treat¬ more operas for sixteen years. He wrote the great His day’s work as a farmer, after he had stopped the pleasure of replying8 to 'you^t^lras/twlce^ala^mT’lf seven years it has held captive the imagination of Singing for Madame Wagner ment of The Two Grenadiers may be, Schumann's is Manzoni Requiem, a National Hymn, a String Quartet writing operas, is described by Maurice Halperson18?^.-thi,ug: tl,at 1 haven't' a minute singers and stirred the hearts of countless audiences, It may interest readers of this article to know that more compact and well-knit and far more effective; in E minor, which was performed in London, and a “Verdi arose very early in the morning-he could be I hive a'oept^d The^anlgLieTt of '"home and it will doubtless make an appeal as powerful a some years ago the writer, being at a Wagner Festival indeed it stands in the first rank among the great few songs. seen at five o’clock around his plantation and stables. Xndon^Mh, al'vay*s, my P°st TS century hence as it does to-day. at Bayreuth, was invited by Madame Wagner to sing ballads of the world. Verdi, during this sixteen years, took an honorable, He inspected the whole place thoroughly, and gave the hare put them all off until later_after the wa?8tl0M’ “d at one of her notable soirees, and that he elected to though not an extremely active part, in national poli¬ gardener and the laborer his orders, paying special care * reg,ret keenly not to be able to give yon satisfaction, bat The Same Poem Enlisted Wagner’s Interest perform the great composer's Les Deux Grenadiers, Suggestions as to Interpretation tics. He bought a farm at S. Agata, and became ear¬ you understand, don't y which he had a short time before introduced to the to.„. his extensive, , stables., useful, and to go where need press'* That Richard Wagner also set The Two Grenadiers Heine’s poem. Die Bridcn Grenaditre, set to music nestly interested in agriculture. Wealthy through the At seven o clock the maestro took, in company with the mo,nont ls to soldiers. With kindest to music is a fact known, strangely enough, to but London public. Madame Wagner expressed her great by Robert Schumann in 1840, is No. 1 of bit Opus 49. success of his operas, in 1900 he bequeathed a large few even among the cognoscenti. It seems, however, interest in a compositibn which she characterized as and belongs to hit most prolific period of song writing. his wife, a modest breakfast, after which the farm 8 C. C. Ciumin'ade. sum of. money to found a Home for Aged Musicians. that Heine made a French version of his own German being “so true” and so fike her husband's later work In that year he produced more than a hundred songs, work, | , was, continued with—— untiring-.» energy At eleven Verdi’s piano was now allowed to gather dust and o ciock the most substantial meal of the day was served. lyric, which Wagner found in Paris, where he was in its feeling; but to the surprise of those present she and remarked to a friend, “How delightful it is to The Minuet That Can be Played confessed that although she knew of the existence of get out of tune. He often said that Italy needed good Verdi s- correspondence took up many hours of the aft¬ almost starving, and which he interpreted after his write for the voice as compared with instrumental the song, she had never, until that evening, beard it composition, and what a stir and tumult I feel within farmers more than musicians, and he tried to “prac¬ ernoon, as the composer used to read and answer every Backward own individual fashion. He shared with Heine the tice as he preached.” rendered by anyone. me when I sit down to it.” letter with the greatest care. In the October Etude we printed a little minuet, eminently sensible idea that the words of songs and Composed in G minor, The Two Grenadiers it often Verdi had now apparently retired, but to the sur¬ “A modest supper was partaken of at five o’clock and asked if any of our readers could name the com¬ operas should be understood by those who heard them. prise of the musical world, he not only “came back” Schumann’s and Wagner's Settings Compared sung in A minor, a key which in reality improves the in ^winter and at six o’clock in summer. poser, and tell what was peculiar about the piece. He believed in the translation of his texts into the once more, but came back with a thoroughly modern Another anecdote in connection with the two settings song perceptibly, without taking it out of the range “Three hours later perfect quiet reigned. ‘We are Up to this date we have received some replies, but languages of the countries in which they were to be style, up-t.o-date in all particulars, and fresh in melody used, and, indeed, himself made the French version of of Heine’s poem is that at a miscellaneous concert in of any ordinarily good voire. The rhythm of the peasants ’ Verdi used to say, ‘an'd we go to bed with no correct ones, so it remains to answer our own piece it that of a very strong march, marked and invention—almost a miracle for a man of his bis own original German text of Tannhduser the chickens.’”—(From Every Week.) question. The minuet is from Haydn’s Sonata in D, _ by the composer to be taken maisig or mod- advanced years. These last operas are Otello and ’ s Parisian production. for Violin and Piano, and is so composed as to sound -1 erato. It is not a Dead March by any means, Fqlstaff, and with the latter, Verdi had reached his Heine’s Les Deux Grenadiers was com¬ just as well played backward as forward. In fact, but must convey the impression of a plod¬ eightieth year. posed by Wagner at just about the time that the composer’s directions are, to play it backward ding; pare, as though the grenadiers could Verdi’s critics and commentators distinguish three Two Lessons a Week when one returns to it on the Da Capo after playing Schumann was setting the original version, scarcely drag one foot after the other. A different styles in his career—his youthful period, from the trio. Such a composition is called al rovescio. *nd though neither knew of the other’s soldierly undertone pervades the accompani¬ Oberto to Luisa Miller; his mature period, as repre¬ By Herbert W. W. Downes Here is the “backward” reading of it, which it will *ork, each had the inspiration of introduc¬ ment, which must be played with great care sented by, say, Aida or Nabuco, and his last or modern ing: the Marseillaise into the finale of the and appreciation, the groups of sixteen notes Au. over the country, people of various ages and be interesting to compare with the “forward” reading period, represented by Otello and Falslaff. although the treatment of the theme in the first half of the song not bring hur- conditions in life are studying the pianoforte in the given in the October number: Verdi, in general, did not travel extensively. How¬ ■ent, Wagner using the refrain in the i the; of ter by i rompcl vast majority of cases, on the hasis of but one lesson ever, he four times visited England, in the course of Kcompaniment and Schumann giving it to playci > the des of the character his life. prevail H°W Unfortunat? that this custom should 'he voice. Verdi passed away at S. Agata, January 27, 1901. Thus ended the career of Italy’s most distinguished niusic teacher- many pupils appear as though One Must Appreciate the Meaning of -musician. _ nstn,!)inen ?b,Dg ** T ,ittle inStead °f b°w much IM the Words instruction they cant get from their teacher. And in §h Whoever essays to learn a song should Are You Shy at Your Lessons fact, the. one lesson a week idea is very largely an *gin by reading its words and realizing eX? “d “p“a"y in e'id“‘e ,h™*h- “cjr full meaning and value. In the poem By G. von Z. Bradley consideration a plain but powerful should r I last i sonBrTr; '"t pa,rticular- alwa>'S profit by two les- !tor-v is told: Two soldiers of Napoleon’s and d Are you shy at your lessons? I am not speaking e that the exciting strains of the Mar¬ TAh pupl,.'?ho conies once a week, does n ,::n-v have been released from their military to the little girl with her little finger in her mouth, seillaise should voice themselves, and bring sufficient supervision. It is the same as if s iuson in Russia, and are plodding footsore, but to the student of anywhere from fifteen to fifty g>rl should go to school one dav a week Tf u °T f to a conclusion this remarkable composition, •wry and wounded, across the plains of \J who really trembles when the studio door opens. influence, musically, is somewhat deadenW i"16 which has arisen from the depths of despair oland on their homeward journey to This is really a constitutional trouble. The student ca" hardly combat this successfully g’ CSSOn Note.