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

8-1-1910 Volume 28, Number 08 (August 1910) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 28, Number 08 (August 1910)." , (1910). https://digitalcommons.gardner-webb.edu/etude/561

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KJiAkt U

THE ETVDE

AUGUST 1910

Theo. PresserCo.. Philadelphia.Pa. 501 STUDIES IN OCTAVES | THE ETUDE New ADVANCED PASSAGE-WORK Publications EIGHT MELODIOUS STUDIES IN MODERN TECHNIC Premiums and Special Offers Easy Engelmann Album By CEZA HORVATH Singers’ Repertoire Studies for the Lett Hand Op. 87, Price $ 1.25 Crade IV-V FOR THE PIANO These « are in gM of Interest to Our Readers A Collection of Sacred end Secular Alone k. MONTHLY JOURNAL FOR THE MUSICIAN, T Songs for Medium Voice Price. 50 Cents MUSIC STUDENT, AND ALL MUSIC LOVERS. Price. 50 Cents For the Pianoforte Edited by .TAMES FRANCIS COOKE Twenty-six of Mr. ^A°tUntaainB„Tn7;l'e“The aSdSS* THE WORLD’S GREAT BOOKS The best value ever offered In_ ,ri most popular teaching pieces u »re are J§ numbers, By L. BIRKEDAL-BARFOD xnSV “Nocturne.”” The'rigbt ptec^Tc , Therewill i be found songs suited for „.-ade collected better recreation -upy twenty-four pages. The last^is | All Should Be in the Library of Every Home Op. 8 Price, 60 Cents stantlal voUni werv" possible demand. These songs are lound for pupils working In ind c iearlv all original com posit on s by modein f modern studies ft second grades. All young Liberal premiui THE LIST not having previously appeared musically interesting Oliver Twist.Chas. Dickens The Premium Offer rany orthPrn0coUection. but there «re « few S oT rare'technical value. In these stud¬ The pieces are of vari- REMITTANCES should made by post-office or express standard^ numbers toeUided.^gK ^ arranged progressively, check or draft, or registered Great Expectations.Chas. Dickens _ , 'there are no commonplace 's the chief difficulties In modern passage ous styles and chord and octave work. money orders, bank Old Curiosity Shop.Chas. Dickens ** The boolTTs "printed work for the left hand are practically They•rnov consist ui“ .Je various, dance1 ebarac-forms, letter. United Sta ■s postage stamps are always We will send ONE of sting numbers. The book *8 exemplified, each study Illustrating reveries, songs without words received foe cash, Hard Times.Chas. Dickens C aid° «i"aKn..aUy' iKSt special point. The studies range in teristlc pieces. romantic studies gerous, and we are Mill on the Floss..George Eliot these books postpaid for MTA library of every singer. culty from Grades IV to VI. mc._-. Adam Bede.George Eliot There are fourteen studies In all. con By WILSON G. SMITH DISCONTINUANCE.—If ^ every new subscriber sent ntlne one of the best technical works Bomola.George Eliot Op. 57. Price $1.25 Crad the■ '-ft1 hand that we have ev— “— Presser’s First Blank Silas Marner.George Eliot to us by a present sub¬ Tone Pictures These studies are of special musical Kenilworth.Sir Walter Scott Ivanhoe.Sir Walter Scott scriber to THE ETUDE. Music Writing Book theirSSffr titles, —,£”S as follows: Homage Waverly Sir Walter Scott Musical Casino Schumann" “Gavotte Pastorale, The Pathfinder.J- F. Cooper By JOSEF LOW Price, 10 Cents S i CUopin,” “Melody,”uouy, “Mur-uxui- fonhvrs"hvrs" anaand “Scheri‘Scherzo alia The Deers) ay er.J- F. Cnoper Op. 191 Price, 75 Cent. Major-Minor Game A musical copy book c°ntaining ?2 luring Zephyr MANUSCRIPTS.—All manuscripts Intended for publica¬ The Last of the Mohica: s.J- F. Cooper One of the best and most Interesting seta Technically they are made tion should be addressed to THE ETUDE. 1712 of duets for teacher and pupil, the PUmo By CARL W. GRIMM the hand and wrist touches Chestnut Street, and should he written on one side Sense and Sensibility ..Jane Austen These books are in uniform part lying In a compass of five noty chord and run passages and velocity i of the shaft only. Contributions on^ topics con- Pride and Pr judice.Jane Austen composer displays remarkable IniP Price, 50 Cents pencil, sufficlen group reading and playing. Lncle Tom’s Cqbin.Harriet Beecher Stowe size, x 6 and in uniform e little pieces %, the construction of solicited. Those that are not available will be re- Robinson Crusoe.Daniel De Foe Inc mil music __m." They are l really interesting and Instructive n exercises, -^ok b°o°ut larmony1 exampTel cloth binding, dark red wine fin, each bearing an appro- sical game ideas Included in the book FIFTEEN ETUDES FOR THE CULTI¬ ADVERTISING RATES will be sent on application. Westward Ho . . . .v.Charles Kingsley !thc most ele- i complete exposition of the VATION OF THE LEFT HAND Forms close on 10th of each month for the suc- East Lynne.Mrs. Henry Wood intary manner and arc carefully^ arranged played elements „„of n...jsic, also clear and compre- color, English buckram; four to „ ...lug the pupil hints on the writing of _ musical By E. R. KROECER THEODORE PRESSER CO., Henry Esmond.Thackeray . „.ie more important major and imp’lished by means of the majoi notation. The price of i book is a Op. 55, price $1.25 each Grade V-VI lit Street, Philadelphia, Pa. Last Days of Pompeii.Bulwer Lytton six hundred pages to each, large s^ Throughout ^tlie^b--’-c |-|jjspecial Intervals and common chords, tonlshingly low. Entered at Philadelphia P s game will tend to sharpen Because of the fact that In nearly all The Three Musketeers.Dumas itlon of Intervals and chords and nsic the greater difficulties lie in the John Halifax, Gentleman.Mrs. Craik type, good paper and illustrated. eneral knowledge of elementary ft hand, the composer has give" a 1 To which we can add the complete works of Victor Hugo, theory. TlTe game Is handsomely gotter jjfi t of musical pieces constructed 1 A good edition in every way. Melodic Studies le left-hand figures of standard —- . in six volumes uniform with the above. Write for further assic pieces, thus furnishing the pupil CONTENTS information. Nature Studies For Equalization of the Hands study of practical value. The musical for the Pianoforte [ualities of these compositions make “THE ETUDE”—August, igio A Song Cycle for the Ten hem worth the effort required for their | Editorial . Musical Thoughts ior Thought and Action in Modern Europe, School Months By A. SARTORIO mastery. Arthur EUon A SPECIAL OFFER FOR AU¬ SPECIAL RENEWAL OFFER Words and Music Op. 853 Price, $1.00 An Appreciation of Chopin. GUST TO NEW SUBSCRIBERS. FOR AUGUST. By FRANK L. BRISTOW Little Tots ETUDES ARABESQUES Antoinette Szumowska s is a set of modem studies in velocity On an Original Theme Some Benefits of Ear Playing.. . A. Copp To every subscriber renewing during the month Price, 50 Cents School SongsforVoice or Piano What Women Have Done for Russian Music, To every new subscriber which reaches workl ng* OU t°smne0 pa rlUcu lar* technlcaD point, By WILSON G. SMITH E.lJ.“von Tideboht .509 of August and sending us $1.60 we will send THE are Intended for the A Studio Symposium on Rhythm us during the current month we will mthf September to Juiie., in- By L. A BUGBEE ETUDE for another twelve months and any one _ _ its appropriate bereft6 hl^uW Op. 76, price $1.00 Crade V M. B present a pocket biography of Beethoven, of the following books, postpaid: song,’"bright, characteristic and orig'"-' ■ of twenty-one short studies Teacher, Conserve Your Energy.^ The composer, who is an acknowledged Price. 50 Cents on! of iLmost popular tdacaMolaf writers __ ith marked success, Jming Mozart, Chopin, Wagner or Liszt, bound Any one volume of Mathews’ Standard of the present day. All his works are bright used by the most progressive thorlty on school music, regards this A set of twenty-five charming little songs and tuneful, studies as well as pieces. Guy's. 'Uaier in cloth, or a pocket Dictionary of Music Graded Course of Study. lime as one of his best works. Each leading teachers. Octa~ Standard Compositions for the piano for is a gem, melodious and singable. J Pupils will gain pleasure as well as profit chor Etude Gallery of Celebrated Musicians. and Musicians. We want to register as of the songs ' ’ " composer’lla well-known specialist In work from “Melodic Studies.” They are well A Trip to the Shrine of Beethoven. the First Grade or the Second or Third, Fourth, °ed by students. The plam with children. The songs are tuneff adapted for hands of limited span. 3 In t— Richard Wagner many subscriptions during this month of Fifth, Sixth or Seventh grade. accompaniments arc well written arid de __=_!_ _ JR_other. Six of . How She Fought Obstacles.Jo-Shipley Watson cidedly rhythmic, affording good support t chlfd* voiceband t& ^esTrfM and the studies are made of Interlocking Analysis of Teaching Material. July as is at all possible. The book desired The Duet Hour. (31 Selections). catchy, varied in style and character, passages, and all furnish• decidedlydi v’” 1 Popular Parlor Album. (23 Selections). piano pc— jr nnH pnsv M able development material. must be asked for with the order, otherwise carries Hand Culture First Steps for the Piano. (Instructive.) each of thepjecesjs thus^rendered k Thomas 1 it will not be sent. Singers’ Repertoire. (35 selections). A System of Double-Note TWELVE MELODIC OCTAVE Peculiarities of Famous Musi Musical Kindergarten * f Carol Sherman 1 notice. Finger Training STUDIES Method For the Middle Crade Have Women Had .1 tunities ^I ... .. i ANNA BUSCH FLINT ETUDE TRIAL SUBSCRIPTION OFFER For the Nursery and the Class Room By CEZA HORVATH Price, $1.00 rempered Clavi We will send to anyone sending us 25 cents any three copies of THE ETUDE By DANIEL BATCHELLOR The Very First Pieces Op. 43 ii , . .8. A. Palmer ! and CHAS. W. LANDON This Is a unique set of technical studies . .A. U. W. Bagg from May to October. This is more than a trial subscription offer. It means the which are Intended to strengthen the fourth Price, $1.50 FOR THE PIANOFORTE and fifth fingers by Increasing the muscular biidging over of the Summer season, the keeping alive of musical interest in every scholar. > fingers, i hand in a great variety I This work, especially designed for the Price, 50 Cents development at the root'- or practical and useful forms, such as Practical Method c Hundreds of teachers take advantage of this offer, some even donating the subscription. use of mothers and music teachers. Is tr- The e_ with the in broken octaves, in motives contain¬ flrst complete musical kindergarten methc principles of the well-known p It pays. This Is a collection of the very eastes _the pianoforte t_ jchnic,“Theodore‘ ing notes of various time values, with -„..i,u„i,„s i. in o concise and pra pieces, such as may be assumed to eh motives that are sometimes a necessary Ignoring the above reasons, these three issues will contain fifty new and standard irt of impartlr mentary pupils at the earliest possibl layer. They a“ ’based on the assump¬ part of the melody, and in other pas¬ stages of their advancement. The fir? tion that the development of the fourth sages they appear In the accompani¬ pieces of music at the cost of about one-half cent each. This is in addition to the inspira ictivcf By means pieces in the book lie entirely in the treble and fifth fingers shouldvsnot only equal, hut ment, in other studies In a’ ‘-*— Department for Violinist: thildren may be clef for both hands, a few being in the five- If possible exceed, that of ihe second and hands and interlocking passages tion and the interest which is awakened by the reading of THE ETUDE pages. Let eriod far earlier finger position in either hand. Every one third fingers. In accomplishing this purpose most of the studies the hand s-— every teacher consider this offer, 25 cents cash for any three of the Summer issues. It will of these pieces is a little musical gem wh’ch the third and fourth fingers are chiefly — a rest through either a long_ note ( i are introduced In an >ntertaini..„ cannot fail to please and Interest the pupH. erclsed together. These exercises may World of Music....'. pay to recommend its acceptance. er to attract and hold e attention The pieces are of Various styles and the col¬ used in connection with any system of te~.. Useful Recital Music. e child, many drills, gam i and other lection Is carefully graded. All the pieces nic, and if practiced industriously jind in New Publications. i.i novices being employe. The book are. of course, adapted for Pipe Organ)... W. R. Waghorne Hungarian Nationa^Dance No. Senior complete.r ' . ‘-, , • including musicI1IUOIG ituuand books,UUOKS, music cabinets,cz book- s, ladies desk and innumerable things of value and interest to music teachers and it Remembrance (Violin and Piano H. Engelmann Theo. Presser Co., Philadelphia, Pa. | Theodore Presser Co.1 SEND ALL REMITTANCES TO Be of Good Cheer (Vocal) Sometimes (Vocal).. .. . THEODORE PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. Built especially for people of high artistic discrimination who appreciate PIANOS the difference between good and best STRICH & ZE1DLER D Your c orrespondence solicited in THE ETUDE w [dressing our advertisers. THE ETUDE 503 THE ETUDE IMPORTANT TERSE FACTS for Piano Music TO TEACHERS BUSY TEACHERS PUBLICATIONS OF G. SCHIRMER: NEW YORK_ Awaken and develop the musical tem¬ perament in your pupils and stimulate ALBUM OF the incentive for application by using IT IS NOT POSSIBLE TO OVERESTIMATE NEW STUDY MATERIAL FOR THE PIANO the compositions of the value of having on hand a stock of music FAVORITE RUSSIAN School of Advanced Piano Play- RAFAEL JOSEFFY. (on sale) consisting of the best pieces for HUGO BERGTHAL. Twelve easy etudes. ..$1.00 ' Net $3.00 COMPOSERS Simple studies which, despite their limitations, are music¬ ALBERT KUSSNER instruction and recreation, as large as the ally and technically attractive. compact and comprehensive form. The most important You no doubt know his “MOON number of pupils demands, added to monthly, music that has been issued in recent years. It JOSEPH CONCONE. Thirty selected studies. Edited work in recent years. MOTHS," the dainty suite of three melodies. by packages of new music or for special and fingered by Louis Oesterle..Net 1.00 HENRY LEVEY. The Chopin Technique.Net i.UU If so you will be equally delighted with his needs as they arise. Settlement once a year. forceful compositions with which the great These “selected studies" provide the student with ail the A series of daily studies based on difficult passages taken other Tone Poems—Memories, Hesitation, album will appeal more to musicians. This Dawn, The Evening Hour, Dance of the TO CATER SUCCESSFULLY to the needs and folio has been edited and fingered with elegant really essential features of Concone’s 4tudes. from the ,l Preludes” and Etudes of Chopin. Wood-Nymphs, By Candle Light. When finish by Paolo Gallico. Biographical sketches are given of each of the composers represented; ALEXANDER LAMBERT. Lambert s Piano Method Daisies Sleep, etc., etc. Send your address desires of a clientage of educators requires CARL CZERNY. Anthology of Studies. Edited and . Net 1.00 —*l:-~ »--- t--iglected that could add to for Beginners.... for complete thematic catalog. fingered by Louis OesSterle. A practical and simple course of piano -instruction, in¬ peculiar conditions and advantages possessed work8CneTr,a ts are as follows: Four volumes. Flexible cloth..Each, net 1.00 ARENSKY, A. dorsed by I. J. Paderewski, Josef Hofmann and by but few houses. A judicious sifting of a vast amount of technical material, L. C. Kussner, Publisher BORODIN^ A*. manv other c» lebrities. XT * aa RIMSKY-KORSAKOV, Pi. its proper classification and arrangement in order of EUGENIO PIRANI. High-School of Piano Playing. Net 2.00 Lincoln Park Station, Chicago, Illinois THE HOUSE OF THEO. PRESSER has an experi¬ logical development. Embracing in compact form the essentials of modern Please mention THE ETUDE ence of over twenty-five years as publishers, STEPHEN HELLER. Fif.y selected s'udies. Edited virtuoso technique. XT . based on an intimate knowledge of the needs and fingered by Louis Oesterle*...... Net 1 00 EUGENIO PIRANI. Fifteen concert etudes.Net 1.25 When the vast amount of studies and exercises is taken Excerpt from the High-School of Piano Playing. of the profession, the result of actual work. into consideration, which the student is expected to HANNAH SMITH. Twenty progressive pedal studies. .75 master, the importance of careful and intelligent selec¬ An excellent preparation for the more serious study of REPENTANCE Basis: — A large well selected stock of the tion becomes very apparent, in view of the saving effected New sacred song. Copyright, 1910. publications of all houses, American and Foreign PRICE, 35c POSTPAID - in time and effort. ARTHUR WHITING. Pedal Studies. Elementarymse Five pages. Published in 3 keys: • a limited time the above album or any Low (c-d), Med. (d-e). High (f-g). constantly added to, by the best of the new on receipt of of the damper pedal. •••■ 1*50 :ial postpaid price of 35c each. GEORGE J. AND HENRY HOLDEN HUSS. Con¬ of the highest order- of all publishers. These studies offer a complete and clearly arrarged means MOZART densed piano technics.. 1 50 fTT A constantly increasing catalog of original MENDELSS01I Original analytical exercises in double notes, scales and for the acquisition of a correct use of the pedal and a SCHUBERT corresponding artistic control in expression and rendaning. SCHUMANN arpeggio forms and trills. publications of great educational value which will ANY OF THE ABOVE MAY BE HAD FOR EXAMINATION be found in the studio of almost every music G. V. MECKEL teacher. One of our publications, “Mathews’ Descriptive catalog giving the complete cc 845 8th Ave. New York City Standard Graded Course,” enjoys the unique dis¬ tents of each folio will be mailed on request. tinction of having been imitated and paralleled to FILLMORE MUSIC HOUSE a greater extent than any other educational work TWO INTERESTING PIECES 528 Elm St., ■ Cincinnati, O. ever published. By WILHELM ALETTER stticst Piano Solos You Ever Heard 10o Love and Flowers I Scented Posies A f|T A force of 150 efficient employees, drilled and HANAKO. Hyacinths Blinking Moon - WHITE-SMITH MUSIC PUB. CO. Claudia t Valsel A Reverie J* TlJ trained for our own particular business; That Victoria (March) Sis Hopkins Dance 0 ANTHEM DESIRE TO SEND TO YOU THEIR Remembrance | ValseLente B over 80 per cent, of our employees of ten years r.pa A beautiful Solo and Bargain Y r ree Catalog* with every *1 order T ago are still with us and 67 per cent, of five years MUSIC CATALOGS WALTER C. TUTTLE CO., 14 W. .. COLLECTIONS ago, are significant facts. AT THE tfJT Publications for particular purposes selected FAVORITES EVERYWHERE j] from the catalogs of the world* made into con¬ The Operettas for SMALLEST PRICE venient lists and sold as though our own pub¬ Amateur Organizations POSSIBLE lication, at large discounts, is a sample of up-to-date (a) VOCAL STUDENTS PLAY service furnished in one particular. MODEL ANTHEMS CHoainlng^Beverte, 20c VOCAL TO WHICH WE ADD The composer has caught a delightfully orig¬ (A) IN TWO ACTS Containing 26 Selections Yankee* itids^filarch’ 20c. inal theme and rythtn in this number. It is Gun Hell’s Lullaby, 20c. destined for wide popularity. The melody is ANTHEM REPERTOIRE Girth of the Flowers, Reverie, 20c. Large Discounts, the same upon “On Sale” as exceptionally attractive throughout. VOCAL (Quartets. Mixed, Men’s NEW CATALOGUE FREE 05 Containing 23 Selections upon regular orders. and Women’s Voices) CHAS. E. ROAT MUSIC CO- Battle Creek, Mich. 00 VOCAL (Anthems. Mixed, Men’s ANTHEM WORSHIP 6 Liberal Terms and Courteous Treatment. and Women’s Voices) Containing 20 Selections Promptness in Filling Orders. (i) INSTRUMENTAL . (Piano Solos. 4 hands, 6 ANTHEM DEVOTION MUSICAL PINS Accounts Solicited with any responsible pro¬ hands, and 8 hands) Containing 17 Selections fessional musician. INSTRUMENTAL . . (Pipe Organ) (2) Price, 25 cts. each postpaid ; $1.80 Satisfaction Absolutely Guaranteed. “A NAUTICAL KNOT” per dozen not postpaid. A sample INSTRUMENTAL , . . . . (Violin) copy of all four for 60 cts. (3) “The Belle of Barnstapoole’’ Catalogs, special lists, our system of dealing, information Written by Jlu .Each of these volumes contains a collection JEWELRY FOR MUSICAL PEOPLE. on every subject connected with music, free for the asking. Jtsnde Kllsabclh Inch W. Rh; of melodtus anthems of moderate length and (4) INSTRUMENTAL . . (Mandolin, Guitar and difficulty suited for general and special use. Every Music Lover Should Have a Set. IN TWO ACTS -• luding standard and original pieces avail- Large> or small orders receive exactly the same attention. Banjo) e f.or Quartet or chorus choir. Thousands copies of e - THE PINS are made for either lady or gentle¬ “ On Sale ” packages sent cheerfully, even though regula (5) INSTRUMENTAL . (Orchestra and Band) man. Can be worn on cuffs or collar as a class pin, or as a badge, or as a stick pin. Bear the orders or renewals of “ On Sale ’ ’ packages are sent through .. graceful composition, easy to pi appropriate lettering “ NEVER ‘B FLAT'" the local dealer. very melodious. It affords opportunit “SOMETIMES ‘B SHARP,.ALWAYS refreshing amount of finger action- al B NATURAL.’" These Pins make an attract- presenting no technical difficulty. IWsE:E: orepupiltble a”d laSt‘"g Pres™t for Teachers Headquarters for Everything Needed in the Teacher’s Work Either of the above pieces m Set of 3,25c prepaid in Roman Gold plated. be aent postpaid on receipt 25 cents.

THEO. PRESSER CO. JOS. W. STERN & CO. 1712 CHESTNUT ST. PHILADELPHIA, PA. =■ PUBLISHERS - THEODORE PRESSER CO. THEO. PRESSER CO., Philadelphia, Pa. 103 Wesl 38fh SL, » New York PHILADELPHIA PENNA. THE ♦ Standard History of Music “II is a for young folks By JAMES FRANCIS COOKE STEINWAY AUGUST, 19 tO VOL. XXVIII. NO. 8 ' y suitable for alt students and mustc-lovers. promptly and the pupil starts filled with enthusiasm and keenest interest. TEN VERY STRONG FEATURES. Instead of the unwilling faces and sluggish fingers, the teacher finds The whole subject is reduced 10 the simplest possible terms. CLEARNESS lhai says everything” A Musical Decade in England that he has to deal with eager, energetic pupils charged with the kind _ Any intelligent child will find the book delightfully clear, of dynamic force that can only come from the fields and woods. and any music hiving adult will find this just the history to The third advantage pertains particularly to the teacher’s selfish ends. use in getting all the main and useful facts. _ The death of King Edward .hhs brought to our attention the somewhat Instead of postponing the date at which his income should commence, he MAY BE USED AT OHCE unique fact that music has advanced in England during the last decade starts promptly earning the just fees to wnich he is entitled. Why should with greater rapidity than at any time since the days of Purcell. Queen we dawdle along to the middle of October or the first of November and SELF.>KO«OU»CIHC TSjtag1. Victoria was devoted to music and did much to foster the development lose two months of our work? The only solution of the problem, as netic pronunciation. . , . The Steinway Piano is of musical art in England. When you go to Kensington Palace do not dozens of teachers have found, is the early fall recital. leave without getting one of the caretakers to show you the girlhood PRACTICAL FLAN The forty “story-lessons" are adapted to the forty weeks If you have not thought of this before, sit down to-day and make a copies of pieces made by Queen Victoria. They indicate how thorough Each chapter covers one particular phase of musical history represented in 250 prin¬ list of the pupils who could take part in such a recital and place opposite DIRECTNESS the musical training of the late queen was. It is not surprising that her each name the piece which the pupil played best during the last year. and one only. , , son should have taken an unusual interest in music, and the development Then write to the pupils suggesting the plan and make your programs SENSIBLE LENCTH Each chapter is just long enough for one complete lesson of the art during his reign was, it is believed, largely due to the en¬ The work may be thoroughly completed in one year. cipal cities of the world. the minute their answers are received. By active correspondence you couragement which Edward VIII invariably gave to music. When the USEFULNESS The book may be used in private teaching as well as in can increase your income at least twenty per cent, by a little attention to class work or club work. Test questions at the end ot Royal College of Music was opened, in 1883, the king—then Prince of business right now. Think it over. each chapter. . . , , Wales—made the following significant address: ‘'The time has come when class can no longer stand aloof from class, COMPLETENESS No names of archaic orinsignificant composers are included, but three hundred names of the most important musir and that man does his duty best who works most earnestly in bridging workers are given so that the part of each great music.-. . over the gulf between different classes which it is the tendency of in¬ Strengthening the Weak Spots in the development of the art is clearly indicated. STEINWAY & SONS, creased wealth and increased civilization to widen. I claim for music The book is handsomely and generously illustrated and ILLUSTRATIONS New York Showrooms, Steinway Hall, the merit that it has a voice which speaks in different tones perhaps, but includes a musical map of Europe. with equal force, to the cultivated and to the ignorant, to the peer and Very few of us are not conscious of our weak spots. The man who is APPENDIX An appendix includes chapters on “How to Organize a 107 and 109 E. 14th St. ignorant of his weak spots is in a pitiable state. Not until the great Musical Club," and “How to Conduct a Musical C.uo. the peasant. I claim for music a variety of expression which belongs to no other art, and therefore adapts it more than any other art to produce weakness is realized and remedied is success possible. Some make the FINAL CHANCE to secure the “Standard First History Mwsie” at that union of feeling which I much desire to promote. Lastly, I claim mistake of trying to fortify themselves in a manner obviously impossible. the special rate of 40 cents is herewith given. It must be obvious that this only for music the distinction which is awarded to it by Addison—that it is Take the case of the student with a very small hand. We have known covers the cost of paper, printing, binding, etc. The work will surely y Subway Express Station at the Door. the only sensual pleasure in which excess cannot be injurious. What of many well-meaning students who have been able to play very credit¬ in plenty of time for the commencing of the teaching season. more, gentlemen, can I say on behalf of the art for the promotion of ably, hut who have made the great mistake of believing that they could Theo. Presser Co., Philadelphia, Pa. which we are to-day opening this institution, which I trust will give to improve their playing by extending the grasp of their hands. Their music a new impulse, a glorious future and a national life.” enthusiasm has often led them to permanent injury. In such a case it is better to make up for this .deficiency, or weakness, by reinforcing some other point. The Kaiser of Germany has had a withered arm since infancy. Despite this he has so strengthened his right arm that he can The Unknown Masters of To-day not only do practically all the things which any man can do, but he does STANDARD THEORETICAL WORKS them in many cases far better. The summer is a splendid time to think over your weaknesses. Do not FIRST YEAR HARMONY THE ELEMENTS OF HARMONY We recently received from a foreign publisher in Germany a list of be deceived. If your scales are not what they should be, if you have MODERN HARMONY By STEPHEN A. EMERY musicians whom he considered composers of the first rank who are always had difficulty with the double trill, if you are weak in your harmony, (100 First Lessons) in its Theory end Practice Price. $1.00 living in Europe to-day. These composers have gained sufficient fame musical history, your phrasing, or your pedaling, don’t waste this fine By ARTHUR FOOTE and WALTER SPALDING By THOMAS TAPPER ^Used br leading teacher, and conservatories throughout to warrant the preservation of their biographies in print. They are time to strengthen these weak points. You may not have the chance highly regarded by contemporary critics and their works are some¬ Price. $1.50 next winter. Price, $1.00 times rendered at European concerts. We may safely assume that real In U.S at the following college.: Harvard. Tuft., Beloit, Key to Emery’s “The Elements of Harmony’ Michigan Conservatory, Brenan, We.leyan University, Lach- By FRANK LYNES Price, 60 cents musical worth is rarely concealed. When a really great genius like mund Conservatory, American Conservatory, and others. Richard Strauss, Claude Debussy or Edward Elgar arises, his lamt Supplementary Exerci.es to TESTIMONIAL .. ., ... perceotion, ear^ training, harmonizing a bass, harmonizing a will spread throughout the entire musical world. The remarkable thing Laurels Long Delayed It ingeniously gels down to practical application and to results melody, and melodic composition. “The Elements of Harmony.” Price, 50 cents for which usually two or three books are required.—Prof. Carl Exercises, chants, and chorals appropriately figured, which mi about the list sent to us is that of the fifty musicians included less V. Lachmund. than twenty are ever represented on the programs of our leading con¬ A Key to the 501 Exercises tn | SEND FOR DESCRIPTIVE CIRCULAR | certs. At least twenty of the list are so rarely mentioned in German The crusty old bachelor who said that the popular toast “The Ladies— Modern Harmony in its Theory and Practice papers that they are practically unknown, yet these men have written God Bless ’em!” would soon be turned into “The men—Lord help ’em!” Dictionary of Musical Terms and may have been unnecessarily sour, but we would like to know if it isn’t Price, 75 cents works of large dimensions, symphonies, operas, sonatas, etc. Surely the TONAL COUNTERPOINT Elements of Music spark of genius is a delicate and precious thing. How will fame receive time to stop “patronizing” our mothers, sisters, daughters and sweet¬ Studies in Part-writing By EDWIN M. LOTT and O. B. BROWN and provide for the twenty “unknown” masters ? hearts. Music in America would have had a sorry fate if it had not . been Some Practical Things in Piano Price, 30 cents for the indispensable assistance of the women of America. When we Playing By WALTER R. SPALDING Contains over seven thousand definitions of musical terms frc stop and think of what women have accomplished in the comparatively all languages. By ARTHUR FOOTE Professor of Music at Harvard University short time in which they have had any liberty of action in music, the Just Issued Price, 50 cents Price, $2.00 The Fall Recital results are amazing. Mr. Ernest Newman, in an article in the London From a properly superintended study of this book no pupil could Primer of Musical Forms Musical Times, partly re-printed in this issue, makes a most interesting enced^Tchers'of'fh^day^ Whh?n ce'^ dorgan building. He deplores the present r-tak tL cash and^et the credit go.” . 8 Mickiewicz, while talking to Chopin, began to up¬ lively as a Mendelssohn Scherzo. There iV always a reward for piano students m lack of delicate tones in the bass, and regrets the The real trouble is elsewhere. All through th braid him for frequenting too much the society of disappearance of the long-manual organs - that civilized world life is becoming too complex ana J consciousness of good work accomplished to Parisian plutocracy, and mixing with people un¬ flourished a few decades ago. As a partial remedy, III nothing of the pleasure . gained from the in worthy of him intellectually and morally. He said he advocates the common practice of “borrowing, r T“e tSeSh^ost creased insfght into music as progress opens up new that frequent association with persons below his creased, in g traveler on music’s thorny but fas- or allowing certain pipes to do service for two no'Tomposers of the first rank, none wrtb a new moral level was tending to lower his ideals, and stops. Thus he takes the lower of certain manual and individual message to the world Strauss is vistas befor Nevertheless rewards of this kind lMme. Szumowska was born In Lublin, near Warsaw, stand the wonderful poetry of Chopin’s music, the that it was unworthy of him to cling to this class pipes to serve as the upper of a pedal series the chief exception to the rule of med.ocr.ty and cmfonfyAppeal to the music lover whose passion her father, a college professor, having settled t‘- ™ sad flow of his melody, the intensity of his pas¬ of people simply because their houses were fine and thereby getting bass tones that are sweet and he cannot even approach the level of a VV agnei. return from Siberia, where he had been sent as a political for music is enough to make the weary grind of exile In 1803. She was educated at the college i Warsaw, sionate moods, but above all, it will teach us to comfortable, their living luxurious, and because he fairly soft, giving a good bass for the swell organ. !n spite of repeated efforts. We cannot have a practice seem as nothingReside the I*e«rejgwd from which she was graduated with high 1_ She had comprehend his infinite simplicity. For Chopin is was feasted and flattered by them. Chopin listened Organs are divided into great, swell, choir, solo genius just for the asking, and our folk-music has studied music ns a child, *-•-* t begin seriously the out of the end accomplished. What ca study of the pianoforte - - — „-graduation from simple—simple as only real greatness can be simple. to the harangue, and -took it so much to heart that and pedal. All these groups will be present in any not really had time to take shape, but it would of children and young people offer as inducemmit college. She then became a pupil of Professor.‘rofessor Strobl at he cried like a child. But suddenly he lifted his very large instrument. The great organ contains seem that Busoni has overlooked much that has the Conservatory in Warsaw, —J1 also Alexander Mich- The mountain tops are simple in the snowy to good, thorough work in piano study? The head, sat himself at the piano, and began to im¬ the largest diapasons and other stops suitable for alowskl. grandeur of their lines. And Chopin’s melodies American child is bright, eager to learn, and willing In 1890 she went to Paris, and there attracted the at¬ provise. He improvised in such a way that it was grandiose effects, i The swell organ has its set of tention of Paderewski, who was so Impressed with her always flow so simply, so naturally. This is why DEATH OF PAULINE VIARDOT. to study, but he is restless, nervous, and pampered musical gifts that lie offered to become her teacher, and ” they generally find their way straight to the human the turn of Mickiewicz and those others present to pipes enclosed in a “swell box," which alters the ■in yvais .mm. Szumowska enjoyed the advantages of the cry. There was not a pair of dry eyes in the com¬ tone by opening partly when played. The choir The death of Pauline Viardot ends a generation withal, and accustomed to being petted. Parents instruction and advice of the great Polish pianist. After in a famous musical family. Her brother was like Beethoven’s father, who made h.s son rise at being under his training one year she began to play in pub¬ pany, not a heart that did not beat faster, not a organ consists of softer stops, and is used, as its lic, making a successful dfbut at the Salle Erard. Paris, pulse which was not quickened. When he finished, name implies, to accompany voices. The solo Manuel Garcia, and her sister Mme. Mahbran. Her five in the morning to finish practice neglected the 1891. The following year she played In London In Hen- father, the earlier Manuel Garcia, was a smger o day before, are hardly to be found in America. schel’s Symphony Concerts, at the Saturday Populars, the Mickiewicz ran up to him, took him in his arms, organ has the stops imitating the voice and instru¬ Crystal Palace Orchestral Concerts, and In a series of re¬ and .... he scolded no more! ments. Each of these has its own manual, while note, and her teacher as well. While still a chile School work takes up the greater part of the child s citals at St. James Hall. In 1893 she made a concert tour she came with him to America, and she always re¬ of the English provinces, and also played In Warsaw, Kelff. the pedals of course are worked by the feet. time, and, in the city at least, social diversions are and I^mberg. She paid her first visit to America in 1895. CHOPIN’S REFINEMENT. There are three chief mechanism.s in an organ— membered how her father was forced to sing for many, and consequently music practice is liable to when she appeared with the Boston Symphony Orchestr- a band of Mexican robbers who had captured the j Boston and and with the Thomas i _ Another characteristic of Chopin was his great the bellows and other apparatus for the motive be shelved, unless some means is devised for mak- Damroseh orchestras various cities. In September, 1896, power, the chain of levers by which pressing a key pair and relieved them of their valuables Grow- Mme. Szumowska ms ed Mr. Josef Adamowskl, the well inherent refinement. There was an unusual distinc¬ will open a pipe, and the couplers, by which one. ing up, she became-famous in opera, holding the known ’cellist. tion in him, which made him shrink from everything foremost place in Europe after her sister s death. While playing wit the trio before the Czar. Czarina. key may open more than one pipe. The different A PRACTICAL SYSTEM, and the Russian com which was in a slightest degree coarse or vulgar. After a career of fame and honor, she left the stage, groups mentioned above are joined to one another A plan such as the following often brings good was presented with ___i diamond brooch by„„ the empress. This is why his favorite composer was Mozart; he and devoted herself to teaching and composition. Her which is considered one of the highest honors was the only one who never offended his fastidious¬ by couplers, or a tone may be coupled to its octave results. A yellow star of the kind used in kinder¬ daughter, Mme. Heritte, was also talented. ness. The sweetness and purity of this radiant soul or other intervals used to reinforce it. garten work is awarded for a lesson perfectl> It seems natural that in this year, which marks One of Mr. Casson's improvements is a ‘pedal Another death to chronicle is that of J. B. Weck- appealed to Chopin’s sensitive one. Even the great played, the star being pasted on to the music used the one hundredth anniversary of the birth of the help,” coupling the appropriate pedals to the man¬ erlin, a composer made famous by his organ and Beethoven, for whom he had, of course, all due ad¬ at the lesson. For a lesson not quite so perfect a great Polish composer, our thoughts should go to uals. Another invention is the “melody action.’ choral works. miration and even worship, occasionally jarred on In this the air passes through chambers opposite red' star may be given, two red stars being equal to him—to him, whose memory must be dear to every MUSICAL NOVELTIES. mfisician, above all, to every pianist. What would him. Chopin has been described to me by the each key, from higher to lower notes. When the one yellow one. At the end of a season, at the last French contemporary, mentioned above, as^ a man Among French novelties are Antoine Barre’s recital in June, those who have fifty yellow stars, or become of the piano literature if we should elimi¬ device is thrown in, a valve closes in the chamber very exclusive, rather proud and distant, and not belonging to the highest note, allowing only that “Leda” for performance at Monte Carlo, and “Le their equivalent in red ones, are awarded a prize. nate from it the works of Chopin? It would be Mariage de Telemaque.” The latter is a curious Gold class pins, busts of musicians, etc., make suit¬ shorn of its poetry, very much like a plant, when easily approached. “C’etait un petit monsieur sec, note to sound. The lower notes of any chord played et tres distingue,” that was the phrase which im¬ will sound in a different stop, giving the effect of mixture of mythology, ending with the marriage of able prizes. Those who have twenty-five yellow we tear away the crowning glory of its blossom. Telemachus and Nausicaa, but the music, by Claude stars, or their equivalent in red ones, should receive We get the best proof of Chopin’s significance in pressed me when I heard the description of Chopin, melody and accompaniment. and I remember it vividly after an interval of fif¬ As an example of popular ignorance concerning Terrasse, proved effective enough. prizes of lesser value than the first prizes, such as piano literature when we look over a number of the organ, a Chicago clipping may be cited. It In Germany, the prodigy Erich Korngold is much framed pictures of musicians, etc. programs for piano recitals. On each of them the teen years. This refinement and distinction of seems that the action of an organ in that city was in the public eye. His pantomime, “Der Schnee- Sometimes a neglected etude or scale is given new name of one or more of even the greatest com¬ Chopin’s is a moral trait, which we had better bear interfered with in some way by a mouse. In the niann,” is to be published, also a Waltz Entr’acte, life by the promise of a yellow star at the end of posers may be missing, but Chopin is nearly always in mind when we want to play his music. Alto¬ hands of the omniscient newspaper writer the story a Waltz Rondo, and a Serenade for violin and piano, a lesson if the exercise or piece is brought up to represented, generally in several numbers. It is a gether there is not, and cannot be, any definite rule grew, and included a striking account of a mouse while Die Musik contains two of his pieces, a the required point of perfection. The anticipation well-known fact—his compositions are essentially for the rendering of his compositions, and it is not Sonata and “Sancho Panza auf seinen ‘Grauen.’ ” being blown out of the top of one of the organ of gaining a yellow star will bring results that the pianistic. If the piano had a soul it would seem as easy to give any practical hints to this effect. An operatic prize is offered, and let us hope it pipes after the air pressure was turned on. Any promise of the ultimate good to be gained by the though Chopin had appropriated it, or, as if his own Chopin is a poet—a representative of the romantic student of acoustics would know that the air, does will bring as good results as the Sonzogno prize performance of a perfect lesson will not get. Chil¬ has grown into it—inseparably. If he tries to write school in the fullest meaning of the word—the not blow through an organ pipe, but passes by the has in Italy. Busoni has invented a new notation. dren must have their reward in the present, and for some other instrument, even the human voice, poetry of his work must be grasped by instinct, by lip, or opening near the lower end. This causes air No details are given as yet, but it is being used by they want something they can see and touch. They his inspiration seems to desert him in a way; he is Breitkopf & Haertel in publishing Bach’s Chro¬ flutterings, and the column of air in the pipe vi¬ are not old enough to realize the benefit of some¬ never at his greatest. If we endeavor to transcribe the poetical intuition of the performer. matic Fantasia. Arnold Mendelssohn s ‘ Pandora, brates in synchronism with those flutterings that thing the reward for which lies in a vague and one of his poems for some instrument it loses its given entire at Darmstadt, has received hig-h praise. CHOPIN AND RHYTHM. suit its length. distant future. flavor, so to speak. And how hard it is to play Especially noteworthy are the solos of Epimetheus In the case of older pupils, the “star” system is To be sure, this fact applies to all the music of BUSONI ON AMERICAN MUSIC. Phileros. and Epimeleia, and the choruses of Chopin as he ought to be played! It seems as if open to objections on the score of “childishness.” no one is so often misinterpreted as this great poet. all the schools, but in higher degree to Chopin’s We had hoped that we were a musical nation. smiths, fishers, herdsmen and warriors. Other new and other means have to be adopted. A suitable He is either misunderstood and treated coldly and compositions. There are some hints, however, Most of us go to symphony concerts, and know works are Emil Rodger’s “Die Schlacht,” for male Mme. Antoinette Szumowska. plan would be to award a prize to those who will drily, or oversentimentalized. (Of the two, the first which may be given as to the general interpretation. what is what, and we even have some composers chorus, soli and orchestra, and Dr. Rosegger’s opera, learn and memorize during the winter season six seems to be the lesser evil!) And, above all, as regards the rhythm. A great whom we hold to be reasonably great. But it seems “Der Schwarze Doktor.” pieces of music, all of which are to be perfect lit heart, if this heart is warm enough to take them in In Italy, Leoncavallo has started work on a new Certainly, Chopin presents a peculiar difficulty on deal has been said about the tempo rubato which this is not enough. Busoni now tells us that we the time of the June recital, and one or two of and vibrate in response. It is there where Chopin’s opera, “Prometheus.” In England, Elgar’s quartet account of his national character, so strongly will never be a musical nation until we have a them to be on the program. It might be as well greatness chiefly lies, in the wealth of his melodies. is characteristic of the great Pole’s compositions. setting of Cardinal Newman’s poem, “They Are at marked in his works. He is always, in each of his school of our own, as France and Italy have. to insist that any one of the six pieces should be There is enough melody in the simplest of his Many have been led to the mistaken idea that Such a school, he says, should grow out of the Rest," is highly praised. Much applause was given compositions, a Pole. Thus it is almost impossible available for concert performance. The stimulus of nocturnes to feed a whole modern, or, rather, ultra Chopin’s works may be played unrhythmically. ground, so to speak, and arise from feelings of also to a symphony by the Russian composer to come to a full understanding of this matter, un¬ prizes to be won, and the presence of parents, lends modern symphony, while there is not a daring har¬ Nothing is more preposterous; Chopin had a very earnest sentiment and idealism. It is not enough, Steinberg, now a teacher in the St. Petersburg less one has known the Polish popular melodies; increased value to the honor of the award, and mony in the music of this century which may not he says, to have great musicians and crowded con¬ Conservatory. A millionaire amateur, wishing a unless one has listened to the mournful’song of a strong sense of rhythm, and the tradition teaches also serves to bring the parents in closer touch with be traced to one of his mazourkas. His very ac¬ servatories, but we must also have a school of folk¬ musical celebration for his birthday, sent his Polish peasant at his work at the fields, to a lullaby us that he required it from his pupils, and was very the aims of the teacher. companiment sings; there is an undercurrent of song, among other music, that belongs to us dis¬ servant to the great basso Chaliapin to ask the droned by a Polish mother at her baby’s cradle, or exacting on this point. He used ‘to say that the left A reward to each one who will do the required melody running through his counterpoint. tinctively. latter’s terms for two songs. The singer, taking seen Mazour danced at a country inn. This ex¬ hand ought to act as a Kapelmeister, and keep time, work is a decided advantage over a reward won in Busoni is himself a great composer, who writes umbrage at the method, sent his own servant to plains why, besides the Poles, Chopin is best under¬ while the right sways with the emotion of the open competition with, other pupils, where many INTERPRETING CHOPIN. fugues thirty-seven pages long and sends them to the millionaire a day later, with the same request. stood by representatives of other Slavonic races. enter, but only one succeeds in getting a prize. In This brings me to mentioning the fact that the melodic phrase. His tempo rubato never interfered his friends; so he ought to know. He asks for a The answer was not mentioned, but probably it There is not only the acquaintance with the Polish the latter case jealousy and heartache are inevitable, quality most needed by a pianist who wishes to be with the original, rhythmical sense of his music. great progressive chain of folk-songs illustrating would not bear publication. folk lore—there is also the same streak in the all our history. But this is a little hard. At the not only among the pupils, but among doting par¬ a worthy interpreter of the Polish master is the There is a cycle of his compositions which depend Slavonic and Magyar blood which tells. ! time of the Revolution, we did not claim to be ents, who all believe that their own children are the beauty and fullness of tone. One cannot play more on a strong sense of rhythm than the rest. It is injurious to keep pupils too long with easy ones most deserving. Chopin without a beautiful singing touch—a dry, a musical nation. The work of Hopkinson, Lyon UNDERSTANDING CHOPIN. I have here in mind his music in dance form, viz.: and Billings, crude as it was when compared with compositions, for it hinders their progress. They harsh one makes his melodies shrivel and wither. Mazourkas, Polonaises, Vaises, etc. In the Ma¬ If one is not related to Chopin by nationality European music, was an advance on what had pre¬ should have, from the first, a few more difficult selec¬ I am disposed to regard with thankfulness, and even •While in studying Chopin’s works great attention there exists only one power which can raise a zourkas the accent comes on the third beat, quite ceded it. The Puritans looked on music as an in¬ tions. and should become accustomed, little by little, respect, the habits which have remained with me dur¬ must be brought not only to the understanding of distinctly. Example i: vention of the evil one. By some strange process to harder work. If they have had good foundation ing life of always working resignedly at the thing under bridge across the chasm, and make one understand his ideals, but to the finishing of the smallest details of reasoning, they allowed a ’cello in church, but work, and are led along carefully, they will not find t my hand till I could do it, and looking exclusively at the great piano poet somewhat better—it is love' —no trace of this care must appear in the interpre¬ the organ was barred for a long while. When Mr. the new difficulties burdensome.—K. P. E. Bach. the thing before my eyes till I could see it.—Ruskiu. A great, deep, almost religious love, will bring one tation. One ought to master the technical difficul¬ nearer to the spirit of Chopin’s music. A strong ties, the intricacies of phrasing, the interweaving of feeling of this kind will make us intuitively under¬ themes completely while practicing; the final inter¬ THE ETUDE 509 With their large souls, their wide outlook on life, the etude In a musical way play- they knew what the people wanted, and all then- 0 training the ■ technical way, 508 5 due 1 real necessity. energy was concentrated on organizing societies for SOME BENEFITS OF EAR PLAYING. ing by ear 1 ; necessary. musical performances, conservatories and music We may divide all Mazourkas generally in two also, it is just schools throughout Russia, thus affording an op¬ groups: The soft, sentimental ones, of which the TOUCH REGULATED BY THE EAR. BY LAURA REMICK COFP. portunity to every one of acquiring musical instruc¬ regulated as to effects by fypical ones are the Op. 17, No. 4; Op. 7, No. a; Op. tion. Nevertheless, they would never have attained 33, No. 4, and the lively, boisterous ones, which All kinds of touchnever more apparent than when the desired result if they had not been helped by are nearer in character to the origin^ dance. 1 his -- This-. or+i«;t-teacher who was demon- type is illustrated by the Mazourkas like Op. 7. No. studying with an a , ■ g By hearing the quality a woman! i- Op 17, No. 1; Op. 56. No. 2. The rhythm oughj strating legato scale plaj«® J the mental of touch and having ^ impressed from WHAT WOMEN HAVE DONE FOR MUSIC •THE GRAND DUCHESS' PAVLOVNA. to be' well marked all through, the tempo rubato and tolerated, but it should encourag ^ must not interfere with it, and more than a light taught. This statement may s«rP»senot beyneficial. ear it can be repro established truth that smooth, The Grand Duchess Ellena Pavlovna, with her in¬ IN RUSSIA fluence at the Court in 1859, obtained permission to ripple on the water interferes with the harmony in ordinary way of ^“.f.y Lrmful, unless checked the teacher. It is an , ear work. Clean, found the Imperial Musical Society and the Con- the sea waves beating against the shore. The same Indeed, it 1 , leads away from note- clear technic canb g demi-semi sort applies to other forms of music; in the valses the crisp staccatos, m eontnstto^ by ear; similarly By ELLEN VON TIDEBOHL servatories w-ith a subsidy from the Government. accent comes on the first beat, passing in a long the music of the future will come from Russia is fulfllled or This was just half a century ago (1859). That was musical instruction. Some benefiti„ game * -s [Editor's Note.—Whether the popular prophecy jvers far more territory than any other in the world have been sweep to the second:' Example 2: ot the musical accomplishments of tile country ...which land of the Czar with eager Interest. The writer or tmsaiucie a time when the bureaucracy was even stricter than nlavine by the cultivatipn of pitch, but to o astonishing that the musical world is1 ’ ■lose observer and most Interesting writer. We are sure that om lead- at present. No private schools, scientific societies, ■ ® ® __ 1_ 1_1 miiaif>a] development. In the March issue rs \v°tfiB be glad to8 know something of the part women haw ‘had 1“ Russianirvatories of r -«„ — conducted, gave our read* etc., etc., were allowed without the special permis¬ ,f The Etude M. S. Rachmaninoff, under whose supervision all the sion of the Government, and all kinds of difficulties rs some splendid opinions upon piano playing.] encouraged and taught. were put in the way of obtaining permission for any CATHERINE II AND MUSICAL EDUCATION. enterprise. And even when permission was granted beneficial ear training _ ritardando, acceler- In the eighteenth century, while the cultured na¬ variations of rhythm,^ such j The Empress Catherine II went further in her de¬ THE POLONAISE. well as a general elasticity of tions produced works by great composers, such as the Government reserved the right of controlling Some Playing by ear is injurious to anyone who ando, rubato, sire for musical education; she established girls' 11 The polonaise is an imposing, stately dance, very cares to listen to a person playing Bach, Gluck, Handel, Haydn, Mozart and many them and repressing anything that they found lib¬ ever expects to study music. Other playin„ by . •hythm. others, the recognition .of music as an art, in Russia, schools, called “Institutes,” for the daughters of the eral or advanced in such enterprises. much like the march, except that it is written 111 oidy beneficial to the player but necessary with no more freedom as regards rhythm than(a 3/4 instead of 4/4 The accent comes on the first gulated by the had scarcely dawned, and its right to occupy an im¬ nobility, where the study of music was obligatory. to intelligent, artistic nianopiano ulaying.playing. PlajmgPlayingjbyl by machine would have. All this is 1 beat the first step of the dance being a long, sweep¬ portant place as a means of educating and raising Therefore, it was the aristocratic ladies who were in the right sense of the phrase may be defined really the first to introduce the art of music in the ing one. As to the other compositions, very little Dynamical shading of all kinds depends for its the nation was hardly recognized. intelligent, critical listening to ones own piayi g. country by performing standard works, both in the can be done in analyzing them; each is a poem 111 adjustment upon the ear. The brain and genera The initial step in creating a scientific basis for Considered in this light playing by ear is necessary family circle and in society, and singing nursery its own right, each a different one, and each must intelligence may decide, just what the dynamics of music was taken by a highly gifted woman, the Em¬ to artistic achievements and becomes an art to D songs with their children. be treated differently. The nocturnes are, for the a passage should be, but the proportion and adjust¬ press Catherine (1762-1788). Although she herself placed upon a high plane. The child from the hr-1 Many cf the well-known native composers and I luost part, dreamy in character, and ought to be ment are given by the ear. All the finer qualities did not care much for it, still she recognized its steps should be taught the musical side of music. musicians had as their first music teachers their own kept in half lights, but we often find in them of tone-coloring, the nice points of dynamics and power, and invited illustrious musical men from stronger and more dramatic passages. The ballades This is done by ear work. From the time sing - mothers. With her receptive soul the Russian tones are struck from the very first lessons t.u.> subtle shadings depend upon the ear which acts as abroad to educate the Russians. The most talented are of a varied character, the composer passes m woman thought deeply, cultivated the higher senses, an agent of the brain, making real the image which young men were sent to Germany and Italy, at the them through a whole scale of dramatic emotion can be done. Each tone should be carefully listened the mental ear holds. Continuing a course of ear¬ public expense, for their musical education. Bort- penetrated into the mighty depths of the composer’s from sweetness and serenity to a vehement passion. to, both for quality.of tone and pitch. Later, when training as a separate study for some length ot time nianski, the first Russian composer with contra¬ mind and, no doubt, had a great share in the work In the Scherzos the composer goes far away from little melodies come, and then simple harmoniza¬ will lead to a knowledge of key and chord analysis puntal knowledge in the realm of church music, was of evolving local music and developing the national a typical scherzo of Beethoven or Mendelssohn-his tions, music will seem quite wonderful to children if the ear work is- begun at the first, lesson ana and all harmonizations, also analysis of form. No one of these. He regulated the liturgy chants ac¬ artistic tastes by the interest she evoked in her scherzo is not a bright, witty jest, but rather the cording to the rules of harmony. hearers, thus swelling the members of lovers of bitter cry of a tormented soul full of passion of diligently continued. Regular lessons in. ear-tram- one can estimate either the joy or the profit anyone ing can be begun very soon after the rudiments are so trained derives from a concert. To hear a com¬ The court of the Empress hastened to show in¬ despair, with generally a calmer, tranquil interval in learned, and should be undertaken at once, as a position by ear for the first time and understand terest in music. The nobility having their serfs, John Field (1782-1837) came to Russia (1823) and a romantic trio. In a short sketch like this, it is half hour will soon become too short to give atten¬ ; had the notes before ( whom they could treat as slaves, ordered several of lived, until 1837, in Moscow, where he died and was not possible to go into details, or each composition nearly as well tion to both the science of playing and the ear had prev'iously studied it, is certainly inspiring; them to study music and play different instruments, buried. This well-known composer of the lovely would have to be taken up separately. Much may work. A course of ear-training begun at an early fining leads to intelligent listening at in order to have their own orchestra. Teachers for and charming nocturnes, and a pianist of great ex¬ be said of each of them in turn; there are mines of age with a competent instructor, and continued with concerts, whrich will increase one’s intelligent listen¬ them were brought from abroad. pression, had the daughters of the highest families i-,, wealth of beauty in each Prelude, Etude, and in the piano work, will bring wonderful results. ing to his own playing. When for the first time We can scarcely believe that these rude laborers in Moscow as pupils. There is no doubt that he larger works like Sonatas and Concertos. Parents should rejoice, as the practice hours will one listens to a large orchestra and one realizes from the fields and forests could play symphonies knew well how to develop and form out the latent not seem so long nor the work such drudgery. The that one has the power to analyze a symphony and and other orchestral compositions. At the present talent in his pupils by his strict instruction, but, as CHOPIN'S NATURE. subject of ear-training is deservedly receiving much follow the different themes and their development time, in noblemen’s country houses, there are some¬ it was not the thing for a lady of good family to ■ Through it all we must picture to ourselves more attention than it used to receive. it is a soul-inspiring moment. Playing by ear has times to be found copies of very serious musical appear on the stage, his pupils could not become SI Chopin in his national and racial character, which One of the results of playing by ear is that one’s been so frowned upon and discouraged that using works, which were once played by the orchestras professionals, so all we know is that several of them was very strongly developed, and the understanding playing becomes more intelligent and more rnus cal. the ear in connection with playing has almost be¬ of their serfs. The programs of the performances, charmed Moscow society by their playing. of which is a great help in grasping the meaning Trace the melody and have all pupils hear the tune. come considered by the majority of people as detri¬ which have by chance come down to us in this way, Adolphe Henselt (1814-1896), a composer of great of his works, Chopin's nature was essentially The melody should be played without accompani¬ mental and almost disgraceful for a musician. Give include compositions of great composers. musical value, and a distinguished pianist himself, Slavonic. Its general tone was one of deep melan¬ ment or embellishment of any kind, and carefully the ear its rightful place of honor: it is necessary settled in Petersburg in 1838. He became the ex¬ choly, and this sort of longing and sadness, tor listened to by itself. Then add the other ^oj^es, to musical development; redeem it from the neglect aminer of music of the “Institutes” for the daugh¬ which there is a word in the Polish language hav- but listen primarily for the tune. Probably all it does not merit and encourage playing by ear. ters of the nobility throughout Russia. It was a teachers have had the experience of having pupils, lug no equivalent in English, the merest translation From the veriest beginner to the greatest artist all position of great responsibility, but he fulfilled his The Grand Duchess Ellena Pavlovna. ,V1 even those musical by nature, play a piece beauti¬ of it being the German expression: “sehnsucht.” should play by ear. Of course, the greatest artists task with scrupulous conscientiousness and perse¬ fully with the exception of one section. Even here This mood underlies all his works, explaining the do this; that is the chief reason they are great verance. He tried to impart to pupils the funda¬ The Grand Duchess Ellena Pavlovna, by birth a the notes have been accurately played, but the princess of Wiirtemberg (1814-1882), was married to f- great preponderance in them of the minor key. The artists; but artistic playing need not be reserved mental principles for the correct performance of passage has no meaning. The reason is that the the Grand Duke Michael in Petersburg, 1834. This II Slav, with his habitual melancholy, passes from one entirely for them and used only in the most difficult music, wishing, above all, to lead them to a right pupil has heard nothing in the passage but notes and advanced grades of music. Children in easy cultured woman, with great largeness of heart, was W mood to another with great rapidity, going through comprehension of art. and perceives no connection between them at all— grades can play artistically and learn to interpret always striving to do noble things in the noblest & a whole scale of emotions, from childish light-heart- Every year a great number of pupils at these “In¬ just as if I should write “dog, been, chair, haystack.” musically if properly taught to play by ear. way, patronizing every kind of scientific and artistic ’ edness to the depths of passion and despair—and stitutes,” on finishing their education, went to differ¬ Some pupils’ playing is about as coherent and log¬ ent parts of the extensive provinces of Russia, thus institution. With her help the brothers Rubinstein Cj we can follow these changes in many of Chopins ical as the preceding chaotic phrase. For the sake scattering broadcast melodies and songs. “And the achieved great results. The Imperial Russian So¬ t/’ compositions; we must work ourselves up into of the pupil’s musical development time enough DO YOU KNOW? men?” you ask. There were some of great distinc¬ ciety was established in 1859, and began its activity - corresponding moods of expression while playing. should always be spent to make him hear some¬ That the Mexicans have a wind instrument called tion at that time; but they were exceptions, for the by giving large symphonic concerts. All these characteristics we must contemplate when thing in a passage seemingly empty to him. There Ac’ocotl, which is played by inhaling through it instead boys were not forced to study music, and they only we attempt the rendition of great works of genius is no one reason for this “emptiness.” My personal of blowing upon it? It is made of the dried stalk of a picked it up when their exceptional gifts inclined ANTON AND NIKOLAI RUBINSTEIN. f' jn a very humble spirit, indeed, striving to do our experience has gone to show that if the melody is plant. them in this direction. The Conservatory of Petersburg was inaugurated v best, by giving a great deal of thought and work found, no matter in what voice it is located, most That any sound with more than 4,224 vibrations per second is_ so disagreeable that the human ear ceases in 1862, and was managed by Anton Rubinstein; that A and earnest will, and trusting for the rest to that of the difficulties are then removed. Especial atten¬ THE FATHER OF RUSSIAN NATIONAL MUSIC. tion to phrasing or marking the cadences often to recognize it as music, although sounds can be made of Moscow, iii 1865, by Nikolai Rubinstein. He * ; something in nature which brings inspiration to The greatest of these composers was Michael was as great as his elder brother, but the world lv those who pursue their ideal untiringly, though it helps. A bit of transposition of the same melody with vibrations as high as 36,500? to an unaccustomed key may be the stumbling- That the Te Dcum Laudamus (We Paise Thee. O Glinka (1804-57), called the father of the national knew him little, as he gave up all his time to Mos¬ * seem ever so distant. block which can be easily cleared away by playing God) has been used in the church services since the Russian music, who took subjects for his operas cow, bringing music there to a high state of de¬ the melody in both keys and training the ear to fourth century? from Russian life, Russian melodies for his songs, velopment. Let us give a glance at the mother of basing them all on contrapuntal rules, on which later the Rubinsteins, who also had her musical duties to Abstain, and you will not feel the need of any¬ hear it in the new key. Ear-training teaches the That the librettos of Eugene Scribe, the French was built up a music of an entirely Russian char¬ perform. Although they were modest ones, yet thing. This word can become of great importance in hearing of each tone individually, and will do away playwright, are responsible for the success of many acter. His successors followed in his footsteps with they required courage! She was the first music our life, especially in the present time, in which, more with difficulties of key signature or of chromatic operas? Few operas survive if they have bad librettos. Bialakireff and Dargomyjeski at their head; they teacher of her sons, and, recognizing their eminent than ever, the chase after the external goods of life alterations of the key. All difficulties in hearing Scribe wrote in all 100 librettos including Auber’s Fra were Borodin, Cesar Cui, Moossorgski, Rimski- talent, did her best to develop them properly. She is carried on, and in which thousands upon thousands minor passages also are eliminated by this means. Diavolo, Meyerbeers Robert Huguenots, PrOphtte, Korsakoff and many others, a circle of broad-minded, herself had passed her youth surrounded by wealth, of persons seeking after excessive comfort and luxury We have seen that playing by ear leads to the art Boieldieu’s La Dame Blanche, and Halevy’s La Juive. liberal men, who had their own aesthetic ideals and but on the death of her husband had to suffer want for much that is unnecessary and superfluous in life of bringing out the tune or melody, the interpreta¬ That Schubert was frequently paid less than twenty- five cents for a song or a piano piece? He was usually chose realistic subjects employing the melodies of and was obliged to gain her living by giving music work out their own destruction. One can live freer tion of difficult or seemingly unmusical passages, in such hard straits that he was very glad to get their national songs. lessons. It was not an easy task to bring' up and and more independently when one has learned to ab¬ and to accuracy as regards right notes. A beautiful even this amount. How ironical is the inscription 011 The interest in music increased with the appear¬ educate such talented boys properly. stain from the superfluous. From thence comes a gain quality of tone is another artistic result. If the tone his tombstone, “Music has entombed here a rich treas- ance of these composers. Nevertheless, this art still Death came to Nikolai Rubinstein just at the of time, and also exemption from care; for that from is listened to from the very first lesson, and every remained a kind of luxury, a thing of joy for rich period of his greatest strength and activity. He was which I can abstain I need have no care. Time is ease, lesson thereafter, by the time the child reaches the That Mozart had a son of the same name (Wolfgang and fashionable society. The task of giving to a man who stood quite apart, both in his artistic and ease is one of the most magnificent gifts of life, advanced grades his tone will be gratifying to hear. Amadeus Mozart), who was born in Vienna in 1791, music its high significance and right value as a ideals and social life, but who, unfortunately, never because by it we are placed in a certain condition, of Th«: tone-shading or tone-coloring depends upon and became a very talented pianist? He founded a means of culture and progress was undertaken by lived to finish the task he had set himself in life. freedom.—Ril ter. the control over the tone that one possesses. This celebrated singing society in Lemburg. PORTRAIT OF THE EMPRESS CATHERINE II. the two brothers, Anton and Nikolai Rubinstein. But one of • his ends was attained when Moscow THE ETUDE 511