—Just before going to press we received onto1 ami progressed to an expression of patriotic jance. When they reach the frontier of rect answer, from U. G. Brewsaugh. emotion which carries the tempo from an knows perfectly well that there is nothing dangerous . Two lessons a week is the surest way to keen on rmany they learn for the first time that about the piano, that the teacher is all anxious to help almost funeral pace into that of a column interest. It enables the teacher to devo e ‘ P •apoleon and his army have been defeated her ahead and that the whole experience is likely to lmnnrfotif i:_ * . . vlc of soldiers marching to victory, with bands be a satisfactory one. Yet there is the physical inclina¬ Responsiveness Vvaterloo. The imagination can. readily playing and banners waving in the breeze. semble (duets). ture these war-worn men, seated perhaps tion toward withdrawing from public and looking for By O. K. Gladden a little inn, and hearing the story from solitude. There is firpt of all self-distrust and some¬ The usual argument against two lessons a week is Eloquent Declamation Needed times genuine fright. that more practice will be required; and we have to je 7s °? the master of the house. The While tlu ballad must be vocalized There is nothing that the teacher appreciates There is only one cure and that is a mental one. lul tidings come as a sudden blow to throughout, it must he vocalized in a declam¬ than responsiveness. If pupils only knew wia‘ em, they are filled with profound emo- In the first place shy pupils should work doubly hard “oi s he v atory manner. This is no child's song, or meant! It means something more than mere * to get the lesson so that criticism is almost impossible. fi»£ additional ^ u- One grenadier starts from his seat one t<> be undertaken by some budding tenor tion: it means the ability to see just what the tea ^ Then, when you go to the teacher’s studio, repeat to nlH S kesture of despair which causes his or callow youth. It should l»e sung, prefer- is getting at and then give the teacher just w wound to break out afresh, and he sinks aldy. by a lass-baritone, with a well-defined yourself such affirmations as: ™at t.W0 Iessons a week do not involve more prac- tice is clear enough when wanted, without wool-gathering. , ^ I know that my lesson is well prepared. : stops to think that the oth sobbi_n8» “Would I were dead 1” The dramatic sense. It seems useless to add to aim of two lessons a week is to Often pupils do not make a real effort to 0 ^ er soldier is evidently a man of a totally I know that the teacher is anxious to help me rather the notes as printed any marks of expres¬ than criticise unjustly. i-sin,ah,, Moro practice would o^,Z JX The teacher explains a certain passage and inste, jn(! l erent nature, and though he cares no sion other titan those which the composer getting the teacher’s real meaning the pupil gets a has seen fit to indicate, yet this has I sen The lesson is sure to be so pleasant that I should almost any conditions; but practicing and • ! • Z?*T f°r Hfe he says that he has “a wife look forward to it with joy. arc entirely separate loimoTTZ ”d of garbled idea and plavs without thinking. child at home,” and that he must return <1,me. Hut it is of prime importance to call First of all try to see just what your teacher m supjKirt them. At this his companion, the attention of both teachers and singers to If I make a mistake no serious harm is done as that Here is a suggestion: Would it not’be the ideol . make clear to you and n i the difference between the characters of the is what I come to my lessons for. if the question of the number of lessonj per ! I ^ He is doine his best to .- with patriotic ardor, cries out that he frequency of instruction, were W* *„ ■ e ’ tbe not comprehend it is very likely to be yo ** nothing for his family—let them beg. toldiei ndic d by the r which Success comes to calm, determined, active people »o wonderfully translates the meaning o and not to excited flustered people. er’s best judgment, in the'.samMl/,? !ui ”U".C teach* fault. Cornu Can tllin*c °* is EmPeror and h!s Such matters as trills, mordents, and tricky 1J* ^ words. One is a domestic man of phleg¬ With such preparation as this, rested nerves and our family phys^n^SnTt^^fc40 tky ry' Then, realizing that his life is are largely a matter of proper understandu Ijj away. he asks his comrade to carry matic character, who despite everything, regular breathing, the fear of the lesson which the C0" 7 de-and* attention, when Zl\re ill ^ Mb. David Bispham. shy student has will disappear. Select the honest-minded music teacher tkl ' *• the thing right mentally first and then maIce • m3j tkt ' ead bo Page 808 THE ETUDE DECEMBER m DECEMBER 1917 DEEDS OF VALOR THE ETUDE page SOU march Rs. Morrison , DEEDS OF VALOR Vivo M. M.J =120 MARCH SECONDO Arr.by R.M.StJ ] R.S. MORRISON <£> A rousing military march,to be played in the style of a band or orchestra, with strong accent and exaggerated dynamics. Grade III^ Arr.by R.M.StuIts j j |t J t j I’ J1J f |< l > 11>. jX.£|l ifc > | F , ( TT^I5!-1 £ ^ fl L-V^r ► f # h^4 : > ^ > > > : / J! r ff L " > ’ > b :=> - > > r 1 5 f" • * Ti 3 4 | - - i 5 £ ‘ ■ 8 > > —-j- &■ 5-1 nm±, fl 1, f : ?“8* ink 2 ? 0 ^ 0 ^ -m ♦ 0 rr > | > | 1 (m- fr ffrg f* h« ' i • tJ III >=s► > > > V’ 1 2 >» 1 # ^ >.—^ 8 1 HAIL COLUMBIA HALL COLUMBIA PRESIDENT’S MARCH PRIMO Arr. by W.P MERO PRESIDENT’S MARCH SECONDO Arr. by W.P. M£E" Maestoso m.m.*=ios . A timely p«r»|^nrt»r U U cj.om,ry to play this .umber upon eeretnoniel oeceions whet tb. President of the United St.tes.ie present. OnW Page 812 THE ETUDE FAUST WALTZ A practical playable transcription, the celebrated waltz scene from Faust, one of the most impressive scenes in all grand opera. Grade r Arr. by Lange-Landon M.M.aJ- = 72 _ /i Copyright 1891 by Theo. Presser Page 814 THE ETUDE DECEMBER j9)? SABBATH MORN On each Sabbath morn, froln across the water, comes the sound of distant chimes and soft sweet strains of organ, as the people gather for worship in the old Village Church. Grade IV...... i „, watt . ^Distant Chimes Andante M.M.J-= 54^ WALLACE A.JOHNSON 1 itii ‘lift| Marcato melody, which is divided between hands;. 7N (±f±' (±?±‘ V' . , rp-t J N-g » Jl.. jQ—-TF .-f.[ 5 lift L fi_a ^ ^ ~^ Y Jr" ^ .3.^^ JL ^^ ^ i J* n " In the following movement note the church bell effect animando thoughout withleft han * “ poco a poco ritard a tempo C°Pyright 1917 by Theo. Presser Co - Page 820^ IMP ETUPE THE ETUDE Page 821 Mil 0CSMBER 1917 - /: basso legato dolce e legato b.C, THE MERMAID’S SONG The mermaid sits by the summer sea, The sea song blends with her tender sighs The youth well knows he must say good nigh At the evening hour and sings and calls, As she lingers there while the west grows cold; To the world above and with her must go The heart of the youth must break, Ah met With the blue of the sea in her melting eyes With rapturous dread, and fearsome delight f For it owns her power as the twilight falls. And a gleam in her hair like the sunset's gold. To a life of love in the depths below. Let the melody in the right hand suggest the plaintive, but sweetly seductive voice of the Mermaid, while the left hand accompaniment and-J f«11fallsM in gentle »*w1nlnliA«taundulations, ainnlinrippling nr andan/1 flowingf lnurinn* like1 i Vo tranquilfi»artnnil WflVoawaves. Grade V.V - E.J. PERRY Andante cantabile m. m. = 152% | P f | a tempo at dusk ALBERT FRANZ VILLANELLA . nt of the singing tone, which will repay careful study. Grade III v A very pretty example of the employment of the stngt g _ > _ Allegretto poco moderate X I last time only / 1 r2* Pit sempre rit. 0 a tempo SJlI lJL f & LSl Uiki if i'L iij p British Copyright secured Theo.Presser Pressef » CoPyright 1917 by C Copyright MCMVIII by C. W. Thompson & Co Copyright transferred 1917 to Theo. ’ ETUDE Page 823 00MBER 1917 Page 822 THE ETUDE DECEMBER j5j. See the Article on“Two Against Threenby F. Corder, in this issue. THE FLEECY CLOUD ,*»***«* SONG WITHOUT WORDS, No. 20 T p ^- i p ^ ^ — Originally but few of the Songs without Words of Mendelssohn bore any titles whatever. The poetic titles attached to many of them* supplied by Stephen Heller and others. No. 20 is one of the finest examples of the use of two against three. Grade VI. t5Slii *■ 2 ' * * * FELIX MENDELSSOHN-BARTHOLDY,Op.53,No2 I Allegro non troppo M.M.J = lQ8 THE ETUDE Page 82 7 826 THE ETULE DECEMBER 1917 DECEMBER 1S17 GAVOTTE MUSETTE EU.GEN d’ALBERT, Op.i,^ The distinguished pianist and gifted composerEugene d’Albert, son of the famous dance composer. Charles d’Albert, was born at Glasgo 11 1864. This gavotte is taken from a set of pieces , Op.l. Grade V. Moderato e maestoso m.m.J=126 pp molto legato i^na Corda j.r ± ■ pp dolei.ss. V 1 rr ri iQif ■gt f f cresel ... ;r*£-:f Serf f}l : • : *r a ml i a 1 A ^ ^ ^ tm ^ | * v l ^ ? x-^—, —| :=^=sr= Pfgf.jL g; § gggl|^y|feX-^| L-LU [_ 1 1 L I V®* /}-^ ^ , ?1 i—. L-i -ii-I-i S TCzr^I lili 11 111 I Page 828 THE ETUDE CHRISTMAS EYE CARL HEINS,Op,)j A seasonable drawing-room piece by a popular composer, introducing the fafniliar old tune: Holy Night! Grade III Allegretto tranquillo m.m.#-=48 .; a tempo . K- K 7 && # * ** TP fi fc TP* PP' —■—r *L——■—1 ? * V* f, ^ ,‘7 » ?■> f f m is Silent night,holy night expressive asV rp -- _4 . A 3 **■' ♦ ^ ^.* £ 2 ^7 4 2 1 7^-jld ._—• f k | -—Nf - H-- - 7* -;^=3^=^f5E=j *_5 3 E£|JESeS V U--T „ sea. CoPyriKht 1917 by Theo. Presser DECEMBER 1917 Page 830 THE ETUDE DECEMBER THE ETUDE Page 831 / SWELL: Full ANNIVERSARY MARCH _ . ) GREAT: Full to Swell Registration: j CH0IR . 