short portions by regular succession of accents,’ or the etude ‘movements in musical time with periodical recur¬ , .. that several of these great women singers 510 only add tnat h to be the source of inspiration rence of accent.’ In other words, rhythm is the meter of music. To be very exact, we can take a ‘‘If he only could know!” had IP >‘wasTurned^nto roegerehatPcoinposers, who wrote and dedicated their number of notes of equal length, and, by giving an became the center of the musical movement in run, was performed at.co"“r Ad Henselt, which works to them. . the opera houses have many emphasis to every second, third or fourth, the music Russia. , . a piano piece with variations by Ad. n At the presentft»neattaieP ^ C(mservatories Ruskin says: "It is a duty of people who con¬ was proof enough of its masical ‘ {or a Russian will be in the ‘rhythm’ of two, three or four. We tinue to live after the death of a great man to ac¬ The poet Lermontow, who®ssian women. women singers every year a considerable number can then take several of these groups, or rather cept his work with thanks and remembrance, not in Russia produce every ^ ^ measures, and, by special accents, group them in the thrusting it aside but by every means keeping it for of well-train 8themselves an assUred position same way as we did the single notes, and the term STof generations yet to’come." After the death of Nikolai A STUDIO SYMPOSIUM ON RHYTHM ‘rhythm’ is applied to this grouping also. ‘Time’ ITthe an world, and can now make free use of Rubinstein two women did this in the noblest way. would be a better word to use in the first instance, In his memory Mrs. Zadouskaia gave a donation of I their gifts. ___ BY HARRIETTE BROWER and ‘accent’ in the second—still the term rhythm is about 100,000 roubles (about $50,000.00) as. a fund generally accepted for both.” for the Moscow Conservatory, the interest on which EXTEMPORIZING effectively. “Would you give us a definition for meter?” asked sum was to be devoted to helping poor students. Tiif. Student entered the music room with hasty wave their branches against the moon-lighted sky. the Student. The widow. Countess Odoewskaia, whose husband by FREDERICK KITCHENER. strides; he seemed perturbed. The stars move to the rhythm of the Infinite, the “That is a subject which all musicians should was a friend of Pooshkin’s and Glinka’s, made a ^^23®==?- The Pianist looked up from the Brahms Capriccio sea voice^. ft cqaspjessly, the very air about us is study.it is indispensable; pianists should know some¬ magnificent present to the same institution by giv¬ she was silently memorizing. vibrant——” _ ,. thing about it as well as singers. For as the rhythm ing it in Nikolai Rubinstein’s memory her husband’s ChThesi “examples of women composers at a . „ ,1S that a piano should never be “I wish you would tell me what rhythm means, “With what , Debussy calls ‘the rustlings of the of poetry is measured by syllables and feet, so is large library and a rich collection of stringed instru¬ time when Russian women had not yet received any usfdMwhS composing; such persons, however are apt air,’” finished the Pianist. that of music by beats and bars. All the meters ments of great value. Here, again, it was Russian f themselves composers) to pen strains which are exactly," he said; “my professor has just said I serious musical education is proof enough of the* “I love to'think the world of men and things is most common in poetry have been used in music, women who did so much for the art locally! productive gift in composing. Time will show what haven’t a proper sense of it, because I didn’t play Sound upon acquaintance, to * working, thinking, doing to the measure of infinite From the very first the Moscow Conservatory was proaucin K in this sphere! this Chopin Impromptu to suit him.” sometimes in their strictest form, but often with far in a flourishing’ state. Even in the first year, 1865, netio^ma«errsanTa “etTt iS of the work “Lavignac says, ‘We cannot produce correct rhythm,” went on the Poet, “and that we can be, greater variety than is allowable in verse. If you we are, in harmony with it all. If our heart throbs have a practical working knowledge of the laws of it had good, experienced professors, with Nikolai RUSSIAN WOMEN VOCALISTS. ftself is the only thing to be taken into consideration. rhythm without playing in strict time.’ Can you do in sympathy with all that is good and true we can Rubinstein himself at their head. This latter never Dramatic gifts in conjunction with vocal art and The examples of Beethoven, Wagner, Schumann. it? Do you use the metronome when you practice?” poetical meter, of the long and short syllables and find the true ring in the beat of the ocean on the spared hintsclf in his work. Who were the first musical talent make of the Russian woma Chopin and Tschaikowsky are surely enough to prove ‘‘Very seldom; my professor doesn’t think much their combinations, you can analyze your melodies, shore, the rustling of leaves on the trees, the hum your phrases and periods intelligently. Great com¬ pupils in it? Only female students 1 Four of them born opera singer. There was a time in Kus thatPthe greatest composers often do use a piano to of the metronome, says it will make me mechanical.” of insects, the patter of raindrops on the roof or of posers have known and felt these laws, and thus were the first to finish their musical education in when only Italian singers were adm,“fd. 1 , assist them in their work. One often thinks that to “I don’t agree with him; you must be able to play 1870, and at their examinations obtained the golden little feet upon the stair—all, all are full of rhythmic their subjects can be reduced to metrical feet. If Imperial opera houses, when Italian music have heard Chopin extemporizing, when in his happiest in strict time before you can deviate from it. One life.” we know how to examine any really fine musical medal of distinction. mood as the notes blood-warm welled up front his should know all kinds of note values before attempt¬ If we look oyer the first years of study at the “That is what Chopin meant in his D flat Prelude, work, we will be convinced of the truth of this state¬ heart’ must have been an experience never to be for¬ ing a piece like that Impromptu you are doing. Why Conservatory, we see that the number of female when' he indicated, by the rhythmical reiterated ment. Therefore, I would advise you all to study gotten Liszt, too-an improvisators. of tremendous don’t you begin now and use the metronome, prac¬ students was larger than that of men. Later on notes, continual pulsation, like rain dropping,” said up the subject of poetical meter, learn the names and power—often held his listeners enchained as he gave tice one, two, three, four, six, any number of notes they were about equally balanced, and this state of the Pianist. signs of the principal meters, and then apply them free play to his fancy. I heard, from an accomplished to the beat? Then play more notes in one hand than things has continued to the present time. In pur¬ amateur, an account of an extemporization given by The Pianist sat down and played: to your Mozart and Beethoven themes, and you will suing our inquiry we shall divide the women who in the other, say two notes against three and three Liszt wheit staying m Rome, and 111 which the sound- play them much more intelligently, besides finding a have helped towards the development of music into against four. These things can’t be learned in and sights of the Eternal City were wonderfully sug- new delight in the analysis. This is a fascinating four classes: (1) Teacher, (2) pianists, (3) com¬ pieces; they have to be thoroughly studied by them¬ gested to the audience of the tone magician. The great selves. I speak from experience. I used to think topic, and holds great' interest for the -serious stu¬ posers, (4) singers. performers of the present day-less gifted as com¬ I could learn such things in the pieces themselves, dent. With a technic well developed, and a mind trained to analyze the general form of the composi¬ THE RUSSIAN CENTER OF MUSIC. posers than their predecessors—do not seem to attach but found out my mistake.” much value to improvization; one reason for tins tions, its rhythm, accent, meter, together with its Moscow has become the center of musical evolu¬ “You are wandering away from the question,” said may be that the attainment of the technical standard thematic and lyric qualities, and, above all, its intel¬ tion in Russia. The majority of the Conservatory the Teacher, joining in the conversation. “The demanded at the present day takes up such an amount Student asked what is the meaning of rhythm. A lectual and spiritual content, one can hope to bring students, on finishing their education, take up teach¬ out the composer’s ideas with success. ing as a profession. In all institutes, schools and of time that none is left for matters not strictly neces¬ good definition of rhythm is not easy to find. The sary. Still, it is a great pity that such a delightful art word comes from the Greek term rhuthmos, to private houses their number exceeds that of the men EXACT TUNE KEEPING. teachers. Women are even professors at the Con¬ should suffer neglect. flow, as in cadence, measure, number—like the foot servatoire and Philharmonic School. About fifteen Some highly educated musicians extemporize in in poetry. Mr. Mathews hit the nail on the head ‘ Perhaps few of us realize how much rhythm private musical schools have been established in faultlessly correct form and their progressions never when he defined rhythm as ‘measured flow.’ ” enters into every thing we do, in our walking, talk¬ Moscow, and are managed by women. offend the ear; but fantasy and interest are often lack¬ ing, in fact, into all our movements. The longer I Music teaching by women in Russia is often a ing. Much better to make a few technical errors and THE FIRST ELEMENT OF MUSIC. live the more I insist on regular and exact time¬ work of love. By its means she gets a deeper un¬ to do certain things not strictly “correct" than to have “Would it not be helpful to get as many defini¬ keeping, with much use of the metronome. Correct derstanding into the inner life of the child in whom the result resemble a Dutch garden—stiff, formal and tions as we can for this word?” said the Student. rhythm must become a part of one’s inner conscious¬ unmoving. But the whole department cannot be made she wishes to develop a love of the art, and the “Rhythm is a much overworked word, it seems ness. Why is it that so many young pianists find it results are sometimes wonderful. People are begin¬ a matter for the yard measure. No real musician is to me,” said the Teacher; “most people think they such a difficult thing to play with an orchestra? It ning to appreciate her work, to believe in her, nqt prepared to spin music, like a spider its web. at all know precisely what it means, but they often use it is because their sense of rhythm is defective—they always preferring the master at a higher salary, times; and the extemporaneous perfornUUlCt - where they should say accent, pulsation, measure or cannot play in time, and the conductor has no end whose musical attainments are but the same. The musician, however gifted, must vary in quality. Mood meter. No doubt rhythm was the first element of of trouble with them. Train up a child in the woman’s reputation as an intelligent active teacher plays a great part ‘in the musical organization 1 music; it is more potent than melody or harmony rhythm m which he should go, and when he is in the sphere of musical advancement is fully estab¬ Returning once more to the immediate subject of this a::d plays a greater role. If music lacks rhythm it grown, he will at least be able to play in correct lished in Russia. article, we may say that “sloppers” are of various becomes only a collection of sounds without form. time, which is a great thing, after all. Time and kirds. The most common is the man who knows very It is like scattering dabs of paint promiscuously rhythm are among the strict essentials of musical RUSSIAN WOMEN AT THE KEYBOARD. little, if any, harmony, and who has not a really good art; therefore, with, all your study, see that you do ANTON RUBINSTEIN / J HIS BROTHER NICHOI..V over your canvas; they will not make a picture.” The Russian women at the piano is most wonder¬ ear. His performance is bald even to grotesqucric: not neglect these things. For only with systematic ful! Perhaps the impression she produces when “The impressionists think they will,” said the if he does happen to get away from the common chord Pianist, slyly. attention to all such important details can you hope playing lies in her Slavonian expansiveness of was listened to. Then Glinka appeared (1805-1857) > for a minute he is terribly frightened and scampers to become thoroughly finished musicians.” “One writer has well described rhythm,” continued nature, in her lively temperament—the little girl the father of Russian music, of real national mein hack to it again as quickly as possible. Then we have the Teacher, “as the grouping of sounds with refer¬ even introduces into her playing something which dies. He composed operas, which necessitated em the man who has heard a lot of music and poses as a ence to their duration and accent, indicated by the touches the heart! Anne Essipow went all over the ploying Russian artists for their true interpretation great authority, but who is soon bowled over where number of notes of similar character in one measure. world producing great effect and boundless admira¬ The number of Russian singers increased consider any question of “mere theory” or of technique is con- There is a fundamental rhythmic pulsation which tion by her poetical playing. She stands at the head ably at that time. Daria Leonowa was one of tli : cerned. Such a man frivols fearfully, especially about of a countless number of women pianists pupils of first who excited great interest. She was the daugh goes through the piece; it is like the beating of the Wagner; and he seems to imagine that his windy human pulse.” practice and far more rare to find. The artist in our the brothers Rubinstein, Safonoff, Leschctizky and ter of a serf, who was fortunate enough to escap - appreciation puts him upon a sort of equal level with many others. All the women pianists had more or from his autocratic master and started in busines “I don’t quite agree to the second half of that « ild neithel; the servant nor the master s the great composer. He seeks to make up for his lack less the same knack of producing passion and deep in Petersburg, which brought him in a modcrat definition you quote,” put in the Student; “that of the public He remains the bearer of the beautify e of technique by a bombastic grandiosity, an over- “I am glad you are coming back to something a feeling from the instrument beneath their touch. income. The artistic talents of his daughter ever ‘rhythm is indicated by the number of notes of m the inexhaustible variety which is appointed to a expressiveness which disgusts any musical hearer very little more tangible,” said the Student. “The rhythm, This faculty doubtless takes its origin in the sensi¬ apparent from her earliest years. With the help . similar character in one measure.’ How will that come" th°Ught. and PercePti°n—and this inviolable • soon.—Musical Opinion. or beat, of that Prelude you speak of is easy enough, tiveness of soul and the richness of fancy which powerful protectors she entered the Imperial Ai apply when there are notes of various values in the consciousn#ss alone assures his authority. but its the fussy little uneven rhythms—those twos characterize the Russian woman. School, where she was heard by Glinka, who imm< measure?” against threes and threes against fours and fours diately made her a pupil of his. She had to sin inr COmp0si;lg 1 d0 not finite work at hap¬ “There can be one rhythm of the melody, for in¬ against six—that try the souls of us; the harder I hazard and grope about in the dark as mv opponents WOMEN COMPOSERS IN RUSSIA. the first roles in his operas. Her part in the d< stance, and another for the accompaniment, but they try to understand the subject, the further away I in so many quarters reproach me with doing will be velopment of Russian music lay in her showing tl It has been often said that a woman can never Don’t thump. must both agree in accent; the rhythmic pulsation seem to get from the correct solution.” compose music! Nowadays this statement scarcely world that the Russian Woman could be an artist i holds them together. This pulsation, is generally be honmt3 n0W/edged by th°Se am°ng them may Don't begin to play until yon arc ready. “The reason is that you are thinking of the con¬ be honest enough not to wish entirely to obstruct a requires contradiction, as the contrary is so evident. the full sense of the word. She went throng expressed by the accompaniment—think of the ac¬ Don’t count to your playing, but play to your count! crete subject of rhythm in general, and not enough Since serious musical education is within the reach Siberia to China and Japan, where she was the fir: Don’t jerk your band when you put your thumb und companiment of the waltz.” £s mZ I T° ?e mfter thr0Ugh preconceived of women, we see female composers appearing in European artist to win an audience. She made coi of its application to your Impromptu,” the Pianist tAi l hT been for years conscious of the Don’t play one hand after the other. That is where the rhythm of motion comes in,” looked wise. “As I said before, one has to make a artistic task that lies before me, neither consistent per¬ the cultured nations—in France, Germany, Sweden, cert tours through Russia, with her friend. Mode Don’t play with your arms. said the Classic Dancer, who had been listening at¬ Moussorgski (the composer of the opera “Bor special study—technical study—of rhythm, from the severance nor quiet reflection shall be wanting forthe England, etc. It was Russia who led the way! Don’t keep the pedal down all the time. tentively; “think how much more vital the rhythm You will find about fifty names of native female Godounow”), introducing into the most remo simplest forms up before one can cope with any of fulfilment of it. May God’s blessing, without wh d Don’t gallop over an easy part, and then stumble 0 of the music becomes when accentuated by the pul¬ spots of her country a fresh stream of art ar these things In pieces. But here comes the Master nothing can prosper ami bear fruit, rest on my work! composers in the Russian catalogs of music. Sev¬ a more difficult one. sating motions of the body; there you have the eral of them belong to the time of Glinka, others melody. She died in 1892. Her '“Memoires” a he can make things clear to us.” Don’t neglect posture when practicing. measured flow1 of the melody combined with the to the second half of the nineteenth century, and to full of interest, as she relates all her experienc poetry of motion.” ‘I happened to overhear your discussion,” said the our own days. There is a certain dilettantism in Don^t nod your head when you play an emphatic n Master, and as the subject has always been a vital and gives a brilliant and witty account of her tin: ‘‘Ah, the poetry of motion,” said the Poet, advanc- their compositions, in their romances, cantatas and The limits of this article do not permit tl Don t pass over a difficult bar until it has b one with me I could not help joining your group, mastered. ‘rom ‘he corner of the salon; “it is the rhythm piano pieces of a sentimental, romantic character. enumeration and description of the great wealth lhe Student here wants a definition. Webster de¬ of Nature. The trees at night express it as they The song of the Countess Kotshubey, with the line: talented people we have had on the stage. I „c Don’t be late for your lesson. fines rhythm, in the widest sense, as ‘a dividing into —London Musical Herat1 513 the etude 512 se„e, ,he calm of the nervous system, prevent, a keep close to nature. prodigious wast of'try to keep the pupil TEACHER, CONSERVE YOUR ENERGY. By every P°Sh“ pUpii who enters upon her lesson d° sssvS interested; for the pupu ^ js a veritabie tonic G“ fSTS** a. with a genuine SP r teacher can do much to the teacher. And ^ win the friendship music surpassing »»,“““*» th_‘‘t , 1 j ice thoroughly equipped, a very nd to eSef into sympathy with the personality of >ry best work is to look out produced in the marble halls that have been erected ) do the by man. Fill your soul with the grace of the: sway n d mnnil If only you can bring about that happy n comfort. In doing this you her P vou derive a personal enjoyment out of most effective vay, insure the comfdrt and & I-™*-; «• Drint association with your pupil, and where she finds fils.' Whatever affects the pleasure in Phasing you, then you^are recreducing to physical, of the teacher, will tell a minimum the drain. vSc your vitality, for the reason lily; a nd whatever drains his strength S, »tmo,phe,«. L« you, h'"' hen , „ not onlv appear less frequently in tins line ieaveS him less energy and magnetism her execution but also that when they do occur they h which to throw spirit into his work and, return • — hand, and allow your moods of the composition will be of a less harassing nature and will cease to ough this, to achieve the best results. Thus you will begin -n keenly on the nerves. \> do our best work, when not in good mental eelf to revel in its imagery. find a new meaning in your labors, an inspira- Whatever keeps the nerves at a high tension is 1 physical condition, is as impossible as for a a dangerous indulgence, because of this being one tor to drive its machinery without electricity. Kon where there has been ndilgHP lte-drudgery, of the most insidious sappers of ^tality. Study Vith the enthusiast, there is a constant flow of a message to the heart where there had been nothing yourself in relation to your work. When, at the end ality And the teacher’s professional life and du- but a cold form. . W „ of lessons, vou come out exhausted 5 fcecl largely on enthusiasm. Without it very And when you have drawn *ff$r Mslble bene¬ m he would be dead (artistically), with nothing fit from literature, art and nature, do not forget that in mind and body, take a review of your experiences t of his work but the rattle of musical bones. It one of the most fertile sources of inspiration is of the day and try to get at the cause of this con¬ only through his own enthusiasm that he is able contact with creatures of your own flesh. KeeP11' dition. Then, under similar future circumstances, come out of the daily grind of lessons, many of touch with the live, wide-awake people of your try to eradicate the reasons for its existence. licli are usually dcpressingly inadequate in prep- community, of other communities if possible. Une From the writer’s experience two things stand out ition, with anything less than absolute exhaustion. cannot rub up against a bright intellect without clearly fixed in his mind. First, that a cheerful, absorbing something of good. Interest yom-cli buoyant, elastic mood is indispensable to carrying TEACHER AND ARTIST. in the poor and unfortunate, and thus keep your one through the often vexatious situations ot a heart tender to the finer feelings and influences. teacher’s life. Second, that it is necessary to ob¬ W xhaustive work of the art- Now it will be useless to take thought for ac¬ taining the best results from pupils. And these t long since, .in a magazine quiring these benefits unless they are preserved in conditions can be sustained only by enthusiasm tide, it was stated that the artistic interpretation your nature for use. And the first requisite Un¬ springing from an abundant reservoir of stored up a song demands as much expenditure of vitality doing this is that the mind and body be kept in a energy. the solving of the most complicated mathemati- healthful condition. Whatever happens, there must 1 problem. If this be true, what must be the be a reserve fund of vitality. Plenty of wholesome ain on the teacher who must sit hour after hour food and healthful exercise are the best preven¬ PRACTICAL POINTS FOR PROGRESSIVE lening to defective performances of the .works tives of physical ills; and, with the physical body PUPILS. i which Jie has spent so much time and study, strong, the best tonic for the mind is to keep it in ,d of which his conception is so much higher? a cheerful mood. nly an almost inexhaustible supply of reserve force n enable him to come out of the ordeal in much CHEERFUL INTEREST. Theodor Leschetizky is jut one of the many who •tier than a pitiably fatigued condition. has demonstrated to us t lat teaching is no mere This is not always easy. To‘correct the same Now, with this state of affairs before us, there are drudgery and that it is not without its own great re- error in six successive lessons is not conducic e iree propositions worthy of our consideration: ward. While Leschetizky s truly* distinguished as a to an equable temper. And yet in nine out of ten •st. the natural vitality and enthusiasm of the pianist, his fame rests more securely on his abilities as cases there will be nothing gained by .any show of ac'her; second, the sources from which these forces annoyance. Better far to take the matter philosoph¬ a pedagog. Many of ' lay be recruited and enforced; third, their preserva- ically and good-naturedly; stop the pupil where much of their success to him. she is; have her to execute the passage slowly enough By dint of constant observation and careful inquiry ; The first of these is to a large extent beyond our that she can correct the mistake; have her to re¬ into all manner of “methods’’ and ways of obtaining Josef Gabriel Rheinberger Johannes Brahms Franz Lachner i control. The natural vitality with which we are peat the pasage till you are quite sure she really results at the keyboard, Leschetizky has drawn a few endowed is hereditary; and for any inherited weak¬ understands how it should be executed. Then tell irrefutable conclusions, the development of which in ness of the flesh we are unaccountable. Enthusiasm her pleasantly, bnt firmly, that you will expect it to his pupils places him very high among living teachers. for one’s work also depends much upon the natural be played so at the succeeding lesson. One of these deductions concerns that simple and yet endowments of the individual. And here is where Whatever you do, do not become worried and lose inadequately employed process of complete concentra¬ the young person deciding his course in life should your patience. Why does it take many of us so tion during the practice hour. On this point Leschet¬ stop for careful consideration. Enthusiasm is' long to learn this lesson? It is the greatest pos¬ izky is inexorable: A phrase must be played once, necessary to the conscientious teacher; and, without sible drain on enthusiasm and vitality. Keep down twice, or at most three times; every detail of tempo, fingering, pedaling, etc., decided upon instantly, and the conscience in his work, the teacher has no business worry and preserve a, bright frame of mind, even whole then played with surety and expression—from in the profession. Unless the teacher expects and de¬ if it requires all the will power at your command. memory. termines to give full value for the tuition lie col¬ It may be hard at first; but with practice it will gradually become easier of accomplishment; and then “But,” argues the music student who practices eight lects, he is no better than any other swindler and you can turn off your day’s work with but a fraction hours daily, “that is impossible. I must repeat a phrase deserves a place with that brotherhood, in the peni¬ of the exhaustion which you have often felt. And dozens of times to memorize the notes alone, or ‘to get tentiary. And this is no idle statement, but a firm you can do it. It is wonderful how much of our. it into my fingers’ and then I repeat it a few dozens conviction established by the woeful results of such irritability is within our control. And the more we (or hundreds) of times to make it technically and teaching which have come to the writer’s knowledge, allow ourselves to became irritated, the more pain¬ musically perfect.” through pupils coming from these sharks, for instruc¬ ful to our nerves becomes every little mistake of By beginning with only a measure or two, and con¬ tion. No. if you have not enough enthusiasm for the pupil. We are only multiplying our own agony centrating one’s entire intellectual forces on that the art to enter its ranks as an honest and honor¬ and throwing the pupil into a nervous state that measure, it can be memorized at once. Whether the able member, in the name of all that is fair and but increases the severity of our punishment. memory consists in a mental picture of the printed decent, stay out. Mend roads, wash dishes, shovel No, if only for self-preservation, keep yourself notes or whether it be muscular, a “finger’’ memory coal; do anything by which you will earn an honest in a happy mood while at your work. When mis¬ guiding the fingers to the right place, any pupil with a living without dragging the standard takes begin to multiply and get on your nerves, grain of talent ahd an ounce of common sense can a the n banish the frown from your face, fetch a smile from commit measures to memory by very. few repetitions, the inside, let it show itself on your features, and it The modern idea is—less keyboard work, more mental V LOVE FOR THE BEAUTIFUL*, will work like magic in carrying you over the petty work. annoyances that otherwise keep the nerves con¬ When .. _e enter the second division of the ub- Every moment of practice is spent with the mental ject, the resources are limitless. First and fore¬ stantly on a deckled edge. faculties focussed upon the one object, to the exclu¬ sion of all others. As Leschetizky himself says: “One most of all is a cultivation of a love for the beauti¬ DON’T STRAIN YOUR VOICE. ful. No difference in what form it is expressed, page of music thus memorized daily will give you a it will be a means for developing the esthetic na¬ The very manner of using; the \ i teaching trunkful of music in a year.” That each succeeding ture and of inspiring higher ideals. Miss no oppor¬ has a wonderful effect on i effort at complete concentration makes the next one tunity of seeing good pictures and statuary. grows more earnest in an explanation, and es¬ easier, is a fact not to be overlooked. How can we pecially as one become^ the least irritated, the pitch Literature is an exhaustless mine of inspiration expect to acquire the indispensable qualities for public of the voice rises. This works on the nerves of and resource. Read poetry for rhythm, fancy and performance which we have not gained in the practice both teacher and pupil, and soon, with two sets of refinement of expression and feeling. Read fiction hour, namely, entire control of the will and utter for¬ nerves and a voice on the up-grade, every influence getfulness of self and environment? for imagination. Read history to understand the is pushing on to a disastrous end. Now, if instead times and environments in which the various com¬ Why will not our present-day aspirants to pianistic of lending his aid to this purpose, the teacher will fame realize that it is not the number of hours spent posers lived and brought forth their works. Read keep his voice modulated to a low, musical tone, at the piano, ruining mind and muscles in senseless everything within reach that relates to the history he will administer a forceful antidote. His voice repetition, that will raise them above the average player, of your art and that has any hearing upon it; so that will become a soother of his own nerves ‘and tend but that success springs from thoroughness and rapidity you may have some really intelligent idea of its to keep them in a restful state. Try it; and you linked with conservation of brain and brawn in daily Willy Burmester growth. will be astonished at the result. And whatever pre- practice ? THE ETUDE 515 the etude no little emotion, and parted. . Later it occurred 514 to me that no one had picked up the Englishman s gold-piece. — In the next inn, which I entered to refresh myself, HOW TO PRESERVE THESE PORTRAMOGRAPHIES^ I found the Englishman seated at an excellent re¬ , .1, flv.sheet of a piece of music by the composer rep ^ ^ picture-biographies .. .u...... Paste them on margin in a scrap-book, or on the IJye and separate portraits. This is t e ft past. He looked at me for a long while, and at last addressed me in passable German. "Where are your companions?” he asked. “They have gone home,” said I. -- “Take your violin,” he continued, “and play something. Here is some money. ’ I was offended at this, and explained that I did JOSEF GABRIEL RHEINBERGER. not play for money; further, that I had no violin; JOHANNES BRAHMS. (.Rhine'-bair-ger.) and I briefly related to him how I had met the FRANZ LACHNER. Brahms was born at Hamburg, May 7. Rheinberger was born March 17, 1839, musicians. 1833, and died in Vienna, April 3, l8tJ7- (Lahch'-ner, cli gutteral.) at Vaduz Lichtenstein, and died Munich, “They were good musicians,” said the English¬ Franz Lachner was bom April 2, 1803, His earlv musical education was cared man, "and the Beethoven symphony was also good.” for by Cossel, and fitter by Marxsen. November 25, iQOi. When only seven at Rain, on the Lech, in Bavaria. He This observation struck me; I asked whether he Cossel's own teacher. Brahms went on years old he was organist at Vaduz Par¬ was a member of a large family, many himself was musical. tour with Remenyi, the violinist, in 1853 ish Church, and his first composition was “Yes,” he answered; "I play the flute twice a of whom attained distinction as musi¬ and became acquainted with Joachim. performed the following year In [It Is hard to read the following w believing that nown! Glorious Beethoven, forgive me this repu¬ cians. Franz was well educated in other Rheinberger entered the Munich Conser Richard Wagner actually 1 ‘ ...... lenna and met tation! It was made solely that I might behold week; on Thursday I play the French horn; and This meeting had a great influence on the great sympf—- This fanciful journey will things besides music, but music was the Brahms’ career. For a time Brahms lived valory, eventually becoming professor of Idished in The Etudb In three Installments. Our thee! on Sundays I compose.” study which interested him most. He with* Joachim, who was much impressed pianoforte playing, and later, professor readers will tlnd the third Installment of particular lnter- Ah, what bliss! my goal was reached. Who was That was certainly a good deal; I stood amazed. I containsnntaing Wagner’s conception of BeethovensBeethoven’s ideas I had never in my life heard of traveling English went to Vienna in 1822, and studied with his ability. Through Joachim he of composition at that institutton. When upon his wo '- This-- article repre its Wagner's strong happier than I? I could pack my bundle, and take under Stadler and Sechter, at the same the Munich Conservatorium dissolved he likes imd dlsi.nve. " i anti-Semiticitlc prejudice;. . ... up my journey to Beethoven! A holy awp op¬ musicians. I decided, therefore, that they must be became acquainted with Liszt and Schu- known and he was none too fond of things English, which time becoming very intimate with Schu¬ mann, both of whom regarded him, was appointed “Repetitor” at the Court may account for his inability to win the sympathies of the pressed me as I passed out at the gate and turned in a' most excellent position if they could make Theatre, from which he resigned in 1807. English public as a conductor. Wagner personally was so their wanderings with such fine equipages. I bert. He became capellmeister of the strangely enough, as a follower of the irritable, excitable and nervous in his earlier years that me toward the south. I would gladly have taken Karthnerther Theatre, and held this post most advanced Romantic school of mod¬ He occupied several important positions actors, singers and musicians resented his directions and a place in the. diligence—not because I cared for the asked if he was a musician by profession. in the musical world, and became famous often conspired to ruin ids works, as in the case of the For some time I received no reply; at last he until 1834. Lachner eventually left em music. For four years Brahms was first, performance of "TannhSuser" in Paris. To those who hardship of pedestrianism—for what fatigues would. Vienna for Mannheim, and later for concertmeister to the Prince of Lippe- as a teacher of composition and organ. rend "between the lines" the following imaginary pilgrimage I not go through for such an object?—but because answered slowly that he was very wealthy. Detmold (1854-58). Apart from this he He numbered a great many Americans In a shrine of musical art reveals Wagner's characteristics My error was plain; I had certainly offended him Munich, where in course of time he be¬ better than they are shown in a biography.—Editok’s Note.] L could reach Beethoven the sooner so. But I had held very few official appointments, and among his pupils, many of whom, such by my inquiry. Some,what confused, I remained came conductor of the Court Opera. He done too little for my reputation as a composer of appeared very little in public. His com¬ as Dr. Horatio Parker, Professor G. W. silent, and went on with my simple meal. also conducted the sacred concerts of the My native town is a commonplace city of central galops to have secured money enough' to pay -my positions, however, brought him into Chadwick, and Henry Holden Huss, fare. I bore all difficulties, and deemed myself The Englishman, who again took a long look at Court Band, and the concerts of the Germany. I hardly know for what I was originally great prominence, and he found a staunch have achieved a foremost place in the happy that I had progressed so far that these could me, began again. “Do you know Beethoven?” he Musical Academy at Munich, and Musi¬ intended; I only remember that I heard one evening supporter in Mme. Clara Schumann, who musical world of this country. As a a symphony of Beethoven; that I thereupon fell ill lead me to my goal. What emotions I felt—what asked. cal festivals at Munich and Aix-la-Chap- did much to familiarize the public with composer Rheinberger wrote a large I replied that I had never been in Vienna, but that elle. All this time he was a prolific com¬ of a fever: and that when I recovered I was—a dreams! No lover could be happier who, after a his pianoforte music. His compositions number of works of great musicianly I was at this moment on the way thither to satisfy poser, and produced many works of im¬ musician. Perhaps it may be a result of this circum¬ long parting, turned back toward the love of his are very numerous though not very fa¬ value. His twenty organ sonatas are de¬ stance that even after I had become acquainted the keen longing that I felt to see. the idolized portance. His works include eight sym¬ miliar to the average musician on ac¬ clared by the writer in Grove's Diction¬ phonies, two oratorios, four operas, vari¬ with much other noble music I still loved, honored So I came into beautiful Bohemia, the land of master. count of their serious nature. Brahms, ary to be “undoubtedly the most valu¬ ous cantatas, a requiem, orchestral suites, and idolized Beethoven more than all. I knew no harpers and roadside singers. In a little town I “Where do you come from?” he asked. “From like .Bach, is a musician’s musician able edition to organ music since the songs, choruses and many other works greater pleasure than to bury myself in the depths came upon a company of traveling musicians. They L-? That is not far. I come from England, the beauty of his music does not lie on time of Mendelssohn. They are char¬ of different kinds. He was a musician of of this great genius, until at length I imagined my¬ formed a little orchestra, made up of a bass-viol, and also desire to know Beethoven? We will both the surface, but it exists, and when found acterized by a happy blending of the the “old" school, very thorough, scholarly self a part of it; and began to honor myself as this two violins, two horns, a clarinet and a flute, and make his acquaintance; he is a very celebrated com- is abiding. The general public is more modern romantic spirit with masterly and apparently tireless. Had his music little part—to gain higher conceptions and views; in there were two women who played the harp, and familiar with Brahms’ Hungarian Dances counterpoint and dignified organ style.’ possessed the “divine fire” he would have brief, to become that' which the wise are wont to two female singers with sweet voices. They played What an extraordinary meeting! I thought than with his four symphonies or even When the present conservatory was been one of the greatest musicians of call—a fool. But my madness was of an amiable tjances and sang ballads; money was given to them, Great master, what different people you attract! his Requiem, and yet Brahms can only founded in Munich. Rheinberger was ap¬ all time. As it is, however, he is chiefly sort, and injured no one; the bread that I ate while and they went on. I met them again in a shady On foot and in carriages they make their pilgrim¬ be classed with the very highest musical pointed professor of organ and composi¬ remembered as one of those who have T was in this condition was very dry, the drink that place by the roadside; they were encamped there ages to you! My Englishman interested me greatly, composers, and none who study his works tion, a post he held until death. He was made clear and open the paths blazed by I drank was very thin; for giving lessons is not a and were dining. I joined them, said that I, too, but I confess that I envied him very little on account can fail to appreciate his serious pur¬ also given the title of “Royal Profes- the pioneers of musical thought. pose, and loftiness of conception. very profitable business with .us, O honored w'orld was a wandering musician, and we were soon of his fine carriage. It seemed to me that my dif¬ and executors! friends. As they played their dances, I asked them ficult pilgrimage was more holy and loyal, and that So I lived for awhile in my garret, until it sud¬ timidly if they could play my galops. The blessed its goal must give me more pleasure than him who denly occurred to me that the man whose creations people! tjiey did not know them. Ah, what a hap¬ went in pride and splendor. I most honored—was still alive! I did not compre¬ piness that was for me! The postilion blew his horn; the Englishman EMMY DESTINN. FRANK DAMROSCH. WILLY BURMESTER. hend why I had not thought of this before. It had I asked them if they did not play other music drove on, calling to me that he would see Bee¬ Frank Damrosch was born in Breslau, (Boor'-mes-ter). Mme. Emmy Destinn was born at not for a moment suggested itself to me that Bee¬ besides dances. “Most certainly,” they said; “but thoven sooner than I. June 22, 1859. He came to America with Prague, Bohemia, February 20, 1878. At thoven still existed; that he could eat bread and only for ourselves, and not for the fastidious peo¬ I had gone but a few miles further when I unex¬ Burmester was born March 16, 1869, his father, Dr. Leopold Damrosch, in fiist she devoted herself to studying the breathe the air like one of us; yet this Beethoven ple.” They unpacked their music. I caught sight pectedly came upon him again. This time it was at Hamburg. He was a pupil of Dr. 1871, having already studied music under violin, and intended to shine as a vir¬ still lived in Vienna, and was also a poor German of Beethoven’s great Septuor; in amazement I asked on the road. One of the wheels of his carriage had Joachim in Berlin, with whom he studied Pruckner and Vogt. He studied in New tuoso on that instrument. When she i musician! them if they played that, t<5o? “Why not?” replied broken; but he still sat within in majestic calm, his for many years. In 1885, however, he O York under von Inten and his father. § was well on in her teens, however, her And now my peace of mind was over. All my the eldest.. “Joseph has a lame hand and cannot servant behind him, in spite of the fact that the He also studied in Europe under Mosz- seceded from the Joachim school, and O. voice was so rich and full that she o. « thoughts tended toward one wish— to see Beethoven! wagon hung far over to one side. I discovered that kowski. He originally intended to adopt play the second violin just now; otherwise we would commenced to develop his technic with 2 changed her mind and determined upon § No Mussulman ever longed more faithfully to make enjoy playing it for you.” they were waiting for the postilion, who had gone a business career, and to that end went a view to achieving virtuosity rather * an operatic career. Her real name is c .S his pilgrimage to the grave of the prophet, than I to Denver, Col., but the musical im¬ Beside myself, I forthwith seized Joseph’s violin, on to a village a considerable distance in advance than a classic purity of style. He is a Kittel, but after taking vocal lessons t. to the room in which Beethoven lived. promised to supply liis place as far as I could; and to bring a wheelwright. They had waited a long pulse proved too strong, and in 1884 he well-developed artist, however, and his from Mme. Loewe-Destinn she adopted § 1 But how should I bring about the execution of my we began the Septuor. $ .s was an organist, conductor of the Den¬ while; and as the servant only spoke English, I de¬ •S the last name of her teacher. She made purpose? It was a long journey to Vienna, and I taste is broad enough to include all ver Chorus Club, and supervisor of music H Ah, what a delight it was! Here, beside the termined to go forward myself to the. village to such progress that the Intendent of the 3 should need money to make it; I, an unfortunate, schools of composition in his repertoire. 