8;4'and a'Soft Diap. \ PEDAL: 16'and 8' SIBLEY G.Pease GREETINGS iRANICH ^ u ^Maestoso m.m.J=iosJ. J. _ L4 , ^ )ICH CHRISTMAS BLESSINGS tfBACH J-JJJJJ- MANUAL,j ™ IT# ti * * f 'Tj/s. TO ETUDE FRIENDS EVERY¬ \’f J J 1^1 WHERE IS THE HEARTFELT f yjy-13 . if-.jr-if WISH OF THE ETUDE AND ITS PUB¬ ., ,1 T T Coup.] loSw.onl^ * LISHERS. MAY THE ETUDE HELP PEDAL ~'"£.Llp* raj.f {H j-jJ r I I i OTHERS TO CONTINUE THE KIND Smallest Ultra-Quality Ped.to Gt.and Sw. _^ • "J THOUGHTS AND GOOD CHEER OF Grand in the Worla i i j CHRISTMAS TIME THROUGHOUT Only 59 ,r». Lon^ jjjTi J i. In rj jji. THE WONDERFUL YEAR TO COME. ' i °¥l ^ i* ^ ^ ^ Co ip. to Gt.only What Becomes of the Old Piece? ^ 11 By Ethel V. Moyer ‘ii- “My old pieces are all forgotten and mark the weak spots for extra practice gffiV- = 1 haven’t finished my new pieces yet.” just as a trained aviator will go care¬ That is a pet excuse of thousands of fully over every bolt, screw, wire and cog in his machine when he comes down students when asked to play. What a from a long flight. * fine 1 tsw. I )iap. 3 3 horrible reflection upon the lack of .} . * . 3 The afterstudy or relearning process - ..fggg |T ^ ||ff | | thoroughness upon the part of the teach¬ of a piece is the thing which puts the er. The fact of the matter is that the real polish upon it, which enables the m i-U condition of the work of a great num¬ pupil to play it with an ease which de¬ 1 Coup.toCn. ber of students is so mixed up that they notes mastery. never really know a piece. Most of During the latter part of my teaching the pieces they learn are never really season I hang upon my studio walls (The Grand Xmas Gift ij. jij. ~n finished. By finished I mean worked slips of paper, at the top of which is m over and worked over long after the the name of the pupil, followed by a list ability to play them is acquired. of the “old pieces” retained. The child After a piece has been learned it is who sees a friend with a longer reper- toire will soon begin to pick up in his ■M ~Ti If ^ a fine plan to relearn it. That is, take it back to a much slower tempo and . 3 .- r . 3. J . 3 3 *=f= 3 &§§§§ §«?# *3* “Are You One?” MUSICAL DELIGHT FOR 365 DAYS By Geo. J. Heckman The Etude essons. Any one can learn. Our The Supreme Christmas Gift for all Music Lovers It is a conceded fact that many people ul new method (patented) makes are noted for their ability to be easily jsible. Endorsed by musicians WAS YOUR FIRST ETUDE A CHRISTMAS GIFT 'l “taken in.” And the eagerness with ere. Write for our FREE °^cr' Thousands have become acquainted with THE ETUDE which they will accept a new fad, or a 'Getem School of Music" advcr- at Chriatmae time through the loving thoughtfulness self-styled inventor of “THE ONLY follows: “A FREE OUTFIT, of their friend* : * : * ! ! THIS OR THE ONLY THAT ■ 'f* 50.00, will be given on any mstru- DO YOU REMEMBER how that ETUDE Gift Subscription »mt no througl METHOD.” f , all new pupils enrolling this LhnwMe>wLwfjro „_ hour* spent at the piano playin. P. T. Barnum, the one-timed renowned for 40 lessons at 50 cents a lcs- DO YOU REMEMBER I hr many, many circus man said: “The American people rhese schemes, and many more ami singing the 840 or more piece*. crescl _ . . 4^* like to humbugged.” He made a great DO YOU REMEMBER the hundred* ,.f ggitWi m are used, but not the same .j tine Christman gift that *«>' name for himself and a large fortune in on all the different classes of doing it. and not any one class of people Promoters with shady business schemes iune from the schemer s device*, and catch-penny devices, go on the theory igher the trickster desires to rep that “THERE IS ONE BORN EVERY imself in the profession, and the MINUTE.” ie clientele desired the more o Using this same theory many self-ap- itv, finesse and diplomacy, Pointed teachers of music have worked YOU WILL RECEIVE EVERY MONTH DU RING THE NEXT and employed. And so on H; , TWELVE MONTHS on the cupidity and gullableness of the ;rudest of methods The Hvg THE ETUDE Public, and especially their pupils. It is ricksters put on a -bold fronb nun s musical maoaiwi an easy thing to tell a pupil what genius ,ffs” solely as a means to cos Y^NTO THE gJ&5S3t SfEHJDE he or she has. What wondrous possi- all or some lack of knowledge J&K-jSJP AND WF SHALL HOPE TO Kf-EP YOUR h'lities lie before them, if he or she will FRIENDSHIP FOR MANY YEARS TO tOME only study (so many lessons) with—“I’m ti:l’cOMMERCIAL.ZISCl.. 'he only teacher for you. And you know regular price is really $5.00 a lesson, me day must and will be hut owing to your excellent talent I con- s,der it an honor as well as an advertise- ment, in your special case, to only charge you 50 cents a lesson.” In some magazines and papers one can ?ee this: “We guarantee to teach you pinii mention THE ETUDE » now to play any instrument in ten to Copyright 1917 by Theo.Presser Co. British Copyright s*c° MEMBER 1917 The good tone requires the reso- THE ETUDE Page 8S3 ^ce of both the nasal and oral cavity, :°itrro1 his tongue< r°ot and aii> i>y suitable exercises, and must see to it that "is exclusion from either the one or the the soft walls of the pharyngeal and oral 1 other causes the tone to be nasal. If the cavities retain their elasticity, or acquire palatine arches approach each other too ‘ A conscious or unconscious physical • ;iy, the soft palate drops to meet the ad,™”,™ °f »«dy, accompanying rising base of the tongue, the renonance tone-emission, must be tabooed, as the of the oral cavity is excluded, and the body is supposed to remain in an elastic sonnd-waves travel through the nasal ever-ready responsive condition. ’ Throat Troubles of the Singer cavities only. On the other hand, if the The Pillars of the Art of Singing Beautiful There are certain phenomena which soft palate is drawn up too high, it will, By Carl Easton Williams cannot be described, but which the seri¬ By S. Camillo Engel leaning against the posterior nares, close ous student wiU not fail to notice in op the nasal cavities and force the sound¬ time. I could say, for instance, if sing¬ What vocalist has not experienced the waves to issue through the mouth alone. cise will surprise yoti. If it is convenient Antonio Benelli (see Grove’s Diction¬ ing feels to be easy, to be Spontaneous, trying difficulty of “being in poor voice?” The Use of the Falsetto. Either of these adjustments is false and to take a little fairly vigorous exercise, ary) says: “Si ponghi tutta la diligenza the voice emission is good. But in my Who has not known the uncertainty and Have you noticed how man,, • causes the nasal quality of the tone. The body bending, rope skipping, dancing; per fare uscire la voce limpida e grata, e experience so many of my students have now before the public, resort to theT?' second of the conditions described pre¬ anxiety, before a public appearance, as to stationary run or what not, breathing said: “Oh, it feels so easy 1” and yet to sopra tutto immune dai difetti di naso setto in the upper region of the J* vails when the high tones are nasal, the being at one’s best? What would not only through the nose, a short time be¬ my eye and ear it was just the contrary. e gola." Translated: “Apply yourself with first are in force if the low tones are any singer do or give to make sure of it? fore being called upon to sing, it will pay TheCv do° hUSi"g the rea' h^-vci e Have the ideal constantly before your all possible diligence to have the voice Thej do it because they have no breath tainted. But is it a matter within one’s power of you. It is worth trying. mind; be untiring in your endeavor to issue with ’limpidity and grateful to the control. They can only sing feir 2 What then is the student, who aims to control ? perfect and to refine and you are bound Probably the next most important es¬ ear, and above all free from the nasal notes either very loud, requiring a fS acquire perfect voice-formation, to do to It is a fundamental part of my philoso¬ to reap the fruit of your labor to become sential to good voice is an empty stomach. and gutteral effects.” air-blast (quite inimical for the head-tow avoid the many pitfals- He must learn master of the Art of Singing Beautiful. phy of life that no one has any business Most professional singers know that Perfect “voice-formation” is the skill formation) or use the falsetto w to be at anything less than his very best, good work is impossible immediately after with which one is capable to emit the compares to the true head-tone as physically or mentally, so far as he is eating. You can do so very much better voice without any objectionable character, counterfeit coin does to the good able to determine his condition. And My Creed from five to eight hours after, with the like: gutteral, throaty, nasal or trem¬ Only he can sing the head-tones who where the singer or speaker is concerned, The following is my creed, my vocal stomach completely empty. Not only does ulous, attaching to it. On the other hand, knows how to “filare il fiato,’’ as fe THAT,—every correct tone is a rein¬ good voice is largely a matter of phys¬ Italians call it e„ spin out the breath. creed. It is my creed because I know it the crowding of the diaphragm, through perfect “tone-formation” is the ability to forced sound and that the true, Because ,n order not to disturb a certain to be true. I know it by experience, by ical condition. The human body is an impart to the tone of the voice that color artistic, musical reinforcement a full stomach, prevent good breath con¬ practical personal experience. organ, both in a musical and in a physi¬ Physiological aspect of the glottis in- of tone lies in the added re¬ trol, but the voice seems less clear for which the sense of the word or phrase, I BELIEVE ological sense. When its various parts dispensable for the formation of the head- sonance of air in vibration in other reasons. The digestive system is to be sung, demands. THAT,—artistic tone, beautiful tone, is lack “tone,” physically, depend upon it tones, one can only succeed with them the inflated cavities. naturally congested, and there seems to Through the susceptibility of the tone it one is able to employ a dense but small the result of conditions that are that there will be impaired musical tone. THAT,—artistic singing is a form of be a more viscid condition of the blood to receive impressions, the voice called quantity of air. in nature, conditions demanded But when the entire physical structure by nature. self-expression of the inner, generally, affecting the voice, which may upon to convey, love, hatred, rage, jeal¬ To put it concisely, breath-control THAT,—true conditions are the direct re¬ the higher, the emotional na¬ is properly toned up you can expect the ousy, contempt, etc., must readily lend sound slightly “thick” or “foggy." Water means, constant and unnoticeable replen¬ sult of form and adjustment, ture. very best from your voice. This point itself and that in a convincing manner— drinking tends to relieve this. Adjust ishing of lungs; the skill of finishing the form of the resonant cavities TEE OEFT IMAE, is, I believe, indisputable. For this THAT,—a full and free expression of your meal hours. Too many of us are to the expression of any of these emo¬ phrases with ease, conveying the impres¬ and adjustment of the instru¬ self depends upon understand¬ reason, general physical training will in tions, without overstepping the boundary sion that one have a reserve of breath; ment, the larynx. At Christmas, the time of good cheer, no slaves to the tradition of three meals a ing and mastering the third many cases work wonders for the voice. of the artistically beautiful. and the ability to emit true head-tones. THAT,—form and adjustment to be right day. In many cases the two-meal plan power, the greatest of all gift could bring m8rc happiness and satisfac¬ The very best singers are usually persons He who constantly works for an ideal, must be automatic, the result of better. In any event, try to sing in an If tone-formation is not mastered, the forces. of good physique. cannot fail to attain it. Consequently the a correct use of a perfectly tion than a Jesse French & Sons Grand Piano. exceedingly “empty” condition. Full result will be monotonous, even if the ideal tone-quality is within reach of every¬ trained body. THAT,—the third power is the only Apart from strains of the voice, re¬ stomach, empty voice, and—well, say it voice-emission itself is without reproach body, no matter how small the voice be. ' THAT,—all singers have to begin with, power the properly trained Every member of the family will enjoy quiring rest of the vocal chords, the for yourself. Good singing is not always beautiful sing¬ It is needless to say—although many be greater strength in the drive, singer needs to know or does throat troubles of speakers and singers ing. Conversely, voice - formation may this well-known instrument. Years of use Now, the one best immediate means of lieve in and admire a big voice—that the motor power, than in re¬ know when before the public. are chiefly catarrhal in origin. We all tall short of the ideal and yet the tone sistance the controlling power. will but serve to enrich its tone and to endear relieving catarrh, and also the one most beauty of voice does not depend upon THAT,—when the third power dominates know what a cold, either in head or itself be under the command of the singer. THAT,—the correct training of the body effectual aid to the voice, as I am con- bulk. the singer he uses it in an auto¬ it to the hearts of its owners. Make this throat, will do to the voice. The problem Without being artistically perfect, the re¬ lies in equalizing the two phy¬ vinced, is hot-water drinking. You have In connection with this statement I feel matic, sub-conscious way which sult in this case is more satisfactory than sical forces, ipotor power and Christmas a never-to-be-forgotten one! Give is to secure freedom from colds and that I must narrate the following anec¬ gives him absolute freedom of heard of that before as a remedy for in the former. control. catarrh. And this is a matter of pure dote, which is by no means fiction. A form, action and self-expres¬ the family a stomach trouble. And it’s all right. THAT,—in proportion as the control is blood and circulation. What Bonelli means by limpidity of certain man whose youth was spent in sion. But as a treatment for the voice it is not equal to the drive, the the voice is: That it must impress the anything but refined surroundings, and The question of good circulation is almost incomparable. One trouble is that singer is compelled to use THAT,—the singer must be aroused and hearer of being elastic, and capable of who, moreover, showed a decided dis¬ paramount. Catarrh is largely a matter those who try it, for whatever purpose, throat muscles to equalize the vitalized through an equal and expansion. It must reveal perfection of inclination to books, devoting all his time two forces. co-ordinate development of all of congestion, and for this reason gen¬ usually do not imbibe enough. One cup the vibrations causing it and not convey to the making of a fortune, found his THAT,—when the two forces are equal¬ his forces, physical, mental and eral bodily warmth is an important is not sufficient. One can assimilate more to the auditor the operation of the parts efforts rewarded and himself rich. This ized we secure automatic form factor. The simplest and yet truest test emotional. water hot than cold; it is absorbed more that produce it, its machinery so to speak. ambition having been satisfied, others and adjustment, approximation THAT,—there is only one way in which of this is warmth of hands and feet. quickly—soaks in better. Try one cup sprung up. He needs must have a yacht, of tlie breath bands and infla- It must issue from the mouth as the re¬ this is possible and that is Warm extremities mean an equalized a big house, the handsomest woman for TH ‘ion of the cavities. “Unquestioned Excellence” every five minutes—not too hot—and you sult of a perfect mechanism, as the effect through some system of free, circulation. If you have been having a wife, and pictures. Going into a lead¬ BAT,—when the breath bands approxi¬ can hold more than a little. It has a o the smoothest possible co-operation of flexible, vital'zing movements. much trouble with catarrh, you will soon ing picture gallery he was shown a copy mate we have secured the true marked constitutional benefit. It influ¬ all the parts concerned in its production. see a difference if you make it a point to of a great master covering a large canvas point of resistance of control, THAT,—we secure all the above condi¬ ences the circulation greatly, flushing out Voice-formation precedes tone-forma¬ Ever since 1875, Jesse French and Sons have un¬ and a small “Meissonier". The price of That aut°matic breath control. tions through the wonderful keep hands and feet warm at all times. the blood vessels, promotes glandular tion and both must be conquered before sparingly devoted their efforts to perfecting the art of the first one was $400, that of the second BAT,—when the breath bands approxi¬ movements of the system. In this, one should not depend too much secretions, and has a tonic effect gener¬ the student can successfully cope with mate we have secured absolute piano-making. That they have succeeded is evi¬ upon external heat. Accomplish it, if $4,000. Knowing full well the value of a _(From A Revelation to the Vocal ally. If your voice is not right, free hot- even the simplest song. freedom of voice and correct denced by the thousands of discriminating persons dollar, but nothing else, he exclaimed: World, by Edwabd J. Myer.) possible, through sufficient activity and water drinking will do much to clear it reinforcement of tone. How, the reader may ask. can perfect “You don't expect me to pay $4,*®® f°r who use and recommend Jesse French instruments. good circulation, but do keep the extrem¬ by evening. And it may keep you from voice- and tone-formation be acquired? a small picture, if I can get a big one for ities warm by whatever means. In cold being “in hot water” when your voice hrough consummate government of the $400, do you ?” and went and bought the Handsomely illustrated catalog of Upright, Grand weather, special protection for ankles and breaks—or something. tongue, that of the parts of the pharyn¬ copy. The Speaking and Singing Voice and Player Pianos mailed Free on request. wrists is if anything more important than geal and oral cavity, and perfect breath- Aside from the general effect of the Don’t Blame the Tongue. extra coverings of feet and hands. Tight control. Interesting exchange proposition on old piano hot water, it has a good local effect upon Whether the tone be gutteral, throaty By Dr. Herbert Sanders shoes, through interfering with the circu¬ Although breath-control