1 in the public schools. For some years Bohemian highway, under the open sky, the Septuor hurry the postilion and the wheelwright back. I Berlin Opera House engaged her at once C c who hardly made enough to keep life in his body! He is at his best, nevertheless, as an in¬ .s *§> he was chorusmaster at the Metropolitan *a of Beethoven was performed with a clearness, a found the former in a tavern, where he was sitting when she was brought to her notice. I must devise some extraordinary means to gain terpreter of the works of Paganini, and g Opera House in New York. He has also precision, and a deep expression, such as one sel¬ over his brandy, not troubling himself especially She was scarcely nineteen at the time, § the necessary sum. I carried to a publisher a few lus rendering of the classics is said to i but her voice and her genius, for acting conducted the Mendelssohn Glee Club dom finds among the most masterly of virtuosos! about the Englishman; but I nevertheless succeeded cn .2 piano sonatas that I had composed after the model be somewhat cold and devoid of feel¬ .2 soon won the Berlin public. Her fame from 1885 to 1887 and other important ■s O great Beethoven, we brought to thee a worthy in speedily taking him back with the mechanic to '•§ of the master, and speedily convinced the man that ing. On the continent his reputation is became international in 1901 on account w organizations. In 1892 he organized the sacrifice! the broken carriage. The damage was soon re¬ z c T was a lunatic. Nevertheless he was good enough 1 of her singing the part of Senta in The J People's Singing Classes, which has since paired; the Englishman promised to announce me very high. He failed, however, to make * to advise me, that if I wanted to earn a few thalers THE COMING OF THE ENGLISHMAN. Tlying Dutchman at Bayreuth. From that 2 developed into the People’s Choral Union, at Beethoven’s, and drove away. a great impression on his first visit to 2 by my compositions I had better set to work to day on her success has been uniform. with a membership of 1200, and he was 5 We were just at the finale, when—for the road What was my amazement to overtake him the England and America, though his audi¬ s s. gain a small reputation by galops and potpourris, and she has appeared in London and also instrumental in founding the Musi¬ passed up a steep hill just here—an elegant travel¬ next clay again. This time he had not broken a ences were compelled to admire his mar¬ I shuddered; but my longing to See Beethoven New York during the regular opera sea¬ § cal Art Society of New York. In 1897 i ing-carriage drew near us, slowly and noiselessly, wheel, but had halted calmly in the middle of the velous technical feats, especially his left- j won the day; I composed the galops and potpourris, sons in these cities. While she is suc¬ he became supervisor of music in the and at last stopped beside us. An amazingly tall road, and was reading a book; and he appeared 2 but I could not bring myself to cast a glance at hand pizzicato, and rapid runs in thirds cessful in the lighter roles of the Wag¬ s public schools in New York. As director and wonderfully fair young man lay stretched out quite pleased as he saw me again approaching. is Beethoven during this period—for I feared to alien¬ and tenths. His faulty intonation, how¬ ner operas, her soprano voice is better 3 of the New York Institute of Musical in the vehicle; he listened with considerable atten¬ “I have waited some hours,” said he, “because it ate him utterly. ever, interfered with his success some¬ >» adapted to music of a more lyrical type. t Art, Frank Damrosch has firmly estab¬ tion to our music, took out his pocket-book, and occurred to me just here that I had done wrong not what. In later years this defect has been She excels in the part of Carmen, in jj lished his right to be considered among 2 To my grief, however, I was not even paid for wrote a few words in it. Then he let fall a gold- to invite you to drive with me to Beethoven’s. 1 this first sacrifice of my purity; for the publisher piece from the carriage, and drove on, speaking a improved very considerably, and we are g which she is said to rival Calve. Emmy c the foremost musical educators in § Driving is far better than walking. Come into the told that those who have heard him play Destinn “created” the part of Mine. But¬ America, even if his work in other direc¬ explained to me that the firsf thing to be done was few words of English , to his servant—from which carriage.” i to make myself something of a natne. I shuddered at his more recent concerts have been terfly in Puccini’s opera of that name. tions had not already won him that dis¬ 1 I discovered that he must be an Englishman. I was amazed. For a moment I hesitated again, and fell into despair. But this state of mind much impressed with his sterling musi¬ 3 and also the part of Salome in Strauss’ 3 tinction. This institution is one of the 5 This occurrence threw us into a discord; luckily whether I should not accept his offer; but I remem¬ opera at its production in Berlin. She nevertheless produced several excellent galops, I we had finished the performance of the Septuor. cal qualities. He has been somewhat richest of its kind in the world, and, bered the vow that I had made the day before when is very versatile and besides being a really received some money for these, and at last I embraced my friends, and would have accom¬ hampered in his career, and has been a together with other American music I saw the Englishman drive away—I had vowed singer is a poet, novelist and playwright, believed I had enough to carry out my project. Two panied them; but they explained that they must considerable sufferer from having worn schools, has done much to give American that no matter what might happen I would make though nothing she has done in this line years had passed, however, and I had lived in per¬ leave the highway here and strike into a path across the end of his first finger down to the students as fine musical opportunities as my pilgrimage on foot. I declared this to be my has eclipsed her reputation as a singer. petual fear that Beethoven might die before I had nerve. Persevere in composing mentally, “Not yet;.he was not in,” I answered, surprised and five are the same; they are identical, in fact. not with the help of the instrument, and keep on turn¬ Etude C minor. habit of lying over certain sections of notes which it would take the trouble to describe the structure m at this repeated encounter. He met me on the steps Paragraphs two and six are the same in story, but ing and twisting the principal melodies about in your MacDowell.Prelude E minor. has to play, naturally assumes a tranquil pose which, before we set the pupil at work with his hands we and insisted with remarkable cordiality on my going differ in the detail of key. Paragraphs three and head until you can say to yourself, ‘Nbw it will do ’ To Witches’ Dance. with care, is not displaced by turning under or over the could simplify his task and enlist his attention; to his room. Liszt.Love Dream No. III. thumb. From point to point in ascending and descend¬ “even are to be compared as. were two and six; so, hit upon the right thing all in a moment, as it were “Sir,” said he, “I have seen you go to Beethoven’s t lat is, we should give his head a chance first, and ing series of scale passages, the thumb ever makes a then his hands. It may help him. too, are paragraphs four and eight. does not happen every day, and the sketch-books of house five times to-day. I have been here a num- bridge, whereby the hand may shift its position to the If we do this clearly for the pupil, he will soon great composers, especially Beethoven, prove how long Second, to try to become a thorough student of some While the Clementi Sonatines have appealed to ji ber of days, and took lodgings in this wretched best advantage. jump to a conclusion and alight on his feet with and how laboriously they often worked at a simple great master. Beethoven was the master ■ chosen and students for many decades, they are still fresh and !• hotel in order to be near him. Believe me, it is a As to where the turn over or under may best be safety and delight. The first four paragraphs and a,K' kept 011 improving upon it.” the subject was so staggeringly big that Sarah was on spontaneous. As a type of the Sonatine form in e very difficult task to get at Beethoven; the gentle- the1 point of dropping Beethoven for Haydn; but she effected, the principle generally followed in scale-play¬ the ast four, separated by the long middle para¬ The artist who refuses to recognize the efforts of j man has many caprices. I called on him six times immature, there is no better example than Op. 36, held to her choice (that was fifteen years ago) and she ing is applied in practice in melody-playing. Thus, in graph (after the first double Bar), make a Ternary his contemporaries may be looked upon as lost ” I!'' when I was first here, and was always refused. -No. 6, in D major, first movement. In the pupil’s is still studying and pondering over this great musical ascending themes, a turn under with the thumb is made ibis discovery will help him not only with this par¬ * Now I have taken to getting up very’early and sit¬ experience with the Sonatine, the first movement giant and, in all probability, she will be at it down to after the limits of the second or third finger is reached, ticular composition, blit with every other of the surr^dfngsd’t0 CHange °ne’S USUaI gr°OVe f- ^ ting at the window until late in the evening, to’see may seem long and involved. He may work at it the end of time. To the Beethoven bibliography there preferably the second. In descending, when the hand is “Though, as you are aware, we musicians often dwell when he goes out. But the gentleman never seems with discouragement, which, in time, develops into same kind that he is ever to.study. In other words, used up, so to speak, and comes to a dead stop once the (lishkc _I do not blame him always for this, for we tins little talk on music form gives him insight rouTTf S S’ yet.wllcn the unhappiness of life During the winter she read a translation of Nohl’s thumb is reached, either third or second fingers should into the structure of a great number of music com¬ 3j “You think then that Beethoven was at home to¬ should first appeal to his intellectuality, and then be turned over as the passage may demand. In short, ~ ffie°m0°rler”eyeS’ ” 3,1 “ked UgH"eSS’ * day, but denied himself to me?” cried I, excitedly. Beethoven, also Grove’s valuable article in the “Dic¬ positions. So much knowledge of constant future tionary of Music and Musicians.” One of the best the hand should use the thumb for a bridge when, [swtTf hlm.t0 practice. The opposite procedure use is certainly a good investment. “Undoubtedly; you and I have both been turned Yhat “wolves us and him in confusion. By fol¬ short articles she found in Chamber’s Encyclopedia. without being bodily raised, it can itself proceed no with eaSe in your own raind> ^ ™ away. And it is especially disagreeable to me, for lowing this rule, that fearful search for novelties - u\u-al rake “e IeS90n’ or two- or three, to get Then there were Elterlein’s “Beethoven Sonata” and further. Similarly, in chord and arpeggio playing, the of the piano; only in this way are the fountains of 1 I didn’t come to see Vienna, but* Beethoven.” in bright covers may not be so necessary. 7 ihlf.„b: °re hlm’ Sti11’ Jt is a S°od investment. s for i Nevertheless I Teetgen’s “Beethoven Symphonies,” and Grove’s hand should so spread itself that each note ha_ the And still there is much more of interest to be told heart opened and brought out in ever m-.-t 1 “Beethoven’s Nine Symphonies,” besides a great most suitable finger dented to it. The changing of Let us tell him, and play as we explain, that this the i :xt day—but again Sonatine movement, though quite long, is com¬ When he knows two or three first movements of e shut against me. many magazine articles and the playing of reams fingers, as in orgah playing, requires special adriotness, Sonatines, let him compare them, so as to work out The gates of heaven posed of nine parts, w.hich, when properly grouped, (Tobt and reams of music. but comes easily with practice. for himself such questions as these: . ? no^. Pra*se that causes the exultation of t Sarah did not attempt to master any of it; she read form three principal divisions. These three prin- cipal divisions are: 1. Is the first subject generally repeated exactly the Sonatas, Minuets, Bagatelles and Variations as as it first appeared? “Whoever satisfies the inner necessity of his being one reads a book, page after page and day after day. I. From the beginning to the first double Bar “The meaning of music goes deep, a kind of in¬ 2. What key is reached through the Inter¬ is free, because he feels himself at one with himself, Some of the symphonies were looked *cr that sea¬ (Measures 1 to 38). articulate unfathomable speech, which leads to the mediate Group in Part I, in Part III? because everything which he does answers to his son, but acquaintance with the chamber music came II. From the double Bar to the point where edge of the infinite, and lets us for a moment gaze 3. Is the second subject literally transposed to nature, tp his true needs.”—Richard Wagner. later. into that.”—Carlyle. the first part of the Sonatine is again in¬ the Tonic (in Part III) from the Dominant troduced (Measures 39 to 54). (111 Part I)? THE ETUDE 519 to music, most certainly inspired by those meet¬ .. career. “Divide matters as PECULIARITIES OF THE GENIUS OF walk. Chopin began to imagine, and finally be¬ rofwdillhibut k«panfusical thought and poetry always lieved. that they were dead; then he saw himself ings, the one hundred and fiftieth psalm for a FAMOUS MUSICIANS. dead, drowned in a lake, and drops of frozen water chorus, with orchestral accompaniment, which was to the fore.” . t Santiago Riera, a Spanish fell upon his breast. They were real drops of rain performed with the help of such comrades as could 06 “ftS French school MllegGirod. a first prize BY CAROL SHERMAN. falling from the roof of the ruin, but he did not sing. This composition occurred in his eleventh pianist of the Fren kn0Wn on the continent, perceive this, even when George Sand pointed it or twelfth year. These very select soirees (only piano pupil a rea^ b join with a host of others That genius and insanity are allied'' has been a out. Some trifling annoyance affected him more the father was present in a corner, pretending to ™ ™»™.. -HO” =» long-accepted fact among scientists. By insanity of than a great or real misfortune. A crumpled petal, take no notice of the boys’ doings) were generally TECHNIC IN PIANOFORTE PLAYING a fly. made him weep. Chopin directed in his will people play till they know how? (he kind represented in the cases of famous musi¬ closed by a phantasy, extemporized by Robert on . « r .1 _l D-„npnt Teachers of that he be buried in a white tie, small shoes and The Views of Some of the Most Promment Teachers ci cians the reader should not paint a picture of the his instrument; which impressed his associates in short breeches.” the Day on a Subject of Great Interest to Piano Students the OTHER SIDE OF THE QUESTION. no slight degree.” kinds of mental disorders that one ordinarily finds Schumann was also afflicted by melancholy bor¬ in the insane asylums of our country. The insanity dering upon insanity: By FANNIE EDGAR THOMAS ThrebarugSTntohconflict rftb\he fflsHacVng'dif- PIANO PRACTICE stantly bi ought int expression cannot of the genius is manifested iti the very evident tend¬ “At forty-six he was pursued by turning tables, Though Schumann was originally intended for encies to think and act in a way contrary to the which knew everything! he heard sounds which de¬ fiCUUi£S t° hSmfSy and becomes discouraged the law, and indeed went to Heidelberg for the I ..Xhere is a stage of piano study in which the pupil conventions laid down by the greater body of men veloped into concords, and even whole composi¬ purpose of study, he was not very industrious at and women. tions. For several years he was afraid of being this work. We are told in Grove’s Dictionary. a sr: No man has investigated this subject with more sent to an insane asylum; Beethoven and Mendels¬ thoroughness or more detail than has Cesare Lom- sohn dictated musical compositions to him from “If Schumann was industrious in anything at Heidelberg, it was in pianoforte-playing. -After SfelSeSsswir* broso, the famous Italian physician, alienist and their tombs.” fc strength and familiarity with keys and chords practicing for seven hours in the day, he would philosopher. His famous book, "The Man of Many composers adopted peculiar methods for le a sense of power, and one becomes possessed by NEGLECT OF THE TRILL. remarks sententiously that duUed w invite a friend to come in the evening and play Genius,” from which many of the following illus¬ composition; Rossini and Thomas, like our own a desire to ‘let oneself go.’ regardless of the artistic Criminal neglect of the trill is a pet theme with with him, adding that he felt in a particular happy demands of the piece. It is a sort of intoxication of trations are taken, is one of the most striking and Mark Twain, chose to compose while lying in bed. MUe Eller. She does not think that the importance Donizetti, after a fit of savage anger, in which he vein that day; and even during an excursion with technic which leaves artistic interpretation out of t e of various forms of trill is properly appreciated—in interesting works upon the subject. friends he would take' a dumb keyboard with him in question altogether. Of what value is j S£Those whtoheuse1SthPereVirgil Clavier system naturally Lombroso, however, is not infallible. One of his had beaten his wife, composed, sobbing, the cele¬ fact it is hardly realized. The trill has a regulai brated air, Tu die a Dio Spicgasti 1‘ali, This is con¬ the carriage. By diligent use of the instruction ! ' description? It is hard to have to curb these very rhythmic value in composition, and should be as leaTn ^aTds° “getting technic out of th. They worst blunders is that of trying to prove that musi¬ he had received from Wieck in Leipsic, he brought i qualities of life and vitality so necessary to success claim that in so doing expression is not necessarily cal genius is hereditary by citing a few cases. sidered a remarkable instance of the double nature much treated as an essential as anything else not as of personality in men of genius, and at the same himself to high perfection as an executant; and at later on. Yet there is nothing artistic in technic for Shed out of existence. In the French con¬ Lombroso mentions Palestrina, Dussek, Hiller, a “stray curl.” It should always be in sympathy with time of their moral insensibility. Mozart claimed the same time increased his skill in improvisation. its own sake and the distinction between mere the character of the piece in which it occurs. I he servatories imaginativeness and technic arc ski fully Beethoven, Bellini, Mozart and others, calling par¬ ; dexterity and interpretative art should be kept clearly combined cjut say's: “Why not clothe the drudgery that musical ideas were aroused in him apart from One of his musical associates at this time used worst feature of technic in the early student stage ticular attention to. the famous Bach family as fol- his will, like dreams. Hoffmann, the composer of afterwards to say that from the playing of no other is the false idea that it belongs to the fingers alone, in some decent mental drapery on presentation What much worthy music, said to his friends, “When I artist, however great, had he ever experienced such II ^Widor smilingly endorses this view not only m and that it will come by exercising the fingers alone is to prevent combining the two as we go along. I piano study, but in organ study as well. He calls it “The Bach family, perhaps, presents the finest ex¬ compose I sit down to the piano, shut my ey.es and ineffaceable musical impressions; the ideas seemed constantly while the mind is off taking a vacation He carries out this idea in both organ and piano ample of mental heredity. It began in 1550, and play what I hear.” Haydn, it is said, liked to dress to pour into the player's mind in an inexhaustible " “the adolescent runaway” stage in music study. Every moment that the mind is off duty the pupil passed through eight generations, the last known himself in a special full court costume preparatory flow, and their profound originality and poetic „ 'should be off the piano stool. This attitude towards One thing seems certain in this regard. Whether AN AMERICAN VIEW member being Wilhelm Friedrich Ernst, Kapell¬ to composing,' and Beethoven had so many idiosyn¬ charm already clearly foreshado.wed the main feat¬ ' ,aMp series of technic,___ _ together witnwith tnethe preuunmmukcpredominance s*"-"given to done first or last there is a most remarkable tendency meister to the Queen of Prussia, who died in 1845. ures of his musical individuality. Schumann ap¬ S W H Sherwood has evolved a vs.-valuable series ot technical ability in the mind of the average player, upwards in the technical mastery of the pianoforte crasies that a special article could be devoted, to peared only once in public, at a concert given by I finger movements by which the hands might be kept gives rise to much piano-playing of the kind which in this country. The most astonishing feats of finger During two centuries this family produced a crowd them. So extraordinary was his behavior at times in practice when away from an instrument He has dexterity and of memory are to be noted in pupils of musicians of high rank. The founder of the that his landlords were obliged to request him to a musical society at Heidelberg, where he played 4 found them invaluable when traveling, and n 1 ote recitals both in the East and in the West of America family was Veit Bach, • a Prcsburg baker, who move. He was so absent-minded that often on re¬ Moscheles' variation on the Alexandermarsch with great success.” ' flat life etc. "A pianist,” he says, should have SHOULD THE MECHANISM OF PIANO-PLAYING BE In many Western cities the youth of performers and amused himself with singing and playing. He had turning from an excursion in the forest he vyas He was not, however, destined to succeed as a I two sets of hands: one set for the piano alone, and SEPARATED FROM STUDY OF EXPRESSION their technical efficiency in big compositions is little two sons, who were followed by an uninterrupted found to have left his coat upon the grass. He piano virtuoso, as his zeal ill practice proved its the other for lifting, hauling, carrying weights and IN MUSIC? less than marvelous. The same?, however, cannot succession of musicians who inundated Thuringia. often went out without his hat. Mozart was also even for typewriting and writing with the hand. These burdened with a similar fault. In carving meat he own undoing, and the mechanical apparatus he used Opinions seem to differ widely with regard to this always be said as regards expressiveness. Saxony and Franconia during two centuries. They ' things interfere with the fine sensitivity of a per¬ often cut his fingers so badly that he would be to make his fingers more lissome made one of them question. The general opinion, however, seems to were all organists or church singers. When they fectly trained piano hand. The right hand is the obliged to assign this task to some one else. useless. Undeterred by this obstacle, he kept to 1 lean toward having no separation between the two became too numerous to live together, and had to I in greatest danger of injury from outside work. If A PLEA FOR GREATER OBJECTIVITY IN his musical course and instead of becoming one of branches of study. Nevertheless many schools base disperse, they agreed to reunite on a fixed day. once the left hand is weak, it is at least ’true, because it PIANOFORTE STUDY AND PLAYING. many great pianists became one of the few great their work solidly on the theory of complete separa¬ I j, least employed in unpianistic activity. Of course a year. This custom was preserved up to the mid¬ tion. “First learn to handle your tools, then use EVENTS IN THE LIFE OF ROBERT composers. His compositions, however, were ahead we cannot go through life practically helpless just BY SIDNEY SILVER. dle of the eighteenth century, and sometimes one them;" “Freedom of finger-action first, then inter¬ of their time, and were not fully appreciated by .j becavuie we are pianists, but we should have two pairs hundred and twenty persons of the name of Bach SCHUMANN. pretation afterward,” and similar remarks are uttered his contemporaries, and he was obliged to turn to How many pianoforte students and players really met on the same spot. Fetis counts among them journalism for a living. As a musical critic Schu¬ °fStojowsk| emphasizes the importance of absolutely by the defenders of this system of study. On the hear themselves as others do? Perhaps, just as few twenty-nine musicians.” HIS FIRST ORCHESTRAL CONCERT. jjf other hand, those who uphold an opposite theory mann was unique. To his untiring efforts in bring¬ K correct scale-practice in piano technic. In all the as see themselves as others do. My experiences with This is very true, but what of cases of musical argue that when acquiring mechanical mastery of the Robert Schumann was the son of a man in whom ing before public notice the works of unknown com¬ I mechanism of piano-playing he finds this one of the students of varied temperaments, coupled with my genius like -those of Schumann, Wagner, Dvorak the love of literature and the aesthetic side of life posers is due the recognition of many who would I ' greatest difficulties, and the one least carefully studied keyboard is regarded as an end in itself, "something own, have led me to the conviction that but a small and many others where there was little indication had finally triumphed after confronting many dif¬ not otherwise have been known. He resuscitated Schu¬ ■ fn the early stages. In fact he declares that few happens” to the mind which may not be shaken off percentage of serious and talented students ever later, and this interferes forever with true expressive of music in the parents? ficulties. It may therefore be imagined that the bert’s great symphony in C, and it was thanks to K artists realize the beauty of a perfectly played scale, fully realize the requirements of their texts. Mod¬ power, just as the making of “pot-boilers” menaces The peculiar effect of music upon the sensitive youthful musician suffered from no - lack of en¬ his efforts that this work obtained its first hearing ® and too few teachers insist upon it. em musical orthography has developed to such a organs of hearing and the consequential excitement couragement in his musical tastes from his father. —under Mendelssohn’s baton. He championed the , Fraulein von Unschuld deplores the teaching ol creative power in a composer. high degree of perfection (and complexity, like¬ Rosenthal asserts that the mind should never be of the whole nervous system may, in some cases, It was not until after his father’s death that ob¬ cause of Chopin and Wagner, no less than that of ■ speed as a specialty. ”Let speed come of itself she wise), to represent the composer’s intentions, that allowed to regard piano technic as an end in itself. account for the extraordinary behavior of some stacles were put in his way by his mother, thus Mendelssohn and Sterndale Bennett, and he per¬ H says ‘‘as fluency comes to the speech of a child—by it seems an amusing paradox that most students fail For while the study of expression will not produce musical geniuses. Lombroso says upon this sub¬ curiously reversing the usual process. He took formed marvels in bringing about a public accept¬ ■ growth. If after three years of study a piece should to grasp the spirit of music “because the notes are the true creative or interpretative talent, a lack of ject : his first lesson from a teacher named Baccalaureus ■ fie played up to tempo is this not enough? Speed is in the way.” It often seems to me that it were far ance of higher ideals In chamber music. His gen¬ expression will certainly retard its development. The Kuntzsch, who, while hardly fitted to be the in¬ it not an end in itself, it is an accessory.” Her experi- better to simplify our present orthography by elimi¬ “The first time that Alfieri heard music he experi¬ erosity to others is the more noticeable on account first tone struck should represent a musical thought, structor of a genius, nevertheless possessed solid | , cnce is that pupils who concentrate their attention nating everything but the time, tonality signatures enced, as it were, a dazzling in his eyes and ears. of the indifference with which his own compositions and the following tones should carry out the idea in a musical attainments which enabled him to lay the f upon this difficult and fascinating feature of piano and tonal values. For is not this painfully exact He passed several days in a strange but agreeable were regarded by many who owed much to his un¬ I technic invariably .become “routine-speeders. This logical manner until the idea changes—but an idea melancholy. He concludes with Sterne, Rousseau foundation of Schumann’s future knowledge of piano stinted championship. should always be present. “No technical point should playing “measure for measure” the cause of the I* to her mind is one cause for the frequent “mindless and George Sand that there is nothing which technic. It was in an atmosphere of sympathy and ever be offered to a pupil as a soulless thing.” he “comedy of errors,” resulting in a performance not encouragement, therefore, that Schumann first I music” one hears. “Dwell upon the thought of the agitates the soul with such uncontrollable force as says. “The mind is already too apt to have and pro¬ “as you like it?” learned to love the art he so truly served. Here ‘ music always, and all the time,” she says, earnestly. musical sounds.” Berlioz has described his emo¬ duce Soulless impressions of sound. Students must Now, granting that the really musical student di- is a picture of the tender loving home life which : "Speed comes .of itself : is bound to come. Why teach ! intuitively the composer’scomposer s wishes—hiswisnes—nis spirit—spiru— tions upon hearing beautiful music; first a sensation speed, especially when it is proven to be a hindrance be taught early that emotion may be the cause of sheltered Schumann’s youth, taken from Wasielaw- ■ a necessary conclusion that he will impress his ot ms contemporaries: to the attainment of the desired artistic development. music, not the result alone. This should be brought of voluptuous ecstasy, immediately followed by gen¬ ski's biography of Schumann: listeners in like manner? Experience does not bear “That able Schumann authority, Professor Jan home to the student before the passion for technical eral agitation, with palpitation, oppression, sobbing, “The simple musical' life in Schumann’s ' home this out. When I imitate the playing of my own sen, describes the composer as of stately and power MOSZKOWSKI AND FINGER-MARKING. mastery of mechanical means has had time to de¬ trembling, sometimes terminating with a kind of was soon enlarged by an accidental discovery. pupils, they sometimes stand aghast to think that fainting fit. Malibran, on first hearing Beethoven’s ful build, adding that, although his clothing was Moszkowski stringently insists on correct and velop. otherwise the latter idea will predominate. Robert found, as if by chance, in his father's shop, they should have communicated diametrically oppo¬ Symphony in C minor, had to be taken out of the not at all striking or studied, his general bearing logical finger-marking and its observance as a means There is already too much perfection of technic, too the overture to Rhigini’s Tigrancs, with all the or¬ much piano playing of the wrong sort, and too little site impressions from those intended. The case is hall. Musset, Conccurt, Flaubert and Carlyle had was a distinguished one. Truhn, as quoted by Jan¬ of attaining technic. He pays minute attention to chestral parts complete, which had probably been quite analogous to spoken language. How often do so delicate a perceptiQn of sounds that the noises sen, enters into further particulars. He says that this in his own compositions, and urges it by sugges¬ we produce wrong impressions, not in keeping with sent by some mistake. This discovery at once ex¬ Schumann had a good-sized and very German styh tion and illustration, especially upon teachers who _ cried Jean Jacques Mathias, in his of the streets and bells were insupportable to them; impetuous fashion, in answer to the question as to our intentions, at any rate, by the improper use of they were constantly changing their abodes to avoid cited the bold idea of performing the piece. All of head, which was plentifully covered with fine are his pupils. He refers to one of his suites entitled the disposable strength of the boy’s, acquaintance dark-fair hair, and a full and beardless counten¬ Tej Xa/ions as being distinctly helpful to students of whether technic should predominate in piano study. words or inflection? these sounds, and at last fled in despair to the coun¬ was summoned; and soon a little company, was ance,, with lips shaped as if in the act of com- technic The music in this suite represents the musi¬ “No, do not put off emotion culture until perfect It is the duty of the aspiring pianoforte student, try. Schopenhauer also hated noise.” formed, .which, though wholly incompetent, was mencing to whistle softly. His eyes, althougl cal style of six different races, so that various techni¬ technic has been obtained. If that worked the first to divine the composer’s feelings and emotions neither large nor energetic in expression were 01 cal features arc included which may be practiced way it is intended it would be all right. Un¬ as best he can, then present them in a manner that CHOPIN AND MELANCHOLY. devoted to music. The orchestra consisted of; two his listeners will be likewise impressed. . To do this, a beautiful blue, and they had an absorbed lool thoroughly with profit. fortunately we are all prone to mechanical playing. Genius is often associated with melancholy. flutes, two violins, a clarinet, and twb horns. ■ M. j(jaLouisptyp... Diemer. whowho is considered a representa- Wewe poor humansnumans lean towarastowards tnethe wrong at anall points, he must listen to his playing very carefully. His Schumann. Wolf, MacDowell, and, more partic¬ Robert, who directed with all the requisite fervor about them as if the owner was always intent or tive; exponent of the delicate perfection of technic and mustmiic* nntnot yield tnto thetVip fipnHericy.tendency. Commence flipthe attitudes, his gestures arc also sometimes to blame ularly, Chopin in his later years, were addicted to and zeal, undertook to supply the missing instru¬ finding out something about his own inner being oDtameaobtained byDy Frenchrrencu pumais.pianists, holdsnu™, the opinion. that. appreciation__ of ovm^^vsentiment at vonce,..ce, and keep it up._.r. for improper communication of ideas. Subjectivity melancholy. Lombroso describes the case of the ments. principally the bass, on the piano, to the He held himself uprightly, but the walk was leis- ■the study of the compositionsromnositions of the seventeenth and Yes, technic must also be acquired, and I am a stickler in musical interpretation is certainly a fine quality Polish master thus: best of his ability. This attempt, of course, filled urfely-that of one whose bones were loosely put eighteenth centuries is invaluable for piano students,; for analytical and detailed instruction. But I fight to possess; but, by far, more valuable is a harmoni¬ “Chopin, during the last years of his life, was the little band with joy and satisfaction: and together and hardly compatible with the strong as it trains them in the detailed accuracy and fine mechanical playing all the t..„„. ous development of the subjective and objective possessed by a melancholy which went as far as Roberts father assisted them by the present of broad-shouldered figure that he presented. An eye¬ “Perhaps one-third hand and _vo-thirds —. head.”.,. faculties. An artist is one who makes others feel delicacy so characteristic of the French in all forms insanity. An abandoned convent in Spain filled his the necessary music racks. From time to time they glass was used a good deal-he was short-sighted- of art. He has himself arranged, modernized, fin¬ laconically remarks Breitner. a music-poet with music as he does—herein lies a valuable lesson, but this without a shadow of affectation as on imagination with phantoms and terrors. One day undertook other orchestral works, not too difficult gered and adapted a number of such compositions by most finished technic, whose nerves have alone pre- worthy of the emulation of all serious students. . would well imagine from the honest, straight-fnr George Sand and her son were returning from a of execution, which Robert directed. He also set ward nature of the man himself ” THE ETUDE 521 seat deliberately. If it is too high or too low or too the etude WHY BACH WROTE THE “WELL-TEM¬ Thus the present system of piano tuning, called BEETHOVEN AND PATRIOTIC MUSIC. near the piano or too far away, re-adjust it. Then if 520 PERED CLAVICHORD.” “equal temperament,” was begun and established, and pianos and organs are tuned in “equal tempera¬ it isn't right, fix it again. An annoyance common to The prominent• partnart pmyplayed byy music injnd the the death fact ment” to this day. All members of the “viol” fam¬ a woman pianist is that her skirts will slip over her of King Edward to voice a nation’s BY SARAH A. PALMER. ily (violins, ’cellos, etc.) can be played in perfect toes and get between her feet and the pedals. If you that muslC "°. /go a means of giving vent to tune by slight variations in finger positions. The are a woman, provide against that. Take time to Have Women Had Just suit of musical composition impossible. mourning, but is also ^ Qf victory. A fa- 7 The scientists of to-day are able to tell us just normal human voice sings naturally in perfect in¬ arrange and spread your skirts so that your feet will “The result of the constant pressure of al1 these national hJ is Tschaikowski’s 1812 Over- how many vibrations per second produce a given tonation. remain free, and so that there shall be no sensation forces would be to restrict the necessary educatioi of pulling or discomfort. Look under the keyboard r r'wh h was composed, by special commission, tone, just what ratio this number of vibrations bears to Ci) young ladies of wealth and position as tu1e, wnicn of the French from Moscow. to that of every other tone, just why any two or to see that your feet have found the right pedals. Opportunities in Music? shown by the large number of titled female com- SUGGESTIONS FOR THE VICTIM OF STAGE Then, if you use your notes, arrange them carefully This‘work’has* become very more tones sounded together are consonant or dis¬ nosers- (2) the daughters of musicians. sonant, what determines the “quality” of a tone, FRIGHT. in front of you with each alternate corner folded Mr Newman then goes on to the hereditary pom p„,„ wa, ... ^ kn.vJi and so on through all the varied and interesting over, for facility in turning. If you play from memory, view with regard to musical composition and arts rwev‘.”P°hat BSoLn a..o compel a "ba.Br- phenomena of acoustics. But all this has been de¬ BY AMY U. W. BOGG. think through the first few measures clearly and and sciences in general. In conclusion he shows the accurately. cent issue of ‘he London Musical Times niece” of a similar nature. , . . , . . termined within the last century. To Bach and the difficulties composers have had to contend with men of his time the scales, major and minor, were By this time, which may have seemed like six or irnest Newman, the eminent English -"*''- This was done at the instance of his friend, Stage fright, though ordinarily laughed at and er-interesting subject as to accepted facts in their experience, not scientific eight minutes to you, but has been in reality one or discussing the-if space permitted, the problem could be followed Maelzel. the reputed inventor of the Metronome. made a joke of, is in reality a very serious affection demonstrations. two, probably you will begin to know your own ■ are no great women composers, lie up along another line-that of economics. The This composition was in celebration of the the 1- of the nerves, at times producing a condition which, name, and very likely, the name of what you are to noints out the fact that women have never really histories of art and literature and science show how recent victory of Wellington over Napoleon at Vi ¬ Hi tuning all instruments having a fixed tone from any other cause, would merit the attention of a (clavichords, harpsichords, organ, etc.) musicians of play. If the hands are moist, wipe them and lay had a chance to show what they can do. To use dependent we have been for the greater part of our toria Beethoven was induced to arrange a Battle physician. your handkerchief not on one end of the keyboard, ■ords: Symphony” in which he introduced the British army the period encountered a strange, uncontrollable The body becomes cold arid stiff. There is a itentedly the absurd argu- mystery. If they tuned the seven tones of the C but where it will not be in your way. “Many people accept chance of genius*-*» happening ,hej"‘ to.s?.. coincide svr in the nsame..t. bv the tune of Rule Brittania, later introducing rigidity and consequent weakness of the limbs, a I. have not done any great ■ major scale or key, for example, in perfect relation Then relax the whole body, with the hands lying meat that because won individual with (i) inherited income, or (2) the favor Malhrook in a dismal form. After depicting the constriction of the throat. The mind grows confused sic in the past they will never to each other, they found that C-F and G were loosely in the lap, and inhale deeply, slowly and creative work in it of a patron, or (3) the possession of an official or horrors of' warfare, the English victory was signa - and bewildered. Often there is even dizziness and luuirc. They do, it is true, try to give out of tune when used as members of the Ab major easily. . do it in the future, academic post, or (4) a business that provided means ized by the use of God Save the King accompanied momentary flashes of blindness. of science to the wild deduction. One scale or key. This strange, baffling discrepancy in a sembli and leisure, or (5) some similar economic surety. by effects suggesting the cheering of the crowd. In the case of the performer the fingers are liable to the differences, or supposed the pitch of remotely related keys met them at every THE CONFIDENCE OF THE AUDIENCE. of them will poii In art good work can now and then be done, for a This work was actually performed at a concert to wander aimlessly and the memory to turn traitor. between the brains of men and those of turn. None but those which are closely related difference! short time, under conditions of poverty, but not given in aid of the Bavarian and Austrian soldiers An insane panic ensues, the player fumbles hopelessly All this gives your listeners an impression of ease women—as if any of us knew what it was m t e could be used together, consequently they tuned often and not for long. injured at the battle of Hanau. ' , and gives up. The singer mechanically opens his on your part, even though you do not feel it yourself: hnin or out of it, that made genius! Another will Beethoven was induced to conduct the worx, perfectly in one key, modulated to the key of the and predisposes them in your favor. This is a great UNFAIR CONDITIONS. mouth, but no sound comes from his paralyzed throat. tell women, kindly but firmly, as befits one of the stipulating, however, that his recently composed dominant, subdominant or relative minor, or major, point gained, but it is the least part of the benefit. superior sex, that she is much too excitable to have Ordinarily, however, after suffering preliminary “A composer must either live by his work, or have Seventh Symphony should also be included in the and, of necessity, ignored all keys having widely For such a proceeding is almost certain to make you ?he necessary control over her ideas and emotions in « • _ «• 1:_i:u„„,1 4.U04 will him agonies, the victim finds, himself sufficiently recovered some other means of livelihood that will leav program, which consisted entirely of Beethovens different signatures. This greatly reduced harmonic feel at ease yourself. The very act of deliberating that highly original work in art or science requires. by the time he begins his performance to make at free to compose. Most of them have eithe had compositions. The occasion was an enormous pop¬ resources, and John Sebastian Bach, the innovator, This theory conveniently ignores the fact that hun¬ least a passably creditable appearance.' But he is causes your nervous panic to pass away. These to support themselves during their earlie ular success. The orchestra was particularly line, the genius, was the man to find a way out of the dreds of thousands of women are superior to the always made wretched by the regret that he could not seemingly trivial, but in reality very important acts of work by undertaking some official duties or by as many eminent musicians showed their patriotic difficulty. average man in bodily and in mental health and in • have been free to do his best. start the mind working, and serve to put you in a the funds of a patron. No such opportuniti fervor by assisting. Moscheles, already a great To discover this mystery, let us imagine ourselves self-control, and that many masculine geniuses have more normal condition. After it is over do not open to women. What aristocratic patron ever enu pianist, played the cymbals. Meyerbeer took charge in Bach’s time and place, only we must substitute Obviously it is of small advantage to a music stu¬ been weaklings, invalids, or unmistakably unbal¬ worry about the slips you made, and do not tell any¬ for women what was .done for Gluck. Beethoven of the drums. Spohr, Salieri, Romberg and Hiim- a modern piano for the ancient clavichord. dent to be well equipped by nature and education for anced. if not, at times, actually insane. his work if his nerves are so little under his control body about them. Smile and accept all the pretty and others? What friend, or group of friends, ever mel also lent valuable assistance. Beethoven was In tuning all instruments the octaves must be “We have the spectacle, for example, of Herbert that he can make no use of his knowledge at the speeches you can get. drew upon his or their purse to provide a woman immensely pleased with the whole affair, and de¬ “perfect octaves,” so, starting with the lowest C on Spencer solemnly using the early death of Miss Con¬ time of his greatest need. He is in the position of an Do not be afraid of keeping an audience waiting an with leisure • for composition, as was done for clared that had he not beqji conducting he would the keyboard, let us tune an upward progression, or stance Naden as a warning to women against pro¬ Wagner and Wolf? What posts were open to artisan with a box of perfect tools in his possession, extra minute. Most of them are paying no attention gladly have played the big ijrum, °r done anything series of perfect octaves, extending to the highest longed scientific study, while he himself was a women? They could not be organists, like Bach but without ability or skill to work with them. to you between numbers anyway. They are glad of else that would have assisted in such a noble cause. C on the keyboard—seven octaves. chronic valetudinarian, compelled to restrict his and Cesar Franck, nor opera conductors, like It is not at all uncommon for hardened concert an opportunity to turn and speak among themselves. hours of mental labor, and only able to carry on The next desirable interval is the “perfect fifth,” Wagner (in his earlier days) and Weber, nor di¬ The “Battle Symphony,” however, is not usually in¬ soloists.to suffer acutely from this nervous obsession A short wait is frequently restful to an audience. his work by means of private funds that spared him so starting again on the lowest C, let us tune an rectors of a nobleman’s music, like Haydn, lhey cluded among his works, and has never been played before their appearances. Still, in most cases, it may Extreme deliberation is surely preferable to the the necessity of fighting the battle of life at the upward progression of perfect fifths. The first step could not even live a Bohemian life, like Schubert. be largely, if not entirely, overcome. same time that he pursued his literary recreations, of a fifth (on the keyboard) takes us to G—the all too common habit of inexperienced players who “A man may be poor and awkward and still be Absolutely perfect preparation is the first and most as so many women have to do. Then, again, there fifth tone in the key of C. * The second step of a hurry upon the platform, drop into their seats,' and received in good artistic society: but a woman who is the investigator like Mr. J. Donovan, who in his THE SCALE WHEEL. fifth takes us to D, the third to A and so on, pro¬ important help toward casting out this evil spirit. plunge with a gasp into the work, often to meet was as poor as Schubert, and lived his kind of life, .‘Music and Action’ decides that musical creation is ducing the following series C, G, D, A, E, B, Ft (or Playing in public is only playing as well as you can disaster because of some lack of familiarity with the would be cdd-shouldered everywhere. the product of a certain ‘active,’ i. c.. masculine, Gb) Db, Ab, Eb, Bb, F, C, this last C being, on the for some people who want to hear you. There is instrument, or because of some slight discomfort “Again, let us ask ourselves. How much male psychological state, and that women being passive, piano, seven octaves from our starting point, and nothing to make a “bugaboo” about. If you do make of position, or because of any one of a dozen insig¬ genius in music would have come to maturity had musical creation is, of course, beyond them; which therefore identical with the highest C in our octave a blunder, nine times out of ten no one in the audi¬ all these avenues been closed to it? And even if. nificant circumstances' which could have been so looks rather like saying that men are creators be¬ In teaching children I have found some difficulty in series. If, however, we have tuned in absolutely ence will know it, and if they all know it, what of it? by some miracle, a woman had come to the front easily corrected with the exercise of a little presence cause they are men, and women cannot be creators making the study of scales sufficiently interesting. They perfect fifths, as Bach’s contemporaries would have It is not a state’s prison offence, or a disgraceful act of mind. in spite of all these obstacles, would she then have say they forget to practice the scales. Lately I have done, our highest, C in the series of fifths will not that you can never live down. It is only something because they are not men!” had the same advantages as a man in attaining hit upon a plan that helps them to remember, by keep¬ be identical with the highest C in the series of that every concert player does constantly, the greatest; If you are thinking about what you are doing, there publicity? By no means. Men have been as re¬ OPPORTUNITY ; DENIED. ing' them interested. octaves, but will be a tone several shades higher. as well as the least; something that they all must do is no room in your mind for stage fright. Self-con¬ luctant to perform a woman’s music as to publish This is the puzzle which confronted Bach and the as long as they remain merely human beings. A sciousness is always stultifying, on the concert plat¬ havi I make a large circle on blank paper, one for each After showing that women it. Carlotta Ferrari (b. 1837) found that no im¬ musicians of his time. They said, “What can we realization of this will help you to cast, off the fear form or elsewhere. The habit of mental concentra¬ work of the highest order ii presario would produce her opera ‘Ugo’ (1857), pupil, and fasten it in the study book. Instead of call¬ do with this strange inaccuracy in nature? We of making a failure, that fear which alone will cause tion breeds a self-forgetfulness which makes many work. Mr. Newman goes on to say: simply because she was a woman. She finally had ing it the “circle of scales,” it is named The Scale must have