has been spoken and convenient payment plan. the throat as you drink it. And if you or nasal, in the majority of cases the lation, are frequently the cause of cold of, read of, heard of ad infiin.'tum, its ac¬ ple generally have a habit of speaking use gargles for the local treatment of tongue must be blamed for it. There are 0c« important points are to be ob- Let us direct you to our nearest dealer. feet. quisition is accomplished by but few ft with too much sameness of pitch. Liza the throat, you will secure better results sounds in every language like the "k for soelp- m the formation of the perfect At all events, see that you are thor¬ cannot be acquired by merely going Lehmann attributes the undesirable ■ f you use them fairly hot. The cleansing instance, or the “ng”, the proper articu¬ to]. ,n8 (°r singing) voice. The first is oughly warm before attempting to sing. through a set of breathing exercises “break”' in many voices to this common effect is better accomplished, and the lation of which requires the contact <- speech ^ cause of the bad quality of tendency and the available evidence ap¬ Jesse French & Sons Piano Co. You have perhaps noticed the clear and They are, without doubt, necessary and tween the base of the tongue and » bieh " 15 ^at man>' pitch their voices too pears to verify the truth of her statement lccal circulation is improved. A bicar¬ w. 1 lay the foundation to it; but they are pure quality of your voice immediately palate. With other sounds, however, of th°f l^° *OW The' result is fatigue Laughing is a health-exercise of the 1812 Seventh Ave. New Castle, Ind. bonate of soda solution or even hot salt not all. The singer can only then claim e voice, showing itself in an unre- after that hot bath? Also you have noted same juxtaposition of these two highest value: it pays its contribution to water may be beneficial. However, sing¬ to have control over his breath when the Chicago Salaaroom how your voice improves after “warming is unnatural, investing them with a 4U »hpS'Ve’ ^ard tone- Experiment a little a livelier mind and a more supple phy¬ ing teachers and other writers will tell same passes in and out of his lungs un¬ . n you are alone, and try and find out 978 Republic Bldg., State A Adams St. up” through singing for a little while. that smacks of the palate and is c0 sique. In doing so, it must of necessity you enough about “throat remedies” The heard and unobserved and when he can monly known as gutteral. fitchaS'ef.t pitch of y°lfr voice; this new improve the voice in its sensuous aspect. But you can warm up some other way. Perm W' result in a better quality if present purpose is to emphasize the value hn.sh his phrases with as round and full If the tongue-root balks, becomi^ ATood hearty laugh is an excellent les- The effect upon the voice of accelerated a tone-quality as he starts them, and that, !he n n?.nt*)’ used. To' further improve of constitutional measures, such as are rigid, and presses upon the larynx, P the v. Ily- listen for the inflection, i. e., circulation through active muscular exer- ordinarily neglected. even if he had no more than a thirty- venting the freedom of its movemen. Slng and falling of the voice. Peo¬ Fleas* mention THE ETUDE wbsn addressing onr sdvsrtltsri second rest to renew his breath in. resulting sounds will have^a throaty Q Page 83U THE ETUDE : 1917 DSCEMBts,. BETTER TEACHING Brings Vocal experts are agreed that most In fact, I know of no more beneficial way THE ETUDE Pag. people are very indistinct in utterance, of learning to speak. Some of the great LARGER INCOME and that the defect is often passed un¬ speakers are not always models in regard NOW READY noticed because the mind of the listener to quality of tone; but the least of the unconsciously supplies the words which, great ones will teach us some admirable Our New Catalogue of Bright Ideas for Little Folks • Good for Advauoed St in reality, are not properly articulated. quality, perhaps distinctness, or deliber¬ and Their Teachers Everybody knows that when we are in¬ ateness (occasionally quickened for the troduced to a stranger, it is the hardest purpose of obtaining an emotional crisis). V Holiday Handkerchiefs FREDERICK W. WODELL thing in the world to catch the name. S07 Pierce Bldg., Copley Sq., Boston, M..L Another speaker may give us a lesson in Nothing Like It in the Country A Christmas Musical The cause of this is, of course, an un¬ inflection. It may be we shall rarely find Coadvctor BaU ttoZtoriftyZZZufPb(om becoming quickness of speech: the ex¬ Send for It—There is no Charge a perfect speaker, but that will not keep By L. Rountree Smith pression of a mind which lacks control. the serious listener from noting and copy¬ It would be a great advantage to the ing the perfections of the imperfect MU5IC teachers who want something inhabitants of our big continent if the speaker. As a youth, I made a point In a row. a little row, Walter L. Bogert habit of leisurely thinking, deliberate of going, when possible, to hear the great wU findV°; the following nhe’r ChriStmaS program Musicahelpful.> Hang the stockings small. speaking, and the suppression of super¬ BARITONE English parliamentarians. Time has ob¬ The children make bell-shaped invita¬ Empty quite from top to toe We will fill then all. Teacher of Singing fluous actions (the outcome of want of literated the matter, but the vocal charac¬ A Better Voice tions cut double, the outside containing poise) could be universally acquired. Hist! Be still, on Christmas Eve 161 West 71.1 Street, and 130 Claremont Areoue teristics of their delivery I have perma¬ the following verse and a colored wreath NEW YORK CITY nently, and profitably, appropriated. For You! of holly: Santa is coming, we believe! Make the Environment In addition to the use of the voice, such 6. Piano: Jfltrrg Cfjrfstmas ig go jollg, But if there is a sense in which we are speakers provide a standard of pronun¬ With Song and Jest. .Flagler the result of our environment, there is ciation in a more interesting way than we ®tme of mistletoe anb fjollg, Sleighbell Polka (Duet). Th* Ideal Home Piano 18 the small grand. Above is shown Hugh A. Clarke. Mus. Doc. also a sense (in regard to singing) in can possibly get from a dictionary. And isaasBewiteBaa 7 c _ , Zitterbsrt pu come tmtly gong anb rijorne, our newest and smallest, a Colonial * • LESSONS BY MAIL which we can make our environment—by I became converted to the belief that, ' Song: Toy land__Victor Herbert however differently common people pro¬ model of artistic simplicity and rare In Harmony, Counterpoint taking every opportunity of hearing the ®o our mugical at C{jrigtmag time? (The Toys skip off. enter Santa Claus. nounce certain words, the greatest speak¬ this method—hoi^neslm£?*n vocalista endow He sits by Mrs. Santa and also nods musical charm. and Composition great speakers and singers of the day. ers generally pronounce them alike. The inside of the invitation contains while children wearing night-dresses over the program. <618 CHESTER AVE., PHILADELPHIA, PA. biggerjSSSHSSaSrS? income il you are a stager o?a spelkS?® their dresses, bring in pillows for a ,eal Send Today! Wire netting stretched across the back pillow-fight.) Ivers & Pond of the stage may be covered with ever¬ 8. Piano: The Arrival of Santa Claus, No. 27—This box contains three ladies’ green and holly, or ropes of green paper Frederick H. Haywood Byrd’s Reasons for Learning to Sing Perfecl Volet Institute, Studio 2309 177t WiUA,,..^ n w . Engelmann All Pure Linen Handkerchiefs, hemstitch¬ and red paper bells will make a pretty 9. Piano: Laughing Rondo.Lewis PIANOS Teacher of Successful A great English musician of the six¬ ed and beautifully embroidered in one decoration. Embody every improvement which half a Opera, Concert and Church Singers hath it; and in many, that excellent guift 10. Piano: The Pillow Fight.Prate teenth century, William Byrd, tried to corner of each handkerchief with the “Merry Christmas” made of red letters century', experience can nugget. They Author of is lost, because they want art to expresse 11. Piano: Just a Dream.Fcrbcr encourage people to sing. And his rea¬ Pearlsheen hand embroidery. Each box • on a green banner helps to form part of are uwd in over 450 leading educational “UNIVERSAL SONG” nature. (Mr. and Mrs. Santa wake and ihc sons are so quaint and attractive that I contains three different designs. inch the decoration. institution* and 60,000 home*. Studios, 331 West End Avenue - New York am sure you would like to read them. “There is not any Musicke of Instru¬ TtEYBOARDi Toys sing behind the scenes.) hem. Price.75c per box. Very few costumes are required. Mr. ([ *^1,r- “*U J,VF-flS * POND He shys: ments whatsoever comparable to that 12. Songs. Toyland (repeated). £ and Mrs. Santa-Claus should appear in ' lKo‘ yow Horn* Iso in tk# iwwt rsnude villus “It ('• c., Singing) is a knowledge which is made of the voyces of men, One Useful Hint to a Singer may prote f HARMONY! NEWCOMB, ENDICOTT CO. costume, the children who dance the Part II. A Christmas Dream easily taught and quickly learned, where when the voyces are good, and the same [Harmony at the Piano) minuet and the boys, may dress up or (Mrs. Santa Claus is seated by the fire¬ 5®3r Hint. W.kSS'fcl there is a good master and an apt scol- well sorted and ordered. Dept. J DETROIT, MICH. dime to cover cost and postage. Address® carry toys as they take part. Girls for place as before. Pretty folk-dances and “The better the voyce is. the meeter it By Uselma Clarke Smith the Star Drill wear white dresses covered national songs may be given between the GEO. CHADWICK STOCK “The exercise of singing is delightful is to honour and serve God therewith ; $1.25 Net, Cloth with silver stars, stars on the tip of wands parts of the dialogue, and a few piano 1 IVERS & POND PIANO CO. o "nature, and good to preserve the and the voyce of man is chiefly to be wound with white. Harmony should be taught directly numbers are suggested ) Ml BoyUton Sira. I. Boat on. M>u. health of man. imployed to that ende.” Each part of the program is complete Author of ‘‘Guiding Thoughts for Singers,” $1.00 at the piano, so that the various com¬ 1. Piano: PUom matt me umn and THEOd ^EhrCO.Cata,0?S \!f C^:;‘ * Ui Writer. - ----!