the etude 322 THE VOCAL NUMBERS. TOLD AT TWILIGHT „ t ■ “He of Good Cheer” is a fine ncuii,ficult, yet --- , , ._ g£ Hartwell-Jones ed character, the most recent SONG WITHOUT WORDS effect throughout and bring j the rhythm. new song of sei .. It has a broad, flow- a swaying, wave-like effect i„g melody1 dfr/a" and a very ,;Si« q{ s6occasions -sw . «®* Educational Notes on Etude AT THE BLACKSMITH’S-CARL KLINCL found “sefuljor ^ 11Sometimes,, is a short song of

Music much merit, an ‘ This wouU By P. W. OREM rrryPxm:r4 irs > with freedom and declamatory effect num_ it should prove popular for recital purposes. SEXTET (FROM "LUCIA”) (FOR LEFT HAND be^orSaTowdvoiciS A deep! rich contralto should ALONE)—DONIZF.TTl-LESCHETIZK\ TOLD AT TWILIGHT-C. W. KERN make a splendjd effect with this song. This is a melodious drawing-room Piece Qf the This is probably the most satisfactory of all better class. The principal theme should be well oieces for the left hand alone. It is splendid either hrrnisht out in the manner of a cello or bantoii for study or exhibition purposes. It is an ingenious A PRACTICAL METHOD OF EMPLOYING of musical construction such as could only be solo. In this style of playing, which may be terme the “art of singing” as ■ applied to the keyboard, THE GALLERY OF CELEBRATED skiUeT'pStband0conrposer.ahBoth die'’themes and the "clinging” or super-legato touch is to MUSICIANS. he harmonics are transcribed with the utmost fidel¬ ployed. Many different methods of using the “Gallery of ity and the ornamental passage-work is sponta¬ SWEET LAVENDER-J. L. GALBRAITH. Celebrated Musicians” printed each month m t i. neous and pianistic, yet all is brought well within journal have been suggested from tine This “graceful dance” is written in the old^ Eng¬ to' U ■ the range of the left hand. Careful practice by a Many teachers and students prefer to keep the lish stvle, in the manner of a gaco/tc or bou> - plaver well advanced will, overcome all the diffi¬ page in the journal as it is and preserve the whole culties of this piece without undue effort. It all lies be played with a crisp, sparkling touen. -ery precisely,• "and at a moderateoderate rate of speed. magazine for reference. The page is, however SO-well that it is not as difficult as might at hrst arranged that those who desire may « ‘ The "Sextet from Lucia, for itself, needs ‘ is an excellent study in the staccato, and, . ■ appear. Thi pictures and use them in various ways in their edu-, so popular in all its many ar- tuneful and well-harmoffized, it should make ■ cational work. Some teachers find it very helpfffi a left-hand transcription a very satisfactory recital number. IS-, the' ordinary. Of course, the greatest to have their pupils cut out the P'ct.ur« c and lingering SOUVENIR DE NAPLES—G. LAZARUS. collections of them by pasting them in b ank books difficulty, after the notes,^ rhytln In this case the pictures are alphabetically arranged are mastered, will be to bring the themes prop- This is a brilliant characteristic movement m the be used with the utmost for future record. The entire page may be removed erly. The pedal style of a tarantella. It should be played smoothly from The Etude without injuring the binding or exactly -- marked. It will be noted that, and rapidly, and will require nimble fingers. 1 lie after the introduction, the principal voices are given composer is a well-known European teacher and the magazine as a whole. in full-sized notation, while the accompaniment is Another practical manner of employing these in smaller-sized notes. This is a good guide for pictures is that of having a bulletin board 111 the the eye. Endeavor to acquire ease and freedom FAIRIES’ WALTZ—L. R. BUTTON. studio placed in such a 'position that the students without the least suspicion of hurrying. It would This is a clever and taking little waltz move¬ coming for their lessons may read the biographies be a good idea in the beginning to practice this ment by a talented American woman composer. Its and become acquainted with the portraits of the piece with both hands in order to work out better chief educational feature lies in the frequent em¬ famous musicians. A great many teachers follow the general effect. ployment of the chromatic scale, giving students this plan with invariably excellent results. In all an excellent opportunity of becoming familiar with eases the paste should be carefully applied to the HUNGARIAN NATIONAL DANCE GEZA the use and effect of this scale in practical musical margin on the back of the picture so that when it HORVATH. composition. Play this piece in a sprightly -manner, is pasted in a book for preservation the margin will In this number the well-known Hungarian com¬ at a brisk rate of speed. poser Geza Horvath, has idealized one of his native One other very practical method of applying GOOD NIGHT!—H. L. CRAMM. dances, the czardas. The name of this dance is de¬ these gallery “portrait-biographies” in a helpful man¬ This is a meritorious easy teaching piece, charm¬ rived from Csarda, an inn on the Puszta, where the ner is suggested by a Tennessee teacher, Miss ing in conception, and well written. Pieces of this dance is supposed to have been first performed. It Clara P. Harwood. At a recent recital of her pupils type tend to inculcate style and expression with is divided inf© two movements: the “Lassu, or she desired a novel idea for her programs and hit slow movement, and the “Friss,” or quickstep students of elementary grade. These two movements are alternated at the will upon the method of having her pupils cut out the of the dancers, the music Being changed at a given ON ROLLERS—DANIEL ROWE. Gallery pictures and make the programs themselves. signal. The frequent syncopations are character¬ This is a very easy teaching piece of the popular At-the top of her letter paper was printed the name istic features in Hungarian music. This native type, a bright little waltz movement. '7 of the school. This served as a heading. Under music, with its piquant melodies and rhythms and dents will find pleasure and profit n this place. this the teacher had her pupils insert one of the Gal¬ colorful harmonies, has had a fascination for many lery pictures, exactly in the centre of the page and of the great composers and players; notably, Schu¬ TWO FAIRY STORIES (FOUR HANDS)— so pasted that those who attended the recital might bert, Brahms, Liszt, Joachim. Mr. Horvath's com¬ CARL WOLF. turn the picture over and read the biography on the position is a spirited number, -admirable in all re¬ These two charming characteristic pieces are reverse side. Under the picture was written the date spects. original four:hand compositions, not arrangements. and the title of the recital, “A Beginners' Recital.” They may be played separately, if desired; but a On the inner pages the program was written. AIR DE BALLET-J. F. FRYSINGER. better contrast is gained by playing one immedi¬ The fact that the pupils had prepared the pro¬ This is a characteristic drawing-room piece by a ately after the other, and then returning to the grams (eighty in number) added to the interest im¬ promising American composer. It is written in the first. In connection with each piece will be found mensely and these programs were more carefully French style, graceful and piquant, with three well- the story it is intended to illustrate. Play the pieces preserved by those who attended the recital than if in descriptive style, with somewhat exaggerated ex¬ contrasted themes. It will require a bright, snappy they had been ’elaborate and costly printed pro¬ delivery, with plenty of tone color. 11ns should pression. grams. It is needless to say that the pupils took prove a favorite for recitals. REMEMBRANCE (VIOLIN AND PIANO)— an increased interest in the recital. Miss Harwood BARCAROLLE (“TALES OF HOFFMANN")— H. ENGELMANN. writes: “The interest with which the audience read the sketches led one to hope that the seed fell J. OFFENBACH. Mr. Engelmaun has became so well known as a writer of pianoforte pieces that a violin piece from upon good ground. They were of undoubted help Jacques Offenbach (1819-1880), known as “the his pen will be a decided novelty. In this new to the students. Even the little ones are speaking creator of French burlesque opera,” was the com¬ work, “Remembrance,” this composer’s apparently quite familiarly of these musical celebrities and poser of 102 works for the stage. A number of inexhaustible , flow of graceful melody shows no treasure their programs as souvenirs. Thank you them became extraordinarily popular. Possibly the very much for this feature of our greatly prized best from a purely musical standpoint is the “Tales signs of diminution. Violinists will find in this of Hoffmann.” This opera was written but a short piece an excellent opportunity for the production Etude.” The Etude Gallery started in the February time before the composer’s death. After revision of the singing tone and for the cultivation of a issue of 1909 and has been continued monthly ever by Guiraud it was first produced in 1881, with great sympathetic style of delivery. since, one hundred and fourteen portrait-biographies success, running 101 nights. It has recently been having appeared. revived in this country. It has a fantastic plot, MARCH IN G (PIPE ORGAN)—W. R. WAG- HORNE. dealing with the loves of a young poet. The bar¬ Music is the most modern of all arts; it commenced carolle which occtlrs at the beginning of the third This is a brilliant march movement suitable for as the simple exponent of joy and sorrow (major and \ act has become very popular. It is a striking ex¬ recital use or as a postlude in church service. It minor). The ill-educated man can scarcely believe that ample of what a gifted composer can accomplish isl a “grand march” written in the English style, hut with comparatively simple means. The melody is • it is far more tuneful and rhythmically interesting it possesses the power of expressing particular pas¬ purely diatonic, the harmonies conventional and than most p’eces of this type. As a teaching piece sions, and therefore it is difficult for him to comprehend little varied; vet the effect is undeniably charming it will he found available in developing the broad the more individual masters, such as Beethoven and and characteristic. We have had this number es¬ “full organ” Style of execution The composer has Schubert. We have learnt to express the finer shades Copyright 1909 by Theo.Presser Co. pecially arranged for Ti indicated an effective registration, practicable on of feeling by penetrating more deeply into the mysteries tion is all that c u~ most organs. of harmony.—Robert Schumann British Copyright secured THE ETUDE 525 THE ETUDE AT THE BLACKSMITHS TAT TYtrT? ftfATMTEDE