_* _Philadelphia, Pa. twp TiTUDE whM Page 836 TEE ETUDE DECEMBER 1917 THE ETUDE Page 8S7 order for Morning Prayer and U" ^ Processionals and Recessionals Austin Qrgansj roonly preceded by one verse of a L.W acc0mPa"iment of the processional hymn. In some parishes the first nart n’f ^ re^.ess,onal hymns is by no means an Department for Organists the communion service, k„owm Ts ? ***? we* even for the ex- FROM January to October Ante-Communion” is sometimes used in penenccd- We recommend the beginner connection with Morning Praver tint I, pract,ce them at the rehearsal with the 1917, eighty contracts for custom is dying out, in favor of moJ C1<2‘r actually marching in and out ex- organs from two to four frequent use of the entire comm,,?! u y “ ,hfy arf ,0 dri DECEMBER 1917 THE ETUDE Pa0e have extreme difficulty in learning j, An 30 excessively nervous violinist, with an un comes from a lack of proper relaxation Days of the muscles of the arm and wrist. At freoamVa!ianl’rvinOU!d 7 *el1 l° abstai" times she can get through three or four 10c a Day-, a . , . v nes’ tobacco, tea, coffee Trial measures perfectly, with this bowing, but N«w k«ya this isperb Faray Yiolia 7lmery ring Which affects ** nervous stem unfavorably. A violinist needs then her arm stiffens and she cannot go AN exquisite Instrument — steady nerves, a perfectly steady hand on with it. She can do the towing but and good health to do really good work cannot keep it up. This shows a tension somewhere, owing to lack of correct Hints on the Care of the Some violins require the bridge to be In case of instruments having continual The beauty of spring bowing is its per¬ fundamental wrist bowing practise, or of hard maple and others of softer maple. use, the inside will need to be cleaned Spring ] fect eveness. It must be as regular as a WURUIZER Violin else to nervous trouble. Much practise In one case it must be left thick, and in roll on the drum. Some plavcrs fail he tan years oi HWtniMnl mtkjhq (Tlie following excellent advice is pre¬ occasionally, say once or twice a year. If ■ > " violinists ami t l of easy music with wrist bowing as indi¬ sented by a lending Knglish tinu of violin cause they allow the hair to jump from the other thin. To lit a bridge properly a handful of dry barley, slightly warmed, who seek to acquire a reliabl!" SlU 1WENTY-NINTH ANNUAL ifpLlDAY Qffi TWENTY-NINTH ANNUAL HOLIDAY OFFER OF MUSICAL GIFTS $ I We take pleasure in presenting to our subscribers and patrons the Twentvnim I i V1 1 LI' iV1'J VJlF 1 O Annual Special Holiday Offer. This list contains about all that is good in musir^ 1918’ “S spec,al arrangemenu the publishers expiic on that date. In ^ literature and collections. Holiday Cash Price is from 25 per cent to 50 per cent u r t0 aVOld de,ay.a,ld inaur« delivery on time, wr would * u vc* t ih.i all orders A Christmas Gifts for Music Lovers at Special Prices less than the publisher’s price, and in addition, if cash accompanies the order prepaid , se?1 at t*1C ear*ieat poaaible date, and thus prevent any disappointment. Wf transportation is included. 1 he binding is the best in which the books are made It ln wrltin8 al,ow a line lor each article ordered, BOOKS AS CHRISTMAS GIFTS must be distinctly understood that no orders arefiUed at these prices after January liVi.S**11 T" l!l Wc 1 GENERAL MUSICAL LITERATURE “ The True University is a Collection of Books.”—Carlyle Holiday Cash INSTRUMENTAL COLLECTIONS- Continued _ :e Postpa (PIANO SOLO) Anecdotes of Great Musicians. Gates. .{ In Praise of Music. Gatesi. = SHOP BY MA1L = Three hundred well authenticated Comprising three -hundred and anecdotes of great composers, play¬ sixty-five selections, by writers of STANDARD HISTORY OF MUSIC many countries. -yric Pieces. Op. 12. Grieg .. DICTIONARY OF MUSIC ers and singers. Lyric Pieces. Op. 13. Grieg . . By J. France Cooke Regular Price, $1.25 MISTAKES AND DISPUTED P Chats with Music Students. Tapper. .! Life Stories of Grea't Composers. Master Pieces. Claasleal . By Hugh A. Clarke, Mus. Doc. Streatfield . Mendelssohn's Songs Without W< Holiday Cash Price Postpaid, 90 cents Regular Price, $1.00 IN MUSIC Critical and Historical Essays. Mac¬ Master Lessons In Pianoforte Play¬ Modern Dance Album . ing. Bowman . A First History for Students at All Ages Holiday Cash Price, 67 cents, postpaid By Louis C. Elson Dowell . 1-! Modern Drawlng-Konra Pieces . . Descriptive Analyses of Piano W Mistakes and Disputed Points Modern pieces of striking c Music students have long recognized the „ ... Regular Price $ 1.25 1.00 Music. Elson . *“ —.- popularity. need for just such a volume as this. It is Holiday Cash Price 84 cents?p01 A poetic, dramatic and historical Music Life and How 1 > Succeed i Modern Student. 2'vols. each . All ot those hundred and one It. Tapper . Melodious study pieces for tne a first-class, up-to-date pronouncing dic¬ analysis or description of the best- Points way to success to teach¬ piano to promote technical devel- tionary and contains the names, with pro¬ upon which the teacher and pupil« known piano compositions. ers and students. nunciation, of all of the most prominent l!nost woefully misinforme Dictionary of Music. Dr. Clarke... .87 Musical Sketches. Polko . Mozart's Sonatas. Complete . carefully explained and accurately The Same, Pocket Edition.17 Pedals of the Pianoforte. Schmitt.. Parlor and School Marches . musicians of the past two centuries, with lO-Playera Repertoire . this work. * Dictionary of Music. Redman.34 Stories of Standard Teaching Pieces. profitable work. P plan for help,nS y°u make a start in this dates of birth and death and nationality. Perry . Thirty-nine popular pieces for Education of the Music Teacher. The touch of romance, anecdote „cneral use. Tapper . 1-00 and educational information of this Popular Home Collections . MASTERS AND THEIR MUSIC LIFE STORIES OF GREAT MASTER LESSONS IN PIAN European Reminiscences. Elson.40 hook aids in giving an intelli¬ Forty-six pieces, such as will CHILD’S OWN BOOK OF gent understanding of many well- please the average listener and By W. S. B. Mathews COMPOSERS FORTE PLAYING Great Pianists on Plano Playing. known and standard compositions. prove grateful to the player. GREAT MUSICIANS By R. A. Streatfield. Regular Price, $1.50 By E. M. Bowman Cooke . 1.34 Ideal for students, teachers and Popular Recital Repertoire . Regular Price, Cloth, $1.50 New edition, greatly enlarged and Holiday Cash Price, $1.00, postpaid By Thomas Tapper Holiday Cash Price, $1.00, Postpaid „ . , Regular Price. $1.00 concert-goers. Popular Parlor Album . Hobday Cash Price, 67 cents, pos Including a conference with I. W. Well-Known Piano Solos and How Twenty-three pieces, all of a SMft. faniVnar* *"h Arranged in two parts, this book will Six Volumes-Price, each vol., 15 cents Thirty-five biographies of great masters. Paderewski. Them. Wilkinson_ popular nature. Melodious, at¬ Student's Classic Ahmm Special Holiday Cash Price, 10 cents One of those rare books, a valuable tractive and playable. prove a welcome gift. First part filled gogic work, that has all of the ess< BIOGRAPHY AND LETTERS School and Home Mnrehes . with splendid material for Ten Musical Filled with the exuberant spirit that so GALLERY OF MUSICAL CELEBRITIES of a popular novel. The subject is t Distinguished Musicians. Garbett. ’elite Library—Lives of Beethoven, Marches that can be marched to. Evenings with Bach, Handel, Haydn, Mo¬ appeals to children, this series has attained (Paper) . .50 Chopin, Handel. Haydn, Liszt, Schubert. Impromptus, Momenta Mus- GALLERY OF EMINENT MUSICIANS in a series of “letters from a Music (Leather) . 1.00 Mendelssohn, Mozart, Wagner zart, Schubert, Beethoven, Mendelssohn, icales . a tremendous popularity which is con¬ his Nephew” and covers a course of Eminent Musicians. Garbett. Weber. By Francis. Schubert. Fantaslea, impromptus. Utopin, Schumann and Liszt. Second part GALLERY OF DISTINGUISHED (Each in cloth) . stantly growing. The books are an ideal in artistic pianoforte playing, self¬ (Paper) . of Six Musical Evenings presents Brahms, MUSICIANS (Leather) . 1-00 (Each in paper) . Schumann. Selected Works gift and are a source of never-ending short cuts and vital suggestions ft Masters and Their Music. Mathews. 1.00 Complete set of above (boxed) ln Lneg, Gottschalk, Mason, MacDowell and Speciiil Holiday Cash Price, in paper, amusement as well as being highly in- guidance of the student, the teache Musical Celebrities. Garbett. cloth .,. yo3\S 1 scliaikowsky. 50 cents each; in leather, $1.00 each (Paper) Complete set of above (heavy paper). structive The volumes are Bach, Han¬ artist, the parent and the educator (FOUR HANDS) del, Haydn, Schubert, Schumann, Beet¬ Regular Price in paper, 75 cents each; (Leather) 1.00 Wagner, It. Life and Works. Jullen. hoven, Mozart, Mendelssohn, Chopin. in leather, $1.50 each FICTION-MUSICAL NOVELS DESCRIPTIVE analyses of More than two hundred portraits and POCKET DICTIONARY OF .67 | First Violin. Fotherglll . PIANO WORKS biographies of the world’s foremost com¬ MUSICAL TERMS HISTORY By Ed. Baxter Perry THE PETITE LIBRARY posers, singers, violinists, organists and By Hugh A. Clarke, Mus. Dot History of Music. Baltzell . 1.10 ages. Forty story lessons in music Regular Price $1.50, cloth gilt New Edition (M*x3H) 9 vols, boxed teachers who have lived during the past Regular Price, 25 cents Adopted by leading schools, col¬ lore. Most readable. One hundred Duet Hour. The. (Easy Piano Duets) two centuries, are contained in these three leges and conservatories of music. and fifty excellent portraits and il¬ • collection of piano duets of the Holiday Cash Price, $1.00, postpaid Bound in stiff Artistic Paper and Holiday Cash Price, 17 cents, pos lustrations. volumes We make a special price on Many illustrations and portraits. RradPH of difficulty. Presenting a remarkable exposition of in Red Cloth One of those convenient volumes Standard History of Music. Cooke.. Four-Hand l*arlor .t • • so often come in handy. Publish A first history for students of all Of imidornto difficulty, ranctnir the emotional significance of the various Special Holiday Cash Price, Paper °f $US ^ P3Per and from the early third irrndiv Nouo works of Beethoven, Weber, Schubert, 75 cents; Cloth, $1.20 small form and suitable to vest pc FOR THE CHILDREN more difficult than grade four. Chopin, Liszt, Rubenstein, Grieg, Saint- Regular Price, Paper, $1.20; Cloth $2.00 Album for the Young. Op. 68. tainlng one of the imperishable Italian Overturn* . , Saens. _ Schumann ... melodies of the great classic and Juvenile Duet Player* ------modern masters. Both prtmo and aeoondo part* Extremdy readable in style and filled Fifty Nurserv Songs and Games.... _.-e of about equal grade*. with musical lore, these miniature vol¬ Little Artists. Terry . Toy Shop Sketches March Album . STORIES OF STANDARD An Eventful Christmas Gift Mendelssohn Six Children's Pieces.. Tunes and Rhymes. Spaulding Mother Goone Duet* . umes should have a distinct niche in the Merry Rhymes for Childhood Times. lover. The size Little pieces tin t may be either Seventeen marche* of various TEACHING PIECES Bugbee . sung or played, or both together. styles, for four-hand playing. By Ed. Baxter Perry Musical Picture Book. Hudson .... Spanlding . (MISCELLANEOUS htnti a mak,e ‘,he books unusually THE GROVE DICTIONARY OF Musical Thoughts of Little Tots. Well-Known Fables. Regular Price, $1.50, cloth gilt handy and certainly there can be no more Sixteen little pieces which may Bugbee. he played or sung, each piece tee¬ Holiday Cash Price, $1.00, postpaid Tphe 'I}1** delude Handel! Pictures from Storyland. Slater.. .. e of -Esop’s MOrCea;,inoCUnlqnrstraVUMD.;D'' % mXaj MUSIC AND MUSICIANS Souvenirs of the Masters. Spaulding. ing it's tit' Operatic Sel,-. I|,m~ Violin and nano .30 ..li«l I A careful perusal of this book will be Haydn. Weber Beethoven, Mendelssohn, "Fables.'' Chopin, Liszt, Wagner, Mozart. Twenty-seven pieces, each con- The violin part Is about grade weH repaid by the practical knowledge Five splendid volumes, bound in red and gold, price $15.00 three, and • piano aecompanl- VOCAL COLLECTIONS ,nd and third jirade. that will be gained. The attention is fo¬ Christmas can be given a new meaning by the gift of this cussed on the "inner meaning” of the com¬ Sacred Duets. ( All Voices).|| | ^THy lacred^and Ocular'songs of Selected Classics. ANECDOTES OF GREAT MUSICIANS exceptional musical dictionary which even' lover of music aspires Singer ^ Hepertoi,. - - , - --- '3° compass and medium grade, Great melodl positions under discussion, rather than tal < range their mechanical structure or technical By W. Francis Gates and secular songs for medium player A°nm ^ t0O,C 184 musical specialists 16 years to prepare its Society Dance Journal. Violin and detail. This handsome volume includes „ ... Regular Price $1.50 ’ P^es, an<^ *ts treatment of every subject is complete. MISCELLANEOUS Plano -•■••• ■ — • - the best-known and most widely-used Holiday Cash Price, 85 cents, postpaid Standard Organist P*p« Organ.... Ihe work embraces every branch of musical education: Elementaire. (Musical Game).30 I Musical Authors. (Game). - ■ Forty three pieces for the pipe piano compositions, both classic and Over three hundred well-authenti¬ _ . (Game).. musical science, theory, history, biography, musical terms, aesthetics A pleasing and instructive game a? r Chords. (Game).. modern._ cated anecdotes of great composers teaching the rudiments of music. iiiaas BOUND COLLECTIONS and musical industries. players and singers. Great Compose,,. j^jRUM£NTAL COLLECTIONS (CLOTH) ^ , , GREAT PIANISTS ON THE ART The Theo. Presser Co., by reason of issuing this work in OF PIANO PLAYING ^SLnn. Album ofTwenty-four uX"rn.- > By James Francis Cooke REMINISCENCES OF A MUSICIAN’S $25*(X)^tot>0 kCen ab*C to cut Polisher's price from Album of Favorite Compositions. Pieces for Small Hands VACATION ABROAD Engelmann . No writer mingles e pleasing Regular Price, $2.00 Including the tremendous suc¬ with the educational n MUSICAL PICTURES, PLAQUES AND MEDALLIONS Holiday Cash Price $1.34 By Lewis C. Elson cess, “Melody of Love.” New and Greatly Enlarged Edition $3.00 Will Bring the Set to You Album for the Young, Op. 68, and Art Engravings j iirr.nze. of Wagner and „ t• v Regular Price $1.25 Scenes from Childhood. Schu¬ No more admirable Christmas present Holiday Cash Price 40 cents, postpaid The complete set of five books will be sent to you and you mann . **ia i for the music lover, the student or the This book, describing Mr. Elson’s trip are given the privilege of paying the balance at $1.00 a month Album of Lyric Pieces. l>m Nothing of greater difficult} Twenty-six pieces by various ■ , nan the second grade. rfoPrU3f°.r The*subjeet»°*r*’ JilnuC XU..e in two sU- teacher could be imagined than this col¬ through musical Europe, is one of the during the coming twelve months. Writtht Schumann. Ominod. 4 Inrbee * . . * composers. None beyond Grade III ^^G^ea-YXlcofthefirstand izi*7t Mo*xkow*KI. Grieg. I’ade- prr. 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PRESSER CO., PHILADELPHIA, PA, [ THEODORE PRESSER CO., SS? MU5,C -— ~ Page 852 THE ETUDE DECEMBER m, Leading Articles—Continued Music—Continued Page Music—Continued /Modern Italian Mas¬ Page Berwald, W„ Juvenile Birthday Party. .Oct, 679 onpns„r ,• j Blacksmith and Hi, „ , ters : Mascagni, Leon¬ Binet, F„ Fantasia Tarantelle....Nov.; 750 sPen«’r- -j TraveUer or?” LEADING ARTICLES cavallo, Sgambati, Bonheur, T., Dance of the Apes.. ::5:: IS! s ,,: i&SSragssZ’-g: !“ P ero si, Puccini, Bonheur, Theo., Zing . . ™ Andebton, Margaret. Spirit of the Wolf-Ferrari .Feb., 85 Brahms, J., Hungarian Dance No. I Modern Masters (vari- , Humoresque . Polonaise .Mar.. 168 . .June, 401 Vanasse, R. J. { .Nov.; 7« Automatic Faculty in Playing, * ous) : Dvorak, Mah¬ Braun, L.P. { “'legoZ" - \'•'•! . .Mar., 170 A. Longa, Dec., 788 ler, Smetana, Schoen¬ Brookes, L. A., Rest. Vtagner-Liszt, Elsa's Dream from YVi n” 38 berg, Reger, Hum- ..Jan., 37 engrin . ‘ I’on- Beethoven as a Pianist_Pierre halo, Dec., 795 perdinck .Mar., 161 I In a - Burt, Victor. Chief Characteristics of \ Modern French Masters: Brown, Mary Helen, -j The*SoMM'sPolka.hug.’, Ill Ward, Herbert Ralph. Little Dan/,-i ’’ 738 the Symphony .June, 377 Bizet, Godard, Mas¬ (Valsettc de Ballet May, 326 Bispham, David. Master Lesson on Brunner, C. T„ In the Palace.Jan., 39 ZE2Z !8 Schumann’s "Two Grenadiers”.Dec., 801 senet, Charpentier, Ravel, D’lndy, Cesar Burleigh, Cecil, Coasting.Mav, 322 WDance °' M’ ' 0n: ^ Brahms and Liszt as Hosts.Jan., 5 Franck .Aug., 620 Carreno, Tereso, Mi Teresita.Aug., 523 Brandt, Mrs. Noah. Essential Points Famous Women in Mu¬ Chopin, F., Butterfly Etude (.simplified).My, 466 in Beautiful Playing.Nov., 723 sic: Beach, Chami- ( Evening Song .Mar., 179 Williams,Williams F.V A.-jA < ^Bobgoblins Song of SpHnff. Brower, Harriete M. Five Essentials nade, Lehmanty, Car- Christiani, E. F. and Nov., 764 Fontaine, L. J. O. J. In Step- ....June, 398 Mero, W. P., Hail Columbia. Dec, 810 Cure for Musical Pessimism, Organ Pedalling, Modern, Edward Hardy, Dee., 836 Forsyth, W. 0„ A Starry Night. . ... May, 326 Morrison, R. S., Deeds of Valor.Dec!, 808 C. von Sternberg, Nov., 716 Foster, Fay, Etude de Concert...... Jan., 27" Mozart, W. A.,4 Minuet .Mar,.Mar., 176 Davenport-Enoberg, Mme. How to Organ Purchasers, Hints for, ■ Henry 8. Pry, Feb., 126 ( At Dusk . ...Dec., 821 Planquette, R„ Marching Song of the . Start a Local Symphony Orchestra.. .May, 309 Franz, A. -j Dance of Spring- DeIyoven, Reginald. Paths to an Amer¬ Registration in Hymn Tunes, ...July, 459 French ArmP .Nov., 734 Edwin B. Pierce, Apr., 271 ( Moonlit Nights _ ’ — Quinn, A., March of the Heralds.Apr.! 248 ican National School of Music.Aug., 607 Guy, T. J., Twilight. Schubert, F., Fragment from the Vn- 1 Dictionary of Symphonic Composers... .May, 303 Reputations in Music, How Achieved, .July, //. T. Finch, Dec., 791 Haesehe, W. E., 3 Fairy Dream.. finished Symphony .May, 320 Dog, Haydn’s Tribute to a Faithful_Mar., 221 Rest as a Climax.Philip Gordon, Feb., 84 Hahn, H. M., Valse L'Arpeggio ... Scott, J. P., At the Donnybrook Fair.. .Julv, 460 Do You Know This Minuet?.Oct., 654 Stults, R. M„ Stand by the Flag .May, 318 Edison, Thomas A. New Aspects of Romance of the Swan Knight.Nov., 725 Handel, G. F., Harmonious Blacksmi Russell, Louis Arthur. Spirit and Iiaydn-Mellor, Souvenir of Sorrento_Sept.,,... Wagner, R., Magic Fire Music .Oet„ 660 the Art of Music.Apr., 226 Heins, C., Christmas Eve .Dec. Elson, Arthur. How the Masters Technic of Piano Pedals.Mar., 157 828 Sought Humor in Music.'a mr mu— „ Staccato, Legato and Mareato.Oct., 665 Hewitt, H. D. | £“;A°/W««5 VOCAL Elson, Louis C. Mysteries of Music.... ff' ir, Samaroff, Olga. Self-expression Say! Keyboard . 35 Symphony Orchestras in the U. S. A.. Holst, E., The Charmer . .. Finch, Henry T. Is the Symphony Huerter, C., On Horseback.Oct., 677 Cadman, C. W.. To-morrow . . Played Out? - Qni Practice? .July, 451 May, 301 Schumann - Heink, Mme. Ernestine. Johnson, W. A.{ .Nov., 732 Cooke, J. F., Rose of Kilfarney....Oct!, 682 Musical Reputations How Dancy, Charles E., Ah! Pensive Dream.Aug., 546 Achieved . Hints for the Singer’s Daily Practice.. Jan., 17 l Sabbath Morn .Dec., 814 Schumann's "Two Grenadiers,” Dancy, C. E., Dreaming .Mar., 185 Future of the Symphony. Eminent Con- Kannerstein, G. { HI Eversole-McCoy, R. M., You Sing to the - duetors . Mav 212 „ David Bispham, Dec., 801 , Reverie Impromptu y, 2 Scott, Cyril. New Material in Musical Keith, L. W., Love Blossoms., ±±ij „ n’orM of a Summer Time.Jan, 48 Galli-Curci, Ameliti Education of Kern, Carl Wilhelm, Hunting Scene in Federiein, G. H„ Into My Life She Came.Feb., 118 an Opera Singer... Composition .Aug., 511 Seashore, Carl E. How Psychology Ozark Mountains.Aug., 534 Freeman. C. West, Summer Is Gone....Oct., 681 Getting Acquainted with the Episcopal ( Metosua Rapid 675 Galbraith, J. L„ Love’s Dau n .Feb., 119 se^ce:::uy:::.::::.KH.Pi^; Dec., sse ■ a 'Feb- 89 nr J Valse de Coluinbine .July,’ 456 Jo™an> Jules, The Love of Which l . Getting Concert Engagements, L’ Eolntbei';- a Christmas Mu- Kern, C. ’ ’ 1 St. Frances de Sales.Oct., 675 ^ Dreamed . June, 408 ise““’ Ma3'' 346 S°usa) John Philip. Symphony Or-’^*0’’ 835 l. Twilight on th, s Waters. .Mar 169 hoven, Reginald de. The Old, Old Lore.Aug., 526 Ooepp, Philip H. Rise■ise of the Arnerl-Ameri¬ chestra and Concert Band...... May, 299 Kjerulf, H., Spring Song .Mav 380 Kr°eger, E. R„ ,liVI You Got Me!....July, 472 can Symphony .may, aoo Kullak, Theo., Scherzo . Hanchett, Dr. Henry G. How Shall .Sept., 602 , • , f By the Waters of Min- Common Sense in Accompanying.June, 373 Lachner, V., Prelude ..Nov.! 748 Lieurance, Th. -J netonka .Apr., 258 I Play Phrases Properly?.Aug., 515 r>- ---- (Maleana ... 88 Hardy, Edward. Modern Organ Pedal¬ Stebnbkro, Constantine von. Elocu¬ Lange, Gounod, Faust Waltz.. tion of Melodies.Jan., 19 Lansing, A. W., Call of Spring. L., Abide with Me.. ..Sept., 612 ling .Dec., 886 aijan.; 29 Marschal-Loepke, G., Where Hempel, Frieda. Thoroughness in Symposium : How to Increase the Music Lawson, Paul, United States of Amer Class. Charles E. Watt, Herbert Wil¬ Lege, W., Hoping and Longing...Apr.’; 250 . Operatic Preparation .July, 439 ..Apr., 257 Henderson, W. J. Causes of American bur Greene, Harold Henry, F. W. Liszt, F., Lore’s Dream Waltz. WOdell, Perlee V. Jervis, John J. Loeb-Evans, M„ COnchita . Moszkows _ _ Opera Failures .Jan., 13 Hattslaedt, J. Lawrence Erb, Louis Martin, G. D., False Vivettc. Bme .’.7... .V. " .. .7. .T. .Oct., 683 Henschel, Sir George. Elementary Martini, P., Gavotte it ~ Neidlinger, W. H., The Undimmed Star Truths in Song Interpretation.Oct., 645 G. Beinze, Arthur L. Manchester, Mary Wood Chase, Gustave L. Mendelssohn, F. j ec., High School Credits in Texas.Aug., 514 Becker, D. .4. Clippinger. •I* ... Hirschberg, Dr. Leonard Keene. How .. .Sept., 756 the Musician May Conserve Good Tapper, Dr. Thomas. Versatility Morey, F. L., Highland Laddie. ims of Long Ago..Nov., Teaching .Oct., f The Chapel in the Val- Bolfe, Killarney, Across the Health .Mar., 155 Sea .Sept, 610 His Fling.Sept., 576 Technic of Organ Pedalling, r ley . Hopekirk, Mme. Helen. Practical S. A. Baldwin, Oct., 693 Morrison, B. S. < Love's Young Dree Feb.,Feb’ 100inn Schum«nn, R., T%o' Grenadiers'.I.'.'.Pm!; Thoughts on Piano Study .Nov., 717 Throat Troubles of the Singer, The Whirlwind • Jan., Smith, W. W. { 335 How the Cellist May Acquire Tone, „ C. A. Williams, Dec., ■Thete. Bugle CorpsCorp .Sept., Roderic Pierce. Nov., 768 Tidebohl, Ellen von. Reminiscences Moszkowski-F 71 Message of Love....Jan., Tate, A. F., Dreaming of Love and You.Mar., 134 Hughes, Edwin. Famous Arrangements of John Field.jujy> C By the Sea .rw Terry, R. H„ A Song of Life.Nov., 757 of Musical Works .Sept., 587 Two Against Three-Frederic Corder, Dec., Moter, C. < Bomento Ward, II. R„ The Call of Love.July, 470 ti-;— "1- *-»-687 Unmusical People, How to Interest, ) Echoes ft.. ( / Arise from Dreams R. M. Rainey, Oct., L Spanish Hall Scene.. Ward-Stephens. I of Thee .Sept., 611 a Tone Production..‘..July, _ Value of Organ Transcriptions, Oehmler, L„r. Love’sr—■ ■ Dream. . ( Lullaby .June, 407 Successful Study of Octaves.Dee., 793 , ... Percy Chase Miller, July, Paladilhe, E., Mandolinat ■ Feb., 105 Vital Phases of Piano Technic.Mar., 153 ioloncello” ...Orlando A. Mansfield, Julv, Perry, E. B„ The Mermaid Song • Dec., 820 VIOLIN AND PIANO Huss, Henry Holden. Musical and Violoncello Fingering_Ben Venuto, Aug., Pugno, R„ Farandole ...... • July, 473 Cultural Education of the Modern Violoncello Tone, How to Acquire, Quinn, A., Dirge .... Sept., 601 Ferber, „. { ;;;;;;;;;;^4 Roderic Pierce, Nov., Reeves, D„ Loretta ... . Pianist ...Jan., 11 • Apr., 261 Fox, Eddie, Sweetheart! .Aug., r>43 Hymn Tunes, Playing of, /Nicholas Douty _Jan., Renard, P„ Gavotte d’Armour. • Oct., 668 William E. Warner, Feb., 128 / and Feb., f Battle Cry of Freedom.'.'. Sept., -- Haesehe, W. E. -f [^‘equin .Sept, 613 Beethoven ....Jan., 21 ID. A. Clippinger...... Mar., Renk, L. ^ Charge of the Cavalry_ l My Little Boat .Apr., \Frederick W. Wodell.. Apr., , Flirting . te* g> mm. no, A/»f5&5S.:r.::8K m I Haydn . eb,, 91 VdcE Depart- )h. S. Kirkland.Mav, Mendelssohn .Mar., 165 Rhode, E„ Boys on Parade . MENT. Vg. Camilla Engel..June, ' America First .. Handel .July, 443 • July, 455 Schumann, R„ Traumerei .Jan., 45 Chopin .Sept., 585 I Louis Arthur Russell. .July, Eventide .. June, 395 I E. E. Hipscher.Aug., Hear Dem Belts.. Tsphaikovsky-Hartmann, Valse, Op. S9, ... Verdi ..Dec., 799 Aug., 544 No. 8. . .Feb., I*0 High Lights from a Musical Conven¬ \john C. Wilcox.Oct. Rolfe, W. Soldiers of the King.Oct tion .Nov., 721 Who Shall Teach Whom? The Merry Blacksmith.Oct, Tschaikovsky, P„ Neapolitan ‘Dance In Defence of Versatility.®. H. Pierce, Aug., 516 Per ley Dunn Aldrich, Nov., Merry Sleigh Ride.Feb. Jebvis, Perlee V. Developing Technic Why Advanced Pupils Lose Inspiration, The Skaters’ Waltz.Mar. Verdi, G., Miserere from II Trovalore. .July. 477 Through Study of a Piece.July, 446 Barbara D. Roemhild, June, Ronk, L., With Waving Colors.Feb 99 Williams, Carl Easton. Throat Trou¬ Saint-Sa6ns, C., Andante from Haydn’s ’ PIPE ORGAN Foundation Principles of Technic_Nov., 719 bles of the Singer.Dec., Surmounting Stubborn Passages.Feb., 88 Williams, Evan. How I Regained a Johns, Clayton. Tension and Relaxa¬ Lost Voice.Sept., I Woodiand^Musinni ’ if! from Fifth Symphony.Mar., 137 tion in Piano Playing.Oct., 647 William Wallace Gilchrist .Feb., ( Poor Cock Robin '' u?1" giggle, R., Grand Choeur Dialogue-Jan., *3 Kbkr, Caroline V. Brahms as a Man Schick, Haus, <{ dTu.„ — llobin.US Gaul, H. B„ American National An- and Friend .Am- onn MUSIC ) RotxtcL . Dec. Kilenyi, Edward. Curious Facts in Piano—Two Hands _ . . Dance of the Goblins'.'.May, Gilette, J. R„ Epilogue .Apr., Musical History . Schubert, F., All Soul’s Day. Anr Aug., 517 Antony, ^ ff^glo it'.... ".May | fg Srhiimnivn P Album r W% ^ '• Godard, B., Berceuse .Oct., 686 Lalo, PreRRE. Beethoven's Character¬ Offenbach, J., Barcarolle from Tales of .. istics as a Pianist.Dec., 795 Barreft r f In the Woods.Nov., - Hoffman .July, 47® Labzlo, Schwartz. “Symphonyland”.. .May, 307 Barrett, K. -j How Grandma Oaneed.. .July, 748 Schieiffarth, Geo.', ’ Bohemia Lesson Talk oa “Felice ".E. E. Hipscher, Aug., 548 (Andante and Varia- 465 Scott, J. P. | Leve, j: Frank. Acquiring Accuracy J tions .Mar., 180 Slater, D. *”D., Nocturne .J,llrie’ Rogers, J. H., International Fantasia.. .Nov., 'j>4 in Musical Terms .June, 371 Beethoven, L. van. < Allegro from Son- Mansfield, Dr. Orlando A. The Slide 97 smith,w.w. {:::::;:::o|;; « and How it Should be Played.Nov., 727 . .Apr., 245 Spence, W. R„ CWn Joyeuae ;;;;; .Novi; 7^0 .f.'ffAug.. «°