Copyright 1910 by Theo.Presser Co. British Copyright secured THE ETUDE 527 the etude 526 TWO FAIRY STORIES TWO FAIRY STORIES The Giants and the Dwarfs The Giants and the Dwarls The UianTS dUU t Uv deficient,were contiim.lly Olil-

The“Giants" and the of tiuTMnning'dwarfih ^be7isntVfhmny^a^oint^^^^J'^^tr^^y*avern^ whither the^antsWMe^nable

CARL WOLF SECONDO Andante sostenuto M. M. J = to

3 4 5 V-9- The Little Glass Man The Little Glass Man , . , ,st,.fam«„a“Rlaelc Forest” country in Germany relates that on certain days in the year the “Little Glass Man” would appear in the A legend of the famous * tree . Jmoking a w pipe. Anyone chancing to come upon him at such a time could wish for anything and Ke h grated But?f the one wishiS lacked faith, or mad^light of the little man’s powers, everything happened contrary to his desires and dire failure would result. This tale is often told children at the fireside. Andante semplice M. M. J = 88 4 | ^—g-^ CARL WOLF ii '

Copyright 1910 by Theo. Presser Co. British Copyright Secured THEETUD E 5 29 528 THE ETUDE 531 the etude 530 ON ROLLERS WALTZ DANIEL ROWE the etude THE ETUDE 533 532 SWEET LAVENDER SEXTETTE GRACEFUL DANCE Moderato m. m. J T LAMONT GALBRAITH Andante-Finale from uLucia di Lammermoor ” - i for the Left Hand Alone JU. LESCHETIZKY, Op. 13

Copyright 1910 by Theo. Presser Co. British Copyright secured Copyright 1906 by Theo.Presser THE ETUDE 535 THE ETUDE 537

536 THE ETUDE

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Copyright 1910 by Theo. Presser Co. British Copyright Secured THE ETUDE 541 THE ETUDE 540 HUNGARIAN NATIONAL DANCE No. 1 in E flat GEZA HORVATH ■# ■#■ Scow foioco P Vivace M. M. J =126 i • =r ‘ 1 | jBocoTp; f ^ 5^ 'Ir l*1 r f J 13 :3 — 2,—"-- , ~, "T^fTT Frf fr Vffrrf

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Copyright transferred 1910 to Theo.Presser Co. THE ETUDE 545 the etude 544 BE OF GOOD CHEER - t H J) J) J --I J) i « H h J) 1 1 1 J) j) J J. mind. Be of good cheer, Thy Mas-ter watch-es oer thee, Be of good cheer, He H ART WELL-J ONES more. CLAUDE LYTTLETON con molto esjoressione (L ^

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joy e’er sound to soothe or bless thee,_ On - ly the cease - less tide of sor-rows roll. Then in such F ' f rfV U jrlJill#! toil andstriv-ing now all o - ver, Rest thee sweet soul, and pon-der o er lifes dream. Thenbreaktny _^ #L' , n «** || * * * 1 ^ 3 3 3 ; 3 3 3 3 3 4 —ari ¥ 3 3 ♦ ^

L.S.BENGOUGH SOMETIMES w WILLIAM R. SPENCE

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Copyright 1910 by Theo.Presser Co. Copyright 1910 by Theo.Presser Co. International Copyright secured British Copyright secured^ p- THE ETUDE THE ETUDE 547

LULLABY THE ETUDE EDUCATIONAL CARTOONS Words and Music by Picture Object Lessons that show at a glance why some teachers and why some pupils fail to succeed. AGNES WOODWARD

THAT $1,000 PIECE. This picture;-----— needs little comment. «--Many teacher through lack of experience, make How often have you seen the above scene enacted? The guests assemble, and proud mistake of thinking that in order to impress the public' thev must make mamma, after much coaxing, gets her charming daughter as far as the piano stool. :ravagant claims and pretensions. The teacher who does the most and claims the "Hut, mamma, really, this is too absurd for anything. I don’t know a single piece from east is the teacher who is most respected, and often the one who builds up the largest memory,” says the daughter. In the meantime, father indulges in the pleasant pas- ■lientele. We know of a case in New York City. On one side of a street is a con- llme of counting up upon his Ungers how much he has spent on daughter’s education. ve. The pupils are rarely more than forty in One of the first things that the teacher should realize is that one good piece properly a a few , months. Exactly opposite is a teacher prepared and "ready to play" at any moment is better than dozens of sermons upon the plate. Together with his assistants he teaches teacher s ability.

THE MEASURE OF MUSICAL FAME. of his greatness. And yet this great giant is but a light of human knowledge. The moral of all this name to many who are musical. It is mainly be¬ is the importance of cultivating the historic sense. BY D. C. PARKER. cause of the enthusiasm of individual units, and the One must have a full appreciation of the interval careful nourishment of the public taste by Bach of time which has elapsed between the writing of In a recent publication fame was defined as “not societies, that the composer is known at all. works to arrive at a full understanding of them. being published at sixpence during one’s lifetime.” More than this is needed. If one is not to continue The remark is not without its substratum of truth. THE TASTE OF THE PUBLIC. taking the view of composers which the man does It serves to remind one how fickle is the thing we The truth is that the public is an emotional jury who grants Handel immortality on the strength of call fame; how often it is something full of a tragic passing sentence at the dictates of the heart. The his Largo—that ig the view from the harmonium note. The towns which contend with one another more a man confides in them, the more he mixes desk—one must learn a great deal more about the for the birthplace of a Homer are, as a rule, those with them, the more 'they like him. This is the man himself. If audiences are to set a just value which allowed him to live from hand to mouth reason, I take it, of the Tscha'ikowsky “boom.” It upon men like Stress, Elgar and Debussy, they within their walls. is certainly the reason of the universal popularity must not only know a great deal about music, but One wonders what Handel would have thought if of Dickens. One has been hearing a great deal a vast amount about literature and: general culture. he had known that at the present day many people lately about the taste of the public in the matter of Only by showing a keen zest in all these things would associate his name only with the Largo in plays. The man. in the city wrestling with figures can they hope to come to a fair judgment of the G. This piece for many a musical lover means and percentages during the day does not want in¬ outstanding composers of to-day. Handel, for the composition has penetrated into tellectual drama in the evening. There may be In Rostand’s Chantecler the cock oversleeps him¬ many a region, finds a place on many a harmonium something analogous to this in music. There are self, and those to whom he had told that his crow¬ desk where the greater Handel is quite unknown. composers who are keenly relished where two or ing brought the dawn every morning make a fool The fact that there are a large number of people three are gathered together. There are others who of him. The public verdict is often like the crow¬ who get their mfisic through popfilar channels to speak to the masses and send their message straight ing of Chantecler. It imagines that its accents are whom Handel means no more than the Largo, is to their hearts. full _ of a greater meaning than they possess in worthy of the attention of those responsible for the The action of time upon the fame of the com¬ reality. The day of a new genius may have dawned musical culture of the masses. poser is like the action of the sea upon the coast¬ when Chantecler has been sleeping. It is often not Other composers have been similarly dealt with line. It changes its character. The progress/of until a man has passed from the scene of action by the crowd. Mendelssohn is the composer of the time has made the position of Gluck greater from that he is appraised at his true worth. Then fame “Songs Without Words” rather than of the “Heb¬ an historical point of view than from a practical comes to him too late.—Musical Record. rides” overture. Elgar is praised for his “Salut one. Historically, Gluck is one of the most impor¬ d Amour,” where the'Symphony would be misunder¬ tant of all musicians. His early foreshadowings of stood. Schumann is known to many as the man the later Wagner, as seen by us who are in pos¬ who wrote “The Merry Peasant.” It is a habit of session of all the facts, are of absorbing interest. the populace to take the chips from the workroom He seems to have seen very far into the future; as in some measure indicative of the talents of but, judging from concert programmes, he does not should be allowed.U, lal5t nme these composers. Truly time plays us strange fare so well. wrong not Every musical person has a “musical sense,” which c tricks. Perhaps the most heartrending case of all Whether the student poring over his books, or be likened to the native born sense of justice to t is that of R. Strauss, about whom a lady was heard the man who does not penetrate beneath the sur¬ native sense of truth, or the ability to tell colors the to remark that she thought he must be a good musi¬ face, be the better judge of music is a matter of cian because he had written so many nice waltzes. opinion. Many of the estimates which are arrived °re every musical PW11 can out a good phrasi I his, surely, is being “damned to fame!” for himself. Especially can he be sure to phrase cc at by intuition and instinct are in nowise to be rectly when sfudying from the best editions of mus There is the type of man who is careless about despised. The superior person has dealt with As soon as a pupil can play well enough to play fame, whose greatest joy is writing his works re¬ Meyerbeer in an unduly harsh manner. But, on simply melody, he can be taught to phrase and play tl gardless of what the public thinks of them. One the other hand, the man who knows musical his¬ melody with expression. More advanced pupils m, can hardly imagine Bach to have troubled very tory through and through has come to the rescue be taught to play content rather than mere notes much to advertise his wares. Those who are deeply innumerable times and brought many treasures from is what the notes have to say, and not the notes the, interested in the art of music do not need to be told the darkness of the world’s lumber-room into the selves, that the performer is to play.—Ex. THE ETUDE 549

THE ETUDE vocal results. The mind conceives a _ . „ t fiv thp melodic minor I complete the > forms of chords tone—if the fleshy linings of the vocal FAMOUS SONGS OF FAMOUS eys; for example. cavities are in a loos^ jelly-like condi- SINGERS, SSAStegE tion they immediately adjust themselves The which is the guard- THE TEACHERS' ROUND KVtSSS," to produce approxtmately the .deal of t|£ ft wh-ch most prime Bonne They have a manuscript doob. he mind. If they are stiffened, even to £ c'omeS to a special TABLE or u. ran. — — i?fEie tune is waicueu H Department for Singers the extent of directing the consciousness F , ,* & • . r recital or a concert for the express pur- Conducted by N. J. COREY to the presence or existence of the £ r Edited by Experienced Specialists larynx, pharynx, mouth, uvala, nasal pose of hearing the singer sing some one ItSSlaSHFfifl £ 1 • 1 x- song for which she has become especially m tne u » =. ,help , t0to young teacneis.t wno aie cavities, etc., successful voice production ^ thm £of farned. In recent years with the vast il f meeting something thr* - may be defeated. All the organs c iwn personal experience. , . 1 crease in musical educational facilities and Of course the uses and effects of the pedal are cerned must be in a light, floating con- ... , , ^ , ■WEAK, STIFF FINGERS, many, but for a second grade pupil the fact that dition like thistle down in the JuneTune 'T th 1116 accompanying advancement of sical taste of the public we find i troubled because of weak, stiff fingers, when it is depressed the tone is prolonged is su breeze. P. B. fl What are the grand arpeggios, and how^they that there is less and less demand for the not seem to yield to careful treatment by ficient. Open the top of the piano and show him In the human \ The Old Italian masters knew this. wlii ’.oice we find that nature "folk-song” encore and a more general scales aiul arpeggios. P. B. stated none the action of the dampers on the wires; how, when They instructed their pupils to have the ■ scales ami arpcgg difficult to ex- Grand arpeggios are extended forms of the broken OPINIONS ON “PLACING” THE has carried out ;1 similar principle most appreciation for the art-song. Dr. Wiill- ronditions, ho a single key is depressed, a single damper is raised wonderfully. The two vocal chords in the throat while singing feel just as it does ithotit chords, the notes being played m succession up or VOICE. draw immense audiences with¬ n opinion or and remains up until the key is allowed to rise larynx are nothing more than a kind of the second prior to the sensation of smil¬ :ached down the keyboard for two or more octaves. The out depending upon an occasional Out¬ r the cause. thus prolonging that tone; and how, when the pecu lip which surrounds a “mouth” known tech¬ ing or sighing when the brgans 0 Arnen me wr-r - joints and~ligaments are firmly common chord, or triad consists of three notes break of a “Folk-song,” “The Two is depressed, all the dampers are raised, and held S LINCOLN. nically as the “glotis.” The sounds made •their most relaxed condition. Wed it will be difficult to loosen them. Stiffness is for example, c, e, g, in C major. There are three Grenadiers” or "Erl King.” in this position so long as the foot remains on the -—- by the vibration of these lips are in them- ho ’sometimes a result of physical constitution re- positions of these, first, c, e, g; second, e, g, e, pedal. Show him how in this manner the harmonies HELP THROUGH THE CONSONANTS. There are, however, thousands of *_rdl* 0f age. Much good may be accomplished, may be sustained, and how bad the effect is if two third o- c e; and, therefore, three positions of the viK, H me the voice teachers who scIves; with°ut, tonal beailt>- T|iey must music lovers, none too well versed in the uwevcr, by procuring a mixture of one teaspoon- common chord grand arpeggio, according as it be¬ do not boast of having some great secret Pass throufh lhe resonating chambers be- Many teachers resort to the forward technic of the art who would far rather or more unrelated chords are played while the pedal fore any loveliness of tone is achieved. ergreen leaves with two ounces ot gins on one or other of these three. The fingering by which they a able to show a pupil consonants and vowels in their attempts hear Tefrazzini sing the squeaky and ear- ful of oil is held down. The probability is, that in second The resonating chambers in this case are ■ach kernel, and thoroughly massaging the grade music there will be little use for the pedal, is the same as for the triads when the notes are how “to get the tc forward,” and very "to bring the voice forward.” In reality racking Carnival of Venice arranged for th it once or iw.se daily. .Excellent results except to sustain the low bass tone of a chord while struck simultaneously. For example, for right hand icw are the teachers who are not person- a,‘ the °Pen cavi.ties leadin§ from the there are no forward vowels although voice by Sir Jules Benedict than hear her „ produced with this with some hands, and the hand plays higher notes in the same harmony. in C first position, 1, 2, 3; second position, 1, 2, 4, ally convinced that their own particular ar„\!1X <^,t some appear to lie more forward than sing the most beautiful and soulful com¬ it will do no harm to try it. Any first-class phar¬ third position, 1, 2, 4, Passing the thumb under for method is reallv superior to' anything , Jbe °™ces of these cavities are multi- others. There are, however, the forward position in existence. The only reason macist will be able to put up the mixture for you. ACCIDENTALS. farther progress up the keyboard, and fingering ever attempted by any other teacher. fold ,7'lth evelT Pltch Produced and consonants, p, m, t, 1, b, n, d, etc., which is that the name of Tetrazzini has been Then make sure that your practicing is done with each succeeding octave in same manner Reverse Strangely enough, all the possessors of cvt;y different vowel the shape of these when placed before any one of the vowels associated with this particular piece as the hands and fingers in the loosest possible con¬ the process in descending. For the left hand, first these pedagogical talismans trace a cer- favltles change. That is, the fleshy lin- assist in bringing the voice “forward.” was that of Jenny Lind in days gone dition Many students imagine their fingers are position, 5, 4, 2; second position, 5, 4, 2; third posi¬ tain relationship to the “old Italian «£_of tlm cavity is so adjusted .that it Every possible means is employed in by. loose while practicing, while an expert observer will shapes itself to fit each vowel the brain tion 532, letting the thumb take the octave of the method,” that somewhat . mythological order to bring the imagination to bear Patti was particularly celebrated for note at once that very rigid conditions prevail. )i" mind demands. This is one of the lowest’ note in each case, passing either the fourth and unstable peg upon which many upon this subject. Some teachers tell her singing . of three famous songs Study and analyze linger motions carefully. Strength nost marvelous things in nature. or third over as may be necessary to maintain the charlatans attempt to hang their reputa¬ then- pupils to imagine that they are say- Home, Sweet Home became a part.of all ought to come with practice and individual work same fingering in proceeding farther up the key- _ > second chord also double flat? tions. The truth of the matter is, there ing the consonants p and m at one and her regular programs. Her marvelously with each finger. For this try the exercise in Sug- board Reverse in descending. In all positions ben DR. HALLOCK'S DISCOVERY. 2. ” Please explain the proper use of double shar was no old Italian “method,” but several the same time just the second prior to smooth and sensitive voice, her perfect Kestion from a Round Table Reader m the May ginning on a black key, the following simple ___? __^ Dr. William Hallock, of Columbia Uni- 3. Please give me a clear Idea of the use of ad old Italian means to an end, precisely as emitting the tone. Others call their pupils’ intonation, her soulful expression were all number of The Etude. After you have tried this formula may be used to fix the fingering in the dental flats and sharps. there are to-day hundreds of valuable V€ls’ty, by assembling a number of attention to the peculiar sensory vibration employed to make this simple folk-song- treatment for a couple of months, let us know what 4 How can I secure a flexible wrist? minds of your pupils. Play toward the little 5. What is meant by the double row of hns aids being grafted daily upon the so- smaller devices previously invented by oi the bps during whistling and ask them like tune so beautiful that hundreds of the result may be. • finger and let the thumb take the white key follow¬ called old Italian method leading to a Helmholtz (designed to show that qual- to note that a similar sensation occurs' audiences have been moved to tears by ing the black. This will establish the fingering, particular end. lty is nothing more or less than a REPERTOIRE in the medium grades. when one sings pee-yoo very softly, her interpretation of it. The writer and will be ascending for right, and descending for i the force of the different har- t of singing is not a lost art but Then they tell their pupils to place all once heard an old man say at one of i Should say that for a boy of seventeen who left, hands. In positions containing all black keys, monies of a tone), was able to photograph t|le;r a found art. There was never ; their tones where this lip sensation is felt. Patti’s concerts, “That is the first music is working on the latter part of Czerny s "Velocity finger the same as the key of C. when there were so many really excel- the mechanical means employed Studies," and the "Heller Selected Studies,” the Liszt Others have their pupils hum, and grad- that ever ran up and down my „ ! i 1 i. * lent voice teachers with a keen knowl- dicate the presence and force of the dif- unlly follow the hum with the syllable backbone.” This tells the story of “Soiree de Vienne,” No. 6, would be too difficult. .. Had you remembered your rule, that altera¬ ■ edge of essentials. All that was good ferent harmonics in the tones produced by If you could hear a brilliant pianist play this with tion signs placed before notes remained in action “nah.” This produces a kind of nafal Patti’s wonderful * attractiveness in the old Italian methods has been re- the human voice. In this way he showed resonance which is desirable but not by those who heard her i airy grace and extreme velocity, you would real¬ throughout the measure, you would have known In the third book o£ Mathews’^Standard Course 1 her prime, her tamed, and to this has been added the Wlth scientific accuracy the value of the any means the end of what shotild be ize better what T mean. Many things seem cpm- that b was double flatted in both chords. pupilsiYre u'nabl* tcTrcaelL V Should these numbers results of countless experiments and the resonating chambers in reinforcing these voice seemed so wonderfully rich in qual¬ paratively simple which beccSme very difficult when be skipped? H. S. every serious students serious effort in 2 and 3. Accidentals are used whenever a chro- discoveries of scientists that would have harmonics. ity. and possessed such a sympathetic played at proper tempo. You would better leave order to achieve a desirable and profit¬ matic alteration of melody or harmony is required. In most cases you will not find it necessary to amazed the old Italian masters. In fact hl the case of the human voice, we vibrancy, that it seemed the most beauti¬ Liszt for later study. There is little by Beethoven able resonance. Sharps and flats raise or lower a tone a half step. skip them. In the last two measures of No. 2 the ful musical sounds conceivable. In her or Chopin that you can study at this stage of your the public is becoming so well informed do not have a stiff, hard brass resonating Double sharps raise or lower a tone a whole step. upper bass note in the left-hand notes may be that teachers can no more hide behind chamber as in the case of the brass in¬ later years she won wide success by sing¬ progress. Of Bach, however, you can get the hirst Double flats or sharps assume that the notes before SELF-STUDY ESSENTIAL. ing Angels Ever Bright and Fair, from Study of Bach," and the “Little Preludes. ’ Of Mo¬ omitted. Omit the upper in such cases because the tile self-assumed cloak “The Old Italian strument but a series of yielding reson- which they are placed have not already been altered. The pupil's resonancesuuance willwm comec more Handel’sr r Theodora. She wasy\a.o equallycquaiiy zart vou might try Sonata No. i in C, Cotta edi¬ lowest note establishes the chord; it is the harmonic Method” than' they can behind the de- ators with ^walls of flesh which In your first example b is already flatted in the sig¬ changed to fit the pitch and vocal qual¬ through self-study and observation than ^mc0lls for , of The Last Rose tion; No. 4 in F, and the Rondo in D. Of Beethoven foundation. The same treatment may apply in No. cadent title “professor.” nature. But the double flat does not lower it a whole 4. In No. 6 the octaves are in the concluding ity desired, in an almost miraculous through the actual assistance of' the °' the old Irish folk-song which you will like the sonatas in G and G minor, Op. step below that, but assumes that the signature flat chords of the right hand. Play the upper three “PLACING THE TONES FORWARD.” manner. , These reinforce the harmonics 40 and the Variations on Nel Cor Piu. For lighter is non-existent, and lowers it one step below b only. teacher. Let us take the case of Adelina Thk ”1^ • ? the 1&St aCt.°f Mmha- pieces try "Butterfly,” Op. 8i, No. 4'. “In the Green notes, omitting the lower one. In No. 12 the upper of the voice until the vocal qualities de¬ Patti. She was almost born upon the a ^Parahvely small A clear knowledge of the use of accidentals can note of the first left-hand octave may be omitted, , “To get the tones forward,” means, termined by the mind of the singer are Meadow.” Op. 82, No. r, and the “Lovely Month only be gained by study of theory, harmony and to-day, nothing more than an attempt to of May,” Op. 25, all by Merkel; “Renouveau,” by which will cause the measure to be played very achieved. Every singing teacher, and “t* *•* *;■'>»*« “«art's aars'sa.t composition. similarly to measure 20 and 21. This treatment is a y singers, but it is said that she her concert tours. During the first part Godard; "Simple Confession,” by Thome; ‘An 4. By practicing wrist exercises with a thoroughly Sir*1 r. P-°dUtCLd reu!\,!he ful1 fact every student, should become thor- easily applied in all such cases. In No. 15 the always had a personal ideal of tone qual- of her concert she sang coloratura-num- Matin,” Godard, and the “Second Mazurka,” by the loose wrist for months. Practice the various wrist nance ctomtaToffte moufh, nose and ™ghly acquainted with the subject of upper note of the first beat of the second measure, lty, and when she heard a particularly bers, many of which were accompanied same composer. These are all standard favorites exercises as described in the Yfason “Touch and Pharynx in such a manner that it will h:,rmo'1ICS a,ld r«°™tors The matter is left hand part, should be played, as the melodic good singer she worked until she felt upon the piano by her husband (Nic- and you will find them interesting. Situated as you Technic.” Your arm doubtless requires the most reach the listener with every vibration somewhat too technical for a paper, like are, in a remote town where opportunities for lis¬ leading of the bass demands it, as you can readily that she had become able, to produce colini). The latter part of the'program careful attention. perceive. In measures 10 and following, the given forth in the larvnx- magnified by The Etude to publish, but it may be sweeter tones than the singer she had was usually accompanied by Arditi, who tening are rare, you will find a metronome a valu¬ 5. They indicate two fingerings. Yo.u should first octaves are arpeggioed, so that your pupils will be the wonderful resonators that nature f&und adequately treated m almost any heard. She would then take pleasure as bad accompanied Patti so often that he able aid in Acquiring a correct conception of tempo. practice with the first, second, third and fourth able to play them under these conditions. No. 16 provides. good book on physics. a child in going to the adult singer and knew just exactly how the orchestra fingers for each group of notes, and then with the ABSOLUTE PITCH. you will be obliged to omit, although it can be To understand this is very simple. M e have learned that the voice is mag- challenging her to a contest. It was by should play in order that the beauties second, third, fourth and fifth. The use of the x Wlien a bugler plays upon his instrument nified and the vocal quality determined To G. H. N. I would say that absolute pitch for the thumb indicates English printed music. In readily used as a wrist exercise in single notes. this idealism that Patti unconsciously °* the diva’s voice could be properly The same principles will apply in the pieces in the he is not simply blowing air through it, by the adjustment of the human resona- reached her wonderful prowess. brought oht. is important and invaluable, although one can hardly the United States only the finger marks 1, 2, 3, 4 as many might naturally suppose. In tors so that the stream of air which say a necessity in view of the great number of supplement. As a general principle, when occa¬ Placing the tone forward” is achieved Sembrich has always found the Chopin ajid 3 are used. fact he blows vety little air through it passes through them will be properly renowned musicians who have not possessed the sional chords are encountered, play the upper notes only after an almost unbelieVable num- sonff> The Maiden’s Wish, extremely pop- ■ in the right hand, in order to preserve the melody, but instead produces a sound by pressing moulded. This is the only secret that faculty. It can be taught to a person with a reason¬ TEACHING SCALES. her of experiments upon the part of the ular with her audiences. It is generally and the lower notes in the left in order to preserve his lips very tightly together and caus- vocal teachers seek when they strive to ably correct ear if begun early enough. In Europe a let- pupih Beware of the charlatan who known that Sembrich is a most accom- 1 The Round Table is always glad to receive the fundamental bass. iug their surfaces to vibrate very rapidly, devise means of bringing the tones for- it is taught constantly; and the one possessing ab¬ ter like the following. The Table belongs to the promises “to place the tone forward after phshed musician. She plays the piano solute pitch is not looked upon as a marvel, as is This, makes a kind of tone without which ward. They call it “placing” the voice teachers in every part of the country, and if one a few lessons.” He may be able to do and the violin finely, and in the music the case in this country. To the violinist and vocal¬ TRANSPOSING AND EAR TRAINING. the bugle sounds extremely unpleasant to and the means devised are so numerous of them has an experience that is not in accord so if. your throat conditions approximate lesson scene of the Rossini Barber of ist the sense of absolute pitch is almost a neces¬ the ear. When you meet a brass instru- that we may say that there is a different with an opinion expressed by the Editor of this In the first grade I hav r pupils _ transpose sity; to the pianist it is an enormous aid to musi¬ m size and shape to those of your Seville she has frequently been known department, it will be gladly printed. Such an in¬ little melodies : also give th went player have him illustrate this for method pursued by almost every one who cianship. If you will get a copy of "Ear Training’ major and minor chords. ! is advisable at so teacher but he is more likely to hold to sit at the piano on the stage and sing terchange is always of mutual benefit. One of oi.r early a stage of training? you. But in the noise that the player attempts to teach voice, ■vill find much in it that will be out still more inviting promises at the 7'to Maiden’s'Wish. The little piano in by Heac . readers in Grand Junction, Colorado, writes us as wakes there is a wealth of tone you can¬ Most certainly. It is a capital idea to let pupils, end of your term. terlude. which accompanies this song has of a follows; not hear until these tones are magnified EASE NECESSARY, while working in the five-finger positions, place their by some such resonance chamber as the We have learned above all tilings, that --- a tripping little melody which Sembrich THE PEDAL. “In if r the questions hands over the five keys of various keys and play t the answer tab* of a bugle. The comet, and in the resonators must be permitted to ad- May Ei the melodies they have committed to memory: also To N. H. T wouldi say that the second grade No. 3, and feel impelled 1 fact all the brass instruments, are only just themselves involuntarily, precisely as Ideas _ the subject. After twent; to do the same while looking at notes or melodies is not too early to begin the study of the pedal, experience in teaching scr1— T modified and improved ' forms of the the pupil of the eye adjusts itself to ac- although it should not be used freely at that stage teaching the^ minors written in figures. It helps to familiarize them with only, and you have an enthusiast or a Men singers all h d S°n?' I get the greatest interest bngle. By means of keys and extra tubes commodate the amount of exterior light, at once. As soon as a pupil has the various keys from the very beginning. It also maniac; the intellect only, and you have at least fevoritl f l favorites- of progress. You should try and make the pupil major scale I introduce her to Mrs..... understand the effect the pedal produces on tone, to Mr. ('. Major. First the harmonic form, and makes them more ready with the keyboard. Ear means are provided for the alteration of One action is in a sense efferent, the a diseased oddity-it may be a monster r ■ WhlA thdr audience« then, with a little story of Queen Melody having training cannot be begun too early in the pupil’s the size of the resonance chamber, other afferent. Any attempt to make the namely, that it prolongs it. Do not allow him to a hard time stepping from F 1 . ’ ' It is only by wisely Suing a7 three ** Iender- acquire the idea that it is used for loud effects. her hushand’s (A Major) v y of doing it, finds il ■very Pitch requires a slightly altered resonators assume artificial or forced together that the complete- man can he during ^ T he sound-«Pro- Sl2e- positions invariably meets with failure in formed.—Anon. “achmf records °f this and parts of Paghacci have had enormous sales. THE ETUDE 551

THE ETUDE PRACTICING IN SMALL ROOMS. instrument—the voice. Only when his sc will enable him or her ' ) vie, in brilliant Several excellent voices are ruined, ac¬ vocal scale is practically perfected does great violinist, cording to a communication which Dr. he begin to have actual practice in sight Fortunately, Caruso’s robust yet mellow ^t wonderful |jMgUm fe? whf» Sf^ni^tc. ^ — For Nervous Women Weiss has just made to the Paris reading. The instrumentalist need not, voice lends itself to mechanical repro- studied close ||V*Derformer on teaching consists in imparting trull. methods of the first-class in¬ Academic de Medecine, through practic¬ therefore, take to himself a superior in-, Horsford’s Acid Phosphate quiets the duction in a surprising way, and in tins but also by * unadulterated truth, worded in ‘ > strumental schools have attained a high nerves, relieves nausea and headache, manner the untutored public have an op- a musical lnstru , possible good, honest English, that so ma f perfection, whereas the aver- ing in too small a room. Dr. Weiss de¬ telligence because, by the time he is ready port*nity to become acquainted with the P.srfeet ^™cl£te3 teachers of singing should insist on Je.ree^ ^ st}U jn thejr clares that a singer in a theatre or con¬ for a public career, note reading has be¬ and induces refreshing sleep. cert-hall must throw every intonation of come an automatic performance, while AN EXCELLENT GENERAL TONIC. u Ins voice a distance of thirty or forty many vocalists at the same period of de¬ yards, but a student practicing in a small velopment are still poor readers. room is only able to throw it a yard or Having put the instrumental critic in SGod-gifted is." genius1” TENORS CALLErt) BARITONES the famous'English rinor, ..ho i. ks .««■» «*■*■*»; ““ «gTwilfsuffice. Some time ago 1 received a Richard Wagner was asked why he did two. The consequence is that the voice, his proper place, let us readily admit that public until he wu. utt oatwrirrrirm. nton.ou.ly with each other, _ the skillful visit from an individual who spoke as not write an opera after the manner instead of expanding, thickens, or, in Dr. there is no adequate excuse for the in¬ Frank J. Benedict fou-id a surprising demand for Balfe's Among the many devices in order to obtain follows: “I am calling on !’v;,ice ‘of the old Italian composers, he said: Weiss’ words, becomes telescoped. Not ability of the average singer to read Dramatic Tenor Brahmn somewhat oversentimental ballad, Come teacher must invent, music. Iic best results i... bringing the oft- offer my services. I am an exp “Where are the singers of to-day who only is the articulation not properly LECTURE SONG RECITALS j ^““y into the Carden, Maud. It is said that tin moment, please. W. P. SCHILLING, 131 W. 23d St„ New York •ebellious vocal organs under subjec- placer, and— Oi can execute coloratura music faultlessly?” thrown out, but the ear becomes less true, The general use of antiquated and com¬ Send for Sample Program when his voice was little more than a blasphemer? Do plicated systems of sight reading is, in s loyal auBrooklyn, N. Y. European Gf the jaw, the tongue is bound to lie Was this always so? No. indeed. va-t-en guerre” (Malbrook is off to the tate and make a singer “clear his throat.” actual experience in choral singing, should passively flat on the floor of the mouth History records the fact that .marvelous r) soon became very popular all o This is one of the worst things he can be arranged for voice students when where it belongs; at the same time such singers did flourish during the famous France, and was a favorite melody for do. possible. t k or the love of art, who will not rest till bv wav of Montreal and Melbourne, the every mile of your life’s journey, for then )■ evidenced by a more or less unmusical The ideas thus lar expressed should the vocal wealth hidden in the larynx true is abvavs used when they wish to note reading. On the other hand .the only will you be able to say in advanced -ost attractive appearance. or unnatural tone product. The simple appear clear enough to any one .n- shall have been unveiled, which alone do honor to’one of their number singing student devotes by far the larger years that you have spent happy lives.— r; h:s Mme to the perfecting of his Mere. THE ETUDE, "'ISgSSg™". Please mention THE ETUDE when addressing our advertisers. ‘ THE ETUDE 553

THE ETUDE COLLEono. Haddock. There are arrangements for next few years if you can keep up the the 'cello and piano, by Leo Schratten- two hours’ daily practice which you say CHAMBER MUSIC FOR VARIOUS STANDARD AND MODERN holz; for the organ, by Edwin Lemare, hich::. t a« jgs; you do at present. Your teacher is of COMBINATIONS and for small orchestra, by Adolph course best fitted to advise you as to INSTRUCTION BOOKS Schmid. A selected list of ensemble numbers pub¬ uJ. ““a, £ ^sttS&'Sz your future. If, as you say, your talent lished in octavo size at a minimum price. ever, the London auction rooms otter are to d ^ the hair The bow is Frederick Stock, conductor of the Theo. is good and you are passionately fond FOR THE PIANOFORTE Thomas Orchestra of .Chicago, has made Violin, ’Cello and Piano ^ Alitor any of these^ Methods cheerfully sent “On splendid opportunities °f ^ ’ed .n the hand so that the stick of violin playing, you ought to be able Tolhurst.Apres la valse instruments at real bargai p • touches the strings instead of the hair. an effective arrangement for grand or¬ to make a success of teaching, for chestra, and uses it with great success When playing such a passage, the stick which you are fitting yourself. “ .Alla dam a FIRST STEPS IN PIANOFORTE \ RECENT AUCTION SALE. is not drawn over the strings, but the in his concerts. The Humoresque can Trousselle.Tarantella also be obtained as a duet for the piano, G. H.—The mere fact that your violin At the last auction sales at the rooms latter are struck with it, the effect being STUDY for string quartet, and for violin, piano seems to stay in tune better than the The combined and condensed results of the work of several of Puttick & Simpson, m London, a vcry similar to passages on the guitar practical teachers of the young and cello. In some of these arrange¬ average violin does .not indicate any “ .Spring Song large number of violins were sold at which are “drummed t. e struck “ .Caprice Carefully Edited and Revised by THEO. PRESSER ments it has been transposed from the great superiority. It simply indicates the following prices, which have been gm rtly with the thumb. C?1 Legno Haden.Barcarolle This book begins at the beginning and serves as a practical original key. The success it has attained that you use a good quality of strings, and melodious introduction to the study of pianoforte playing. reduced to terms of American money: sagea are not often met with for the that your pegs are in good working Harraden.Andante by Gluck . B is most carefully graded: the instructive matter is presented A violin by Antonias Stradivanus, with violitl) and are reserved for occasions shows how eagerly new works, no matter m a way that is easily understood and there is nothing dull. order, and that you keep your strings Two Violins and Piano paper. He pursues similar method original label, $2,875; a violin by where SOme striking descriptive effect for what instrument they are written, are Gautier-.Moorish Dance FRITZ KREISLER ON VIOLIN PLAYING. tuned habitually to the same pitch. It in memorizing violin compositions so Grancino, $230; a violin by J. B. Vtul- .g required. Writers for the orchestra scanned in order to add a new gem to Hayward.Danse Bohcmienne The views of Fritz Kreisler on the the stock of violin music. is a mere mechanical detail. Tolhurst.Allegretto grazioso It may be the very book you have often hoped to find; let us this he said: “I know keenthe the violin laume, with silver-mounted bow, $130; sornetimes use this effect and it is “ .Adagio and Allegro send you a copy On Sale; you will use it and order again. violin art are always of interest, veil that I do keep the violin ^ T nnHnlfi. Milan, $200; a rareiv met with in solo composi- Gautier.Maypole Dance Price, $1.00 C. J. K.—There is no mathematically “ .Sabot Dance he occupies a position as o 1C f 'de parts‘ In faCt’ 1 d° “5* pos.SeSS \ny' violin'1 byb^fontagna! with one gold- *" One of the best-known' cornpo- correct position for placing the sound “ . Spanish Dance world’s greatest violin artists, St. Quentin.Aladdin WBt 1.study the p»rt,from..the_®r^!!t” fHj„nted and one silver-mounted bow, sitions in which it is extensively used post, as the position differs slightly for FOUNDATION MATERIALS FOR piano score, and never .practice it on mountea a Gabrielli, Flor- sitions 1- - , , _ , Gautier. Souvenir de Haydn i his supreme excellence the “Serenade of the Martial Rab- Wareing.Danse Ancienne musician of broad at- the violin. I get it into my head with $o30. olm J- restore ANSWERS TO different instruments. It might be THE PIANOFORTE play . ulL” one of the series of humorous roughly stated that the sound-post Rathbone.Three Miniatures tainments, and a man ui w.u«ride general its acCompanimem. RIt 1^1*i • v * TT,,. Gabussi. Zingaresca By CHARLES W. LANDON violin by 'Andreas “scenes,” written by Leonard, the well- QUESTIONS should be placed about an eighth of Mendelssohn.Gondellied This method leads to solid musicianship through an easily culture. Mr. Kreisler, in a chat with , sometimes play it over on the piano ^lan- IP93' Weber.Sonatina graded and a pleasingly interesting course of study. the Musical Courier, discussed a mini- t a general idea of the whole,e alluand w,..Guarnei.us 163-, $85°i a violin ,by known French violinist. There is about an inch or more back of the right “ .Rondo public Nicolas Lupot. Paris, 1810, $225; a via- a page of chords played “col legno.” if subjects of great interest■ -.H| j often play compositions Nm^LllPOt. foot of the bridge. The most favor¬ Gabussi.Nocturno effective technical value, ihe entire work being based upon the the violin lin by Antonio Gragnani, $230; a violin and, the-As effect is very pleasing, is Nbukomm.Barcarolle author s wide personal experience in this field of musical violinist and violin student. which I h . . -j M. T. C.—You are correct: a typo¬ able,place for the sound-post can only Jacobi.Barcarole by Joseph and Antemius Gagliano, the case with all novel effects on the When asked what concerto he like graphical error made the dimensions of be ascertained by experimenting with it attention is given to rhythm, time values and sight previously. 1768, $300; a violiri by Nicolas Amati, violin, this piece takes immensely with readT‘aI'' the best, he said: "The Brahms. Don the bass bar, as used by a well-known at a greater or less distance from the Two Violins and Viola you know it makes me sad to think KREISLER'S PRACTICE METHODS. $300; a violin by Nicolas Amati, 1675. an audience, and it is very useful as an violin maker, read “ij^ .inches” in foot of the bridge. The sound-post Beethown.Trio that Brahms and Beethoven wrote but The violinist stated that he was $325; -a violin by G B. -I4_r; encore, or one of a series, played as a length instead of “xojd inches” in the should never be placed directly under Two Violins and 'Cello e concerto„_ :h for the violin. Ar,rl „eVer troubled with cold or clammy a violin by Math as Albanus. I0/-, single number. answer to a correspondent in a previous the foot of the bridge, as you say was What a pity that he devoted hands sweating fingers or with nerv- |l^:; a quarter-sized vio m y A t . Beethoven.Op. SS- Trio LANDON'S PIANOFORTE Chopii done by an expert in the case of your time to the piano! We might ousne’ss. ..j do not feel the need of Stradivanus $210 * hn by B L ail his ™ friend’s violin. The chances are, how¬ Two Violins, Viola and Cello METHOD is well have had many more great excessive practice,” he said. “I am Rogeri, of Brescia, 1704 $^°- a DVORAK’S HUMORESQUE. L. G. G.—Francis Macmillen, the Tolhurst.Allegro Moderato ever, that the post was set correctly, Wareing... .Danse Ancienne EASjLY GRADED FOR BEGINNERS American violinist, is still concertizing but that the bridge was afterwards Rathbone.Three Miniatures This book is by a practical teacher who has proven the value ««•: , ., ,h * ...»sng„,.1 all-day=i.h.r; violinl“J by Joseph,rrr-nn filius 'aAndreas :it* AAdGuar- It is doubtful if anything is seen more Bachmann.Intermezzo—Menuet of the method in his own work with primary pupils. The plan tinuing. he said that there we so j can get 0ff a tram after in Europe. He will return to the United moved to a position directly above tile ot the book is thoroughly modern, including the use of the frequently upon programs of violin music Vincent .Menuet and Trio icw really great concertos that violin- ^""and go""to the concert hall and r.erius, 1700, $800; a Mathias Albanus, States for a concert tour next fall. post. When the bridge falls down care Trousselle.Haydn's Last Menuet Mason system of technics in its simpler forms. The teacher’s present than the Humoresque, by Strklezki.Serenade needs are also fully considered, a special feature of the work ists must play the really notable ones ]a as wed as ever. My greatest $225; a Landolli, of Milt , $ ■ should be taken, when it is re-adjusted, being the valuable suggestions intended to guide the teacher. anxiety is to preserve my enthusiasm, Ceruti, of Cremona, $160; a Francesco Anton Dvorak. It is used in recitals by N, McN.—As you intend to have a Mozart.Symphony G No. is over and over again. There -. ‘ ’ ! to place it with the foot somewhat in .Serenata IPosth) concertos, the old and to be abie t0 make my playing Ruggerius, $33°; a violoncello . y tke WOrld’s greatest violinists, and never mixed program in your recital, includ¬ Taylor.Serenade (Pizzicato) thefen'IfS really great modern ing both piano and violin solos, it front of the post. ones stand supreme. fresh and buoyant. When I play for Ferdinando Gagliano, $375; a violin by fails to make a telling hit with even the The price of each number is SOc know the myseif I always do so to distract my Testore, of Milan, $33°; a . Vm - most uncultured audience. would be best for you to head your net, subject to a liberal discount. Of violins he said B. S.—Write to the Theo. Presser Selections made and sent upon re- ‘Strad’ is more or less mjnd. f never practice compositions laume, $170; a Petrus Guarnerius, Man- A correspondent wishes to know the program “Piano and Violin Recital,” Co. for a catalog of music arranged poss since the heading “Violin and Piano GUSTAV DAMM’S PIANO 1 fad. I o thought it essential that wb;cb I am to play in the near future, tua, $500; a violin by Maggim (head j,|story 0f this charming bit of melody. for mandolin orchestra, with parts ad Theo. Presser Co., I should have one, and-- bought the •best ■ j must have them...... fresh.. I must not not original), $3oQ,. a violin -**"<1by 1 . < ]t makes a story of great interest and Recital” would create the impression lib. for violin, piano, flufe and other SCHOOL that the entire program consisted of WITH ENGLISH AND GERMAN TEXT one I could find. I soon discovered, allow myself to become tired of them. It. Amati, Cremona, $/00. a Jest ie. shows how eager the world is for a orchestral instruments. 2. In execu¬ violin and piano duets. If your prin¬ An excellent edition of this widely used work, the popularity however, that I did not need it, and j bave to piay many things I do not $270; a Sanctus Seraphtno $2/a, and .1 ipiration, which really rings true ami ting the tremolo on the mandolin the of which may be judged by the fact that the original German cipal business is teaching the violin, SCHOOLS AND TEACHERS rarely used it. 1 have just sold it to like and it jg difficult for me to play number of other violins of lesser comes straight from the heart. It is player executes sixteenth, thirty-second, publisher has issued no less than two hundred editions of it. and you have only a few piano num¬ Our edition is somewhat larger than most others, so the notes an American dealer. 1 have three in- _ them con amorc. That is my ofily The total proceeds of .the doubtful if Dvorak ever realized what a or sixty-fourth notes, according to the bers, . you might head the program -— THE ETUDE _- struments in Europe besides those I trouble.” sa*es were over $18,500. matchless gem he had produced, for he rapidity of the tempo. In an allegro, suss nss&tes.*1-*-matin8 ^ “Violin Recital” assisted by -— The violin I use the Concluding, Mr. Kreisler said that he Another firm had an auction sale ot died, in 1904, before his Humoresque had sixteenths might be necessary, and in PriC8> Squartol(329bpagesj" Szfoo*' h"1* (giving tl\e names of the assisting and which 1 like best, is my personally loved to play-the big things violins, ’cellos, etc., within two weeks .,ci,;cvcd a world-wide popularity. a slow adagio, sixty-fourths. The idea Joseph Guarnerius. I ---- - **Tourte— - ^—Beethoven,- • ~Bach, *- Brahms—but. *-* that a of the -aboveu'-— sale,--1- at•>* which a large.. | . pianists). ■ ♦ The piece is the seventh of a set of is to produce an unbroken flow of MUSICAL “practical piano school" violinist has to give the public what it her of instruments were sold at bow eight “Humoresken.” written for piano If your four violinists are to play a sound, corresponding to the bowing of By LOUIS KOEHLER Of strings Mr. Kreisler said that lie likes, and the people seem to enjoy similar range of prices, and show’ solo, and published in two books in 1894. composition specially arranged for four the violin. POST CARDS . Opus 300 r finds good ones everywhere, and buys many of the small things best. immense market there violins, first, second, third and fourth, Which !he Wcll‘m0W'f “ Practical Method " of this author, of fo\ The works are as follows: No. 1, E flat which there are 10 volume*, buta later, more direct, condensed them wherever he happens to be. He old Violins in London. There minor; 2, B major; 3, A flat inaj'or; 4. with piano accompaniment, you would E. M. S.—The chances are that your and practical course of pianoforte instruction. We consider it is not a “faddist” as regards any par¬ least two such sales a month through¬ announce it on the program as “Violin better for beginners than any other work of this writer, THE LONDON VIOLIN MARKET. F major; 5, A minor; 6, B major; 7, violin, labeled Gaspar Duiffoprugcar, ticular kind of string. out the season. G flat major; 8, B flat minor. None Quartet and Piano.” The trio would 1520, is not a sixteenth century instru¬ a long practical mtet“Ung and ft® of useful ideas suggested by London is the world’s greatest violin The prices realized for the instru- f the pieces, except the now famous be announced in a similar manner. 1 f ment, but a French or German copy _In two books-each, 75c market as regards Cremona.violins and ments> A BROAD-MINDED VIEW. . -i mVnts, as given above, will strike the seventh in G flat major, attained any spe- only first and second violin parts are with a spurious label. The invention An Enlarged and Revised Edition of string instruments of excel1 American reader as being extraordi- cial nolc. Dvorak evidently intended the played, it would appear on the program of the violin* in practically its present Great Violinists - 6 He considers American orchestras lence generally. There are more real Northern Europe Corn- Celebrated Violinists 6 narily low, but he must remember that piece t0 be, as its name indicates, of a as a violin duet accompanied by the form, is ascribed by some authorities LOUIS KOEHLER'S PRACTICAL :cellent—as good as any in the world, experts in the art of judging old vio- Renowned Violinists 6 sqme of the violins .quoted above may light,■ - humorous character, piano. If you have all your violin pu¬ to Duiffoprugcar, while others claim American Composers - 6 s to the present generation of violin- 1ms in London than in any other city HUMPbe genuine, nor. may they all be Opera Singers, Senes Modem Pianists - - 6 METHOD FOR THE nome mark was set for a quarter note=72, pils play the same part, the name of the that he only made viols and lutes, and Modem Violinists, Series ts, he did not care to rank them, but in the world, and the number of dealers g,ood> specimens of the makc, Master Violinists - nearly double as fast as it is now played composition should be followed by: no violins. A well known authority A and B, each - 6 PIANOFORTE said: ‘There- arc many. great_ players, and restorers of instruments -jo£ this even when genuine. Some, agaii Opus 249 i Volumes I and If as a violin solo. As a piano solo ahd at a “Played in unison by -1- says, “He was not a violin maker, not¬ Ineed, there are many very fi kind is also very great. The London fce ;n poor preservation, have been Revised by the Author's daughter rapid tempo the composition failed at If your pupils are not experienced in withstanding the fact that there are who are quite unknown ... the.... world- experts,—-, dealers- and repairers,• have scraped otherwise spoiled by re¬ HISTORICAL POST CARDS . . CLARA KOEHLER-HEBERLEIN first .to attain any great fame, and it was ensemble work, you will find that it hundreds of instruments bearing his in general. A few of us have been great opportunities for becoming famil- gtorers repairers. The American LISZT-SIX CARDS-The set, 15 CENTS not until it was arranged for the violin will take a good deal of patience to name, French or German copies in fortunate, but there are others equally iar with the violins of the great mas- reader must also remember that the WCENTSR~TWELVE CARDS-The.et, 30 as good who have not. No artist ters, since there are few really great a heaVy import duty on violins and the great violinists began playinq it get them to play the different parts the old Brescian style, with this label CENTS". that its supreme beauty was recognized correctly together. For this reason BEETHOVEN - TWELVE CARDS-30 should speak against .'mother. N- instruments which have not been br„„.v|ll jmV. ,|,js countrv: and that the affixed.” The date in your violin, 1520, CENTS per set. only the simplest music should be used has the right to. mention another’s through the hands of the London old j numbers of violins, and collec- " ...11111 ’V- wor.ld' ,lt vva? aPPal cnt is about the time when the violin in GREAT COMPOSER POST CARDS-Four- no Tied shortcomings. We are all mortal. Wo vmlin trade, at one time or another in ti(ms of violins constantly being brokcn 1(1 snlo,s^ that, beautiful as the at first. For three violins and piano its present form was first invented. The teen of the Great Composers. Printed in PRESSER ^°Lr°m °'her dealers should ask &e melody 1 rapid tempo, the following are easy and effective: motto inlaid in your violin is quite nine colors, with the composer’s birthplace all have our faults. If we cannot say their history. lipin Europe, make violins cheaper on each card. 35 CENTS per set. Volumes I and II, each, 50c. Combined, ST.00 anything good, let us say nothing. London is also the only city where t^ere tar more effective slower, and most of Birthday March, Op. 36. by Borner; common in instruments of this descrip¬ There is some good in every die. Let regular auction sales of v-iolins are held London sales attract violin them made a dreamy adagio out of it, Bauernfest or Elfentanz. by A. Moffat; tion. A free translation would be (the OPERATIC POST CARDS us speak of that. at frequent intervals. In no place on from all ovcr lh(. ,v,,rl

the etude IMPROVISATION, Of course, such virtuosity was the result , n rtni-es to Poet and Peasant, by Sum', of the combination of great talent, pro¬ Estey Church Organs BY E. R. KROEGER. found knowledge, thorough organ tech¬ * —T’„ SMWS^ K5T nic, acquaintance with the instrument, a Sr “Tould be able .. »»>.« ««“ SShpUo. b, S P.wre« «< W». The wonderful improvisations of the cool and accurate judgment. But how PIPE ORGANS the most formal service varied. r>s Tannhauser Overture was a che.al ESTEY STANDARD MAINTAINED As to the nature of compositions ^ of many organists. To-day we MAXIMUM FACILITIES great organist, Alexandre Guilmant, at few of our American organists seem to the Saint Louis World’s Fair were a have improvisational skill! The writer olayed as a general thing those by Ger organists playing Lemare s transcrip- HIGHEST GRADE OF PRODUCT man6 composers have few indications re- B ^ Nlbelungen Ring PIONEERS AND LEADERS ALWAYS constant source of delight to his auditors. has attended services in different cities, have proved time and again Almost daily would the master take a and from a quiet position in the that it pays to build good garding changes of registration and they parsifal Not long since, a Western Examine Key Stop Action and Wonder¬ auditorium has heard many attempts at Should be interpreted according to tne t played his own transcription of ful Reedless Oboe and Saxaphone theme—frequently suggested by one of organs. Each one is a speaking ad¬ wishes of the composers. Those by * t>g Tweifth Hungarian Rhapsody. his listeners—and treat it most in¬ improvisation. Looking backward, he vertisement for us, because it con¬ French composers have,- —""many more : Nqw there are some compositions which, geniously and effectively. Possibly he recalls but few in which real ability and tains the highest grade of materials was happiest in his improvisations upon thorough musicianship were united; and workmanship, and is built on dications, and consequently they must when transcribed, seem to suit most ad- Estey Organ Co., Brattleboro, Vt. Seotch ballads. All sorts of harmonic wherein the improvisation appeared to closely followed. It is a good phm, Tire to mirablv the character of the organ. Take, scientific principles. and contrapuntal devices were employed possess the quality of inspiration. To alternate pieces of different sty We have built over three hundred offertorv for instance, some of the slow move- with the greatest skill. And his registra¬ be sure, it is not every organist who can lude by a German master, i r an ments of Beethoven : the Larghetto of the organs, many of them being the tion was invariably in the best taste. create interesting material upon the spur then have the eight-foot tone of by a Frenchman, and a Postlucle uy Second Symphony, the Allegretto of the largest and most magnificent instru¬ ON REGISTRATION DURING THE , he "organ resound in all its sononty, Italian>Italian, an Englishman or an Amei Sevcnth Symphony, the Largo from the Often the improvisor seemed to be in an of the moment. Even if he can, it is ments in the country. We devote ecstatic mood, and the harmonies melted SERVICE. backed up by a rich pedal bass. The ig a SUsuggestionggestion for contrast iin tnis Djanoforte Sonata. Opus 7. and the theme Hope-Jones Organs not everyone who has the training and the same attention to the details of second anthem should contrast with the spect The old adage Variety-is ^ the \nda„te from the Kreutzer So- together in the most exquisite manner. the mastery of the situation to develop smaller organs. first, and indeed it is frequently a wise ;ce of ]jfe” may well fit the or the songs of Schubert: Ave Then again he would revel in the full something which is logical and coherent. Ask those who have Austin Organs choice on the part of the organist and attitllde in the treatment^ of Registration Utany) Death and the Maiden. Arc Now Built power of the great instrument, bringing Most improvisations appear to be ram¬ as to the complete satisfaction they choirmaster to select one which is unac- dur;ng the service i well a By the Sea; or some of the Songs with¬ out all its massive tonal sonority. His bling transitions and modulations without are giving. A complete list in our who persist i coinpanied. After the congregation lias citalg out Words of Mendelssohn; or the Lar- \y fugato passages were of great interest to any definite plan. If the organist is un¬ descriptive book “A” will be sent the many organists and other musicians able to construct a theme which has any upon request. tbraWK r 1,earIpC Plant* In the United is on the safe side when he avoids much improvised interludes are usually’During"4e < Goldmark and Straus! have composed the Pilgrims’ Chorus, etc are unques- Vigintennial Anthem Competition use of reeds, two, four and sixteen foot, monplace in the extreme, tone, and tremolo. Combination pedals offertory ther. exeellent opportu- little or no organ music. The question “bJe^ the Prelude to OOMPANYfe’a—'uSTUL°f, ‘^ORENZ PUBLISHING THE KINETIC ENGINEERING CO. are ’often the cause of laziness on the n;ty for the organist to, insert a pleasing sarises: because tee mas-ters rave not ^ Meisfersi the peuerzauber, the THE PILCHER PIPE ORGAN jjgjg ill the worid. We \ Baltimore Ave. and 57th St., Phila., Pa. part of organists in securing variety number. Pieces of ; devotional nature, written for the organ, is diere a place { . iralhalla. Flcvation ih A flat, in legitimate organ music for transcrip- ‘-nuance op tic . ar"----~ •’ ' n. It is so very easy sl,ch as Guihnant's tions of their works for the instrument? there is always a feeling of dissatis a- SO WE OFFER THE FOLLOWING PRIZES: combination pedal and ;n whjch a quiet and simple registration Undoubtedly there is. The transcriptions Hon on the part of the listener. What. cosCt'nBCorres!3enfe soheked mi“in'>u“1 have a sort Of bourgeois registration. is used> or Tschaikowsky’s Andante in “^^knotoe'of 'sdn.hertN "urns Hun. constitutes a good trnn-erip.ion for FOR THE BEST ANTHEM LYON & HEALY’S This mediocre compromise is sometimes B flat, wherein oboe or VOX humana for the pianoforte of Schubert, songs o \lmom' anv composition pos- NEINRV PILCHER’S SONS, - LOUISVILLE, KY. In CHOIR LEADER Style and CHOIR HERALD Style and so much in use that the members of the may be employed, are very effective and Wagner’s operas by Liszt are d,s- ‘h gac P Grade Grade good church congregation have little opportunity to ^ Occasionally a staccato selectioi. Jet ^t^ ptaim orte Uera,:urc ^Sy * wS* htwc a H. HALL & COMPANY $10 0.00 judge of the individual excellences of SUch as Lemaigre s Cappricio in F or the But some pieces are "ell adapted iovclv sinein.- melodv with a subordinate _0.00 New Haven, Conn. the organ, and therefore they are greatly Martim-Guilmant Gavotte, is a welcome C ; L^mpaidman. or which are very deli- OUR TWO CHOIR JOURNALS ORGANS surprised when some visiting organist contrast to the customary sustained tones acter of the instrument must lie taken ‘ , conimrativclv few UAK1RS OF MODKRN The Choir Leader is a monthly The Choir Herald is a monthly At Reasonable Prices comes along and gives a recital on the 0f the organ. However, some churches into consideration. A short, snappy ’ • • , l rh,or ’violent magazine with 24 pages of anthems situ- PIPE ORGANS choir magazine with 20 pages of and sesponses and eight pages of Distinguished for Artistic Voicing choir music and eight pages of read- IhereTas^so tS* Jit'^tiK^lay^ to^f'' Unacto^nplnied 'letrtions'or ^obs chords have not the organ character. The ^ UundSti- Dignified aad Chnrchly. reading matter on choir subjects. The grade is of medium diflieulty ing matter on choir subjects. The In.placing carefj ami are kglto.^O^ elects ZV't^bm £l *S7T^make it’fa^ghalde The and its style aitistic, adapted to the grade of its music is faialy easy and needs of volunteer choirs of fatoly th» style popular, adapted to the „--"e Vol of his owl ZSTimme? me. Indeed in November, 1830, I left taught the little fellow, among other “Valse du petit chien” (Valse of the alive by frequent gifts of pictures suit¬ What do you suppose he d funny people I met on the way, but rny home for a long journey, and in my things, my E minor Concerto. I only little dog). able for the “corner.” Nothing! He praised my _drawing that was only a sign that I was recov¬ heart I carried the miserable presenti¬ allowed him to study one solo at a time, I think that I have told you enough Dainty books on biography awarded ering my usual state of mind. ment that I was leaving it forever; that father being out, the assistant tutor till at last when all were perfect, 1 about myself. You know what I did as prizes will open for many a pleasant I would never again return to the friends t look down, as when trying to solve found it impossible to control the urn- A worthy professor, a friend of my arranged for him to play the whole. and what I enjoyed, and I don’t care to •and profitable pathway for the years to A DREAM LETTER FROM FRED¬ and country I loved so tenderly. After Practicing I now forbade, preparing him sadden you by saying, much about the come, and may be the beginnings of a -Vpuzzlingy,—-—w example - in mathematics. rulv boys seeing which, 1 tola father, had me under his care. He was ERIC CHOPIN. Better than the praises and gifts of the ‘ > ’ WQllld sit down and listen going to a congress of eminent natural wandering, sometimes alone, and some¬ for the great event by a course of read¬ many times when 1 was sad, miserable musical library. These books can be arsaw nobiUty was the praise [received x ywoul(1 improvise a pretty philosophers. I cared not a whit for times with some Polish friends, through ing, and being a devout Romanist he and depressed. The world now gives annotated and marked for reference at ten years of age from the great V/. . Down they sat. much this congress. The music for which several German towns, and after quite fasted and used the prayers of the me my due. In my own time a London the club meetings, and in this way are Cataline. This noble artiste was y and after extinguishing the Berlin was famous drew i a long stay in Vienna, where I met Church. Finally, all my special circle publisher sent word that he wished no doubly interesting. many musical people, I went to Paris for being present, we played the Concerto in more of my music, as there was no D pleased„ with n ■ -.playing . . - that she gave dej?^,i„hts ^j went to the oianopiano anandd began:began hoped to meet some of the great musi¬ a visit. On my passport was written: nty salon, I filling in all the orchestral .... „ watch on which was engraved. ,,hinder a house. cians who made Berlin their home, but sale for it. And, indeed, its sale in OonnS par madame Catalini d Frldenc Robbers set ( Thev ■'Passing through Paris.” I never got this I was disappointed. Those who parts on another piano. Filtsch played France and Germany was small. All THE BI-CENTENARY OF : ho pin, age de dix aus” (From Madam They come nearer and neaiei Ihe.^ any further on my journey, for though marvelously well. Those who were these things ate into my heart, for I had promised me introductions did n< DR. ARNE. Catalini to Frederic Chopin, aged six). halt and put up < scramble I made many short trips, and once went present heard something which they felt myself unappreciated and I knew keep their promises, and I was much While still in my eleventh year I brought with them; up jhey .^^ — to England, Paris always remained my could hold in their memories for a life¬ my own worth. What genius does too timid to introduce myself. So I composed a march which I dedicated to but just as they . = “ h frioht- home. I used sometimes to refer laugh¬ time. After it was all over I took my not? My own circle understood me, Those music lovers who pray with watched Spontini, Zelter and Felix the Grand Duke Constantine, who had it house they hear a noise w, °d-. ingly to my first descent upon the gay little pupil to a music shop and pre¬ but the musician in me often yearned Charles Dickens, “Lord, keep my memory Mendelssohn from afar. Spontini was > and played^ by the *£, "Z of capital by saying: "You know I am only sented him with the score of Beethoven’s to conquer the whole world, not to be green,” will hardly need to be reminded Now my father thought it advisable to where, : then the autocrat of Berlin music. I ■passing through’ Paris.” the night, they lie down “Fidelio.” pent up in a little circle. Consumption that 1910, besides being tile centenary of heard then his opera “Ferdinand Cor¬ under the trees and fall I loved Mozart above all other mas¬ was fastened upon me, and at last, Chopin and Schumann, is also the bi¬ tez.” But the most sublime music to asleep.” And now I be¬ CHOPIN IN PARIS. ters, but I generally taught more of my after much suffering, in the arms of my centenary of Dr. Thomas Arne, the me was Handel’s “Ode on St. Cecilia’s gan to play softer and I made so many pleasant friends, and own music than of any other composer. pet pupil, while the voice of one of my composer of Rule Brittania. This famous Day.” That was music at its best! I even softer, till my boy Paris was at that time such a brilliant Brinsley Richards was one of my pupils Polish friends was still throbbing in English composer was the son of a well- haunted shops and piano manufactories. audience was as sound musical center, that it is no wonder that and several ladies who studied with me melody through my room, I laid down known . upholsterer, Thomas Arne, of if my father’s displeasure asleep as ever were the and only fe; I made it my home. At the Italian were fine musicians. Perhaps Gutmann a burden which had often seemed in¬ King Street, Covent Garden—the uphol¬ robbers. Upon this I induced do any sightseeing in Opera House such great artists as was my best pupil. I know that I loved tolerably heavy, passing to where, be¬ sterer mentioned by Addison in The crept quietly from the connected with I have said that him very tenderly, and that during my yond these voices, there is rest. Spectator of April 27, 1711—and was edu¬ village near War- Madame Malibran-Garcia and Madame room and called the [ saw Mendelssohn ■ith Zelter and last painful illness I loved best to be Your friend, cated at Eton College. He was originally Two children had Pasta, with Messrs. Rubini and La- other members of the other musicians, but we did not meet waited upon by him, or to rest in his Frederic Chopin. intended for the law, and, like Sir Joshua my parents, and a blache, were singing. The Academic family, who came troop¬ until afterwards in Paris, when we be¬ also boasted some fine singers, while arms. Besides teaching and composing Porter in Pinafore, he “served a term in ing ill -with lights in came very good friends. He was a among composers came first the pom¬ or playing to my own special circle I an attorney’s firm,” though we have no on. While I their hands, while with played several times in public with A MUSICAL TRAVEL MEETING. most lovable fellow, full of wild pranks pous old Cherubini, Rossini, Meyerbeer, direct evidence to show that he “polished a tremendous crashing Liszt. Once, with Liszt and Hiller, I and absurdities; not so much given to Hiller, and for a time Mendelssohn. up the knocker on the big front door." saw. The village in which I was born chord I suddenly awoke played Bach’s Concerto for three pianos, There were also pianists, among them He seems to have found this little to his belonged to the Countess Sharbek, whose the youngsters. imitations and satires as myself, but being Liszt, Baillot, who was an ex¬ and once Moscheles and myself went to taste, however, for we are told that he son, my father’s pupil, stood God-father enjoying a race in the moonlight with St. Cloud and played before the Queen A good method of combining instruc¬ quisite violin player, and Franchomme, privately conveyed a spinet to his bed¬ for me, and gave me his name of Fred¬ MY FIRST OPUS. his great churn, Hiller, or suddenly and the Royal Family We roused our tion and amusement is to arrange an a famous violoncellist, with whom I es¬ room, where he indulged in clandestine eric. My father was of French descent, In the year 1825 I be¬ starting a series of mad jumps when hearers to very flattering enthusiasm. I imaginary trip through Europe, calling and came to Poland while a young man tablished a warm friendship. At that practice during the nighttime, muffling the came very great in my soberly walking home from some musi¬ played many of my nocturnes, waltzes, at all the principal towns and cities to be established in a tobacco manu¬ time Kalkbrenner was considered the strings with a handkerchief in order to own estimation. I first cal party. He gave me the pet name of etc., and together we played Moscheles’ associated with the names of famous factory. The business failing, he turned pianoforte master and, in his own avoid being detected by his father, who saw one of 'my pieces in “Chopinnetto,” and indeed many of my E Flat Sonata. musicians, or in any way remarkable for his attention to teaching. At first he opinion, was the greatest of living disapproved of music. He was also in print. My Opus friends put a diminutive with my n I spent one year with some friends . their historic interest. Each member of the habit of disguising himself by wear¬ taught French only, but soon widened work) masters. He wished to give me lessons. pub- some called me “little Chopin” or on the island of Majorca, living part the club should provide himself with a ing livery and attending opera in the his sphere and became tutor in a house¬ lished! If it had been Mendelssohn, who despised him, was “Chopinick,” "Chopinnetto” or “le of the time in a deserted monastery, map of Europe, and as the various towns “servants’ gallery.” Subsequently he was hold where he met and married my pleasant to improvisi furious upon hearing this. I went, how¬ mother, who was of a noble polish petit.” I imagine that my frail health where, in the cell of some dead and are reached members should call to mind discovered playing the violin bv his ■ for admiring ladies and , , , .... ever, to a few of his classes, as indeed family. So you see I bear a French gone monk, I composed or improvised any notable fact concerning the place. The gentlemen, and to hear had much to do Wlth thls- I admired his playing, but I did not father, and after some fruitless efforts name, but from my mother I inherited on my Pleyel piano. The rainy sea¬ teacher should be careful to see that all to prevent him the young musician was their words of praise, During the year following my trip to care to give three years (the time he my nature, which is truly Polish. When son there was terrible; the wind the questions are not answered only by how much more thrill¬ required) to studying with him. He permitted to go his own way unmolested. I was an infant I could never hear music Berlin, in the company of three friends, moaned and howled about the old place the one or two brightest members of ing was it to feel myself was very prim and precise and always He soon made his way as a composer without crying (rather a queer way of I visited Vienna, where I played twice like an unquiet spirit. My stay in the^ class, but should attempt to “draw an author, and that one wanted to be treated with the respect of opera and oratorio—in which latter he showing my affection for it), but as I in public. How,proud I was then to Majorca did not strengthen me, but out’’ those who are slower witted, or of my compositions was he felt was his due. One day, when was the first composer to introduce grew older I showed a taste which led be called a master of the pianoforte! more shy than the rest. The journey in black and white, able Hiller, Felix Mendelssohn and myself sent me back to Paris weaker than female choruses—and rapidly became es¬ my parents to place me under an excel¬ No student, but a master! I will quote when I left it. might be made starting from New York, to care for itself and go were sitting before a cafe on the Boule¬ tablished as a leading musician, despite lent master, Adalbert Zwyny. where there are one or two composers out into the world. to you from a letter I wrote to my vard des Italiens, we saw him approach¬ One of my diversions, either in my the fact that his star was dimmed by a to be mentioned, and many historic place me under a teacher of harmony and Nearly all of my energies and genius parents after my debut: “The sight of ing. A wicked spirit took possession of own salon or among my friends, was greater that of George Frederick Han¬ MY FIRST CONCERT. places of musical interest. Then comes composition. Accordingly Joseph Eisner I devoted to my favorite instrument the Viennese public did not at all ex¬ us and jumping up we surrounded him to give impersonations. I could so dis¬ del. He was instrumental in bringing I was already improvising. The melan¬ Italy with Naples, where Scarlatti was became nijt -instructor. I was fortunate the piano. I have written concertos cite me, and I sat down, pale as I was, with noisy friendliness, pulling him guise myself that no one would recog¬ forward his sister, Susanna Maria, who choly sounds of the Polish music seemed born, and Sicily, the birthplace of Bellini. both of them being excel- where the piano is accompanied by an at a wonderful instrument of Graff’s, at along with us and talking every moment. nize me. Sometimes I would go quietly eventually became Mrs. Cibber, the well- T ray brain, and many a waltz Further north is Rome, where Pales- , and thorough musicians. In orchestra, but I am always that time perhaps the best in Vienna. With ruffled dignity he fled, for nothing out of the room and return almost im¬ known tragic actress. Dr. Arne’s chief nazurka came stumbling from my baby ^cnt trina lived, and where St. Peter’s after years, when some of the Vienna pet instrument. When quite ymmg the Beside me I had a young man who could have vexed him more than being mediately as a stolid Englishman, or claim upon the present generation, apart cathedral remains, solid and immutable; down my fantasies, so this was occas- critics were surprised that I could have smallness of mv hands troubled m, turned the leaves for me in the varia¬ addressed by such a noisy company. else I came trotting in as a little hunch¬ from his florid announcement that back and sat down so to play. Once a Florence, the cradle of opera; Venice, so ionally done for me. When I was eight learned so much without ever having greatly. I could not handle chord- a. tions, and who prided himself on hav¬ After my first concert I became quite Britons _ never, never, never shall be Polish musician who was visiting me full of musical interest, and Milan, the years of age I played in a concert. Ah, studied outside of Warsaw, I replied to I wished. After much thinking I i,, ing rendered the same service to the rage. The newness of my style slaves,” is as the composer of those de¬ said that he must, while in Paris, hear modern operatic center of Italy. After how grand I felt. But my mind was them that "from Messrs. Zwyny and Els- vented a contrivance which I put be- HMoscheles, Hummel and Herz. Believe found some objectors, but the musical lightful settings of the Shakespearian Liszt, Pixis and other celebrated play¬ Italy conies Hungary, the fatherland of rather on the glories of my clothes than ner, even the greatest fool must learn tween my fingers and wore it night and me "'Hen I tell you that 1 played in circle was delighted, and again, as in Ijncs, Where the Bee Sucks, Under the ers. I said that he need not trouble Liszt; Vienna, the capital of Austria, on my music, for when on my return something.” M day, hoping thus to increase their in- a desperate mood; nevertheless the Warsaw, the aristocratic circle opened Greenwood Tree, Blow, Blow, Thou Win¬ perhaps the most interesting music from the concert, my mother asked me Until I was fifteen years of age I flexibility. But let no one follow variations 1 ,,,,, .1, that its doors to me. My playing always about that, and, getting up quickly, ter Winds, etc., songs of such sweetness center in the world. Each country may what the public had liked best, I replied studied at home with the pupils that, by am l I did not ini , ,y 1 .... , . . . inuih effect gave particular pleasure to the ladies. imitated each one in turn. The next and so nicely attuned to the spirit of the be visited in turn, until at last we return with enthusiasm: “O mamma, everybody this time my father took into his house, ^Tmight tin 1 hands. was called back several tunes 0 I lacked the physical strength for evening, if I remember rightly, while words as to render them immortal, his to America by way of Paris, the birth¬ was looking at my collar!” Possibly the but when I attained the dignity of v-aV to render lL b i ‘ n °nly ‘ '"W,sat,on 1 know only that it vigorous handling of the instrument, so in a box at the opera, I left the box songs The Lass with the Delicate 4ir place of Gounod, and the dwelling- collar did have something to do with it, fifteen, I entered the Warsaw Lyceum. ™J[J J _s ;flexiblc, and ";ls followed^ by .-torniy applause and my playing was dreamy, tender and for a moment and Pixis, coming in, sat and Polly Willis. Thomas'Arne was __but my debut was such a success that l Polish history and literature were rny tn.e, sa™e ,r"“5 jtjHjttstrong, is.I to practice many recalls.” down in my place. My friend, turning, place of Chopin, and London, so long poetic. not knighted as he probably would have ■“became™r* much. petted by the aristocracy■ - - *--•*-favorite studies. "-For a time----- TI workedm-lced steained to give a thorough foundation sell at $5.00 a copy, but because one, it delivered, and it will notbe billed ^ p]aying. These studies are of a time. The little book which Mr. *n CU„sical history- H is a “story text- dealer was over-stocked we are enabled TO stimulate a greater interest in musical composition and to de¬ or sent until that date. The aclva« lodic character and extremely pleas- Bloomfield has prepared is designed to Pook> prepared for permanent, “year to offer our readers this fine chance to velop the opportunities for gaining tages of early ordering can hardly be tQ play xhey will be out of the save you the trouble of wondering in an(^ yefr out” use. Although the enrich their musical libraries with this about this matter and experimenting !lon-essentials have been carefully elim- excellent standard work for $1.25, post- the widest possible publicity for the estimated. The best of service in the bindery before the next issue there- composer the publisher of this journal Studies in Embellish- We take pleas- The Quaker and the High- This new selection itself, promptness m the ae those desiring a copy would bet- with self-devised amusements. These inated- the history gives the names of paid if cash is sent. herewith announces an ments for the Piano- ure in announc- wayman. Cantata for ca mU a liverv are two important advantages. ^ procure them at the present time. games have all been tried, and you will over three hundred men and women_ forte. By A. Sartorio. ing this new Womens Voices. By Her- now in From the indications of the- summer advance price is only 20c postpaid find that this little book will pay for w*10 *lav.e Played an important part in 0p Q02. set of studies bert W. Wareing. prepara-on a business—and that is a very good means if ore- rigid. This has been caused by too •n • Knotty proDiems, togetner time an excellent short and concise en- I’mnoforte and Choral Class Work. These Glass Three—For the two best lurn the trill There are twelve stud- I , fore the next issue the work will be with the explanation ot many points cyclopedia of great mnsiVi-ms and S'°l'lis are bringing results everywhere, salon or parlor pieces for piano we much exercise of the right hand. The no, found Jn th«o.nt,Voi : *. ?r , 1 rauslclarls and con- Reference, etc., required. Address Head- ies in all, and they may be taken up Early Closing. The radius which it is so far along as to withdraw the special equilibrium will to a very large extent it found in theoretical works. structive mtisjcal events. There are Quarters. The Normal Institute * ” ' offer two prizes, as follows: good advantage by pupils’in the possible to cover by offer. All the manuscript is m t ie adjusted by just such volumes as The advance price during the over one hundred and fifty fine por- v“”'' First Prize, - $60.00 third and fourth grades. mail both' going and coming within hands o{ the typesetter, and only the this j ef( TJ.md' Recreation Volume, rent month. will, be -50c , -postpaid if cash tVaitstraits and muskalmusical illustrations!illustrations. 11 ItTIsIt has Second Prize, 40.00 The special introductory price on tlii« lumrs TI,.- immense mechanical work in connection with it j ( s about ' ) issue. The ad- o Pan‘m , t le, ,°Uer'. If charged' been prepared, with club use, as well »«««»««*, me secret or me new work during the current month radius covered by 48 hours is hardly bag to be done. The work has been J > price of this 5 20c post- postage will be additional. as class_ use and private use, in mind. ^ Shepard Svsmm^vertillment teaCherS' Class Four—For the best three will he 20c postpaid if cash accompa- believable. Promptness is one item of fulfy described in previous issues. piano pieces in dance form (waltz, paid. Psio musical history of its grade or type ——______■ business which given very name describes its character. There arc march, tarantelle, mazurka, polka, nies the order. If charged, Tone Stories for Girls An excellent Presents nearly so many advantages. the tausig hand expander, special attention. We d our best to very few works extant that analyzi o-s..i * . . ° aid to pianists n-- etc.) we offer the following prizes: will be addditional. New Gradus Ad Pamassum. The first and Boys to Play and imall o till all orders on the day they are re- pianoforte compositions. This is tin By Isidor Philipp. volume Sing. By Daniel Rowe, element First Prize, - $50.00 Studies in Florid Song. Thi ceived. In this early clos- second volume of this kind by Mr of *L :" Second Prize, 30.00 important part. Week- Perry, and it is devoted to pieces of a important work will be on the market teaching By F. W. Root. for the Kindergarten consists of a sec Editionsn . Reprinted- Our mechanical .. ... Third Prize, - 20.00 in prepara- e clos ; at 5 P. M., Saturdays ; about the time this i--m. the of entertaining little piano pieces which L,unnS July- department is al- v°ice culture, would chaperon .... lion is to be added'to the well-known t P. M. If our customers will time All those 1 copy of this bands of our subscribers. Therefore Glass Five—For the best four easy may also be sung. These pieces are . , ,ways busy dur- during^ simmer *month^ t*Referenced. series by F. W. Roof entitled “Tech- their mail this very necessary shorten- work as an advance subscriber t he special offer on this, one particular teaching pieces in any style, for pi¬ all in characteristis vein, each with an mg the summer reprinting special large dress Jt H- p > Etude. ano, we offer the following prizes: nic and Art of Singing.” The title ex- ing of hours during the hot weather procure it now at 75c. The work will volume. "Hands Together.'' is now appropriate title and text. The pieces editions of all of our more papular atAT liberty:Mberty.- SecondSec0nd bass for male plains itself. These studies have been will not be found to inconvenience any be sent postpaid to advance stibscrib- withdrawn. First Prize, - $40.00 are bright and snappy both as to words rorks, and this summer is by. no0 means ?“quartet.ai;tet Would consider eit:either touring or carefully selected from the works of one. We ask that Consideration. ers. The second volume is now in press, Second Prize, 30.00 and music. The music is engraved in exception. We are looking forward to perlLce&k’ Address BlW°n h 5 very prosperous fall and winter sea- DeL Oberlin. Ohio, Third Prize, - 20.00 V’anseron! Concone and Bordogni. Each Musical Casino. By The special ad- Summer New Music. Teachers f o 1- ad^a°"e ‘price'6namely1''xK^i 'ca'slTil our. special large note, making it es¬ Fourth Prize, 10.00 pecially suitable for very young chil- are making preparations number is in the style of an operatic Carl W. Grimm. vancc offer on lowing them ^ mt withw,th thetll<, 'order.rir,1~.,- TheTin- nextnfxt volumev„i,im3 aria or a florid song, and Mr. Root has this Major and profession during the summer months 1 dren. by laying in a very large stock of all flight Softly °FaBs.”CCSp^cial. mhenThe- will be “LEFT HAND TECHNIC.” The special introductory price for the °Uour edl,cati°nal works. Musicp oa _^discoimt. Washington -CONDITIONS- added much to the’value and interest Minor .game is withdrawn with the should not ignore one of the greatest All those who have procured the first of these studies by supplying appro- publication of this issue. The game is conveniences it is possible for them current month is 25c postpaid if cash The success of these works is phe- — Competitors must comply with volume can form an idea of the rest i-riate verses to be sung to each, in without doubt one of the best that Mr. receive. This is what this publishing! accompanies the order. If charged, nomenal> but we believe it is because stand. „ ... , the following conditions: addition to his able and very careful Grimm has published, and he has quite house terms Summer .Yew Musicit on(hi ot t'le work, and are in position to postage will be additional. they are Prepared carefully and intel- folder. ''Music StanddCo°r MasSul The contest is open to all com¬ editing and revision. The volume now a reputation as a maker of valuable, Sale, and we shall be pleased > send judSe for themselves whether they de- ligently. Nothing that will help in the St’’ Pr°vidence, R. 1. snapaug posers of every nationality. offered is for high voice. educational, musical games. The name these packages to any one wli n ,, . ,, . „ use of the work is allowed - The contest will close October 5 orders \ye will also make a supplementary 1st, 1910. The special introductory price during Musical Casino gives an idea of how them. They consist of about a dozen Dollars in Music. Every effort is be- by. offer. That is, we will send both works By George ing made to get this Several of our works enjoy the All entries must be addressed the current month will be 35c postpaid this is played. We should be pleased pieces of piano or vocal, or both, sent Try Bis on Your Piano r to ‘ ‘ The Etude Musical Prize Con¬ if cash accompanies the order. If to send .it on inspection to any one once a month. They furnish fresh for 40c, but we cannot send the first ' Bender- most excellent and unique distinction of having been imi- book at the advance price any longer. test, 1712 Chestnut Street, Phila¬ charged, po.-taee will lie additional vim so order- I lie retail 1 rice i- a- terial for teaching, and these packages necessary book out tated to a greater extent than any delphia, Pa., U. S. A. Games of this sort are very much in are intended to supplement our regular Studies for the Left Hand of is soon as we possibly can. The prin- other educational works ever published, All manuscripts must have the $500 Prize Offer for We again call demand. This particular one has been On Sale plan, which is without doubt gy Birkedal-Barfod the most cip e of the Theodore Presser Co.— We are reprinting at this moment following line written at the top Musical Compositions, attention tc ;otten out very attractively, and if the the greatest convenience ever offered ’ agreeable to publish the best edition regardless Mathews Standard Graded Course of of the first page : “For the Etude prize offer for success of Mr Grimm's other games, to the music teacher. A special cir- volumes of studies for the left'hand is ot the expense of preparation—has Studies; Czerny Studies edited by Emil JACOBSORCHESTRA MONTHLY Musical Prize Contest.” musical compositions, the complete Been illustrated in the making of this Liebling; History of Music, by Balt- The real name of the composer s Musical Dominoes, at a higher cular further explaining all of the above themie which e are here offering. As scheme for which will be found in price is any criterion, there will be no will besen^o^applicatio!^^^^^^^™,,,, , n ,, ,,,,,1 fll f u orlB‘nal manuscript was zell; Touch and Technic, by Dr. Wm. must not be mentioned upon the another column of this issue. Although dollbt as to the large success of this J o h's k w,1‘ aPP«ar °« !he marke‘ luslc Monthly manuscript. Choose a fictitious mu ot the good ideas of one man, but Mason; Standard Graded Compositions, the cadenza itablished 1894) the competition does not close until Vork Playtime and Storytime. This volume H. <>rc t,!ls ls "uti 11 1!> 'au'ut ore we permitted it to go to the a volume to each grade, price 50c each; name and write the same upon October 1st. many manuscripts have al- ' 12 Pieces for the Piano- is now in withdrawn from special offer. It may, nraslo for MAXDOLIX> your manuscript. Then write the Printers it was inspected and improved the two new Engelmann Albums; the real name and full address upon a ready been received. It is not neces- Recital Album for the This new col- forte. By Newton Swift, the hands of however, he had by any of our cus- y several experts. You get the bene- well-known Pianoforte Method, by sary to wait until near the close of Piano. lection now in the engraver tomers who desire it On Sale at the WALTER JACOBS, Publlshe slip of paper and enclose it in an Jmv , We stand the considerable Chas. W. Landon; Thirty Selected the competition to send in manuscripts, preparation is and only the mechanical work on it usua' price. envelope Seal the envelope, aamtional expense. If you want the Studies, by Stephen Heller; and last wnte only the fictitious name on but they vvill gladly be received at any one for which we have had many de- has to be done. The work itself is a This work is a set <>f studies for the s . compendium of business helps a and important a number of volumes the outside of the envelope, which time. After the prizes have been rnands in the past. It will consist of set of melodic and descriptive piano *eft hand °f an agreeable nature about a J Cun se.cure send in your order °f the Presser Collection. We have School of Piano Tuning must be sent with the manuscript awarded, all manuscripts not found pieces that are available for concert or pieces of a very easy grade. Some of 8rade 3 to 4 in the scale of to. Any Involvedcontrapuntal treatment available will be returned to the com- recital use, and which are not as dififi- the descriptive names of the pieces are h”!’’1 who lias had two years' practice 1 and buy for fifty, cents. We now 148 volumes in this collection; all T-l-n •- pract|ca| sJ,op ins(ruct;on posers. Any composer may,compete, cult as those contained in our success- as follows: “If I Were a Princess” w‘" be able to tak‘e «P the volume, hnnL- ltlake. ,ls sPecial price until the of the standard studies and collections tendance required. 18th Yea^ mnr ls‘ Published. It may be double or of pieces are included. The edition shouWebee’vdcted?edant*C and any composer may be represented ful volume entitled “Master Pieces for “Drummer Boy,” “Grandmc.ther,” “King Singers’ Repertoire. The special Ad- WE TEACH THE KIND OF TUNING THAT STAYS Piano compositions only will be 111 any or all classes. Compositions the Pianoforte. In the Recital Album, of the Winds and “Little Italian " i’ubli- chanC • n d°Uble after that' Your the best on the market. Both the price E- T. SCHEINERT considered in this competition. Do for piano solo only will lie considered the best modern and classic writers The music is quite descriptive, and ce is now. and the discount are, as usual, the best 2849 not send songs, organ pieces, violin offer this work is hereby lllhSt’ Philadelphia, Pa. and they must be original ill be represented. The pieces will some of the pieces are poetical. un,, given to the profession, pieces or orchestral works. withdrawn. The work retails for 50c. the Standard This new work by tiring; that is to say, compositions in be brilliant and effective, but they will The 12 pieces will be published i.. Advance orders have been delivered to 13tory of Music James Francis A Remarkable Those who agree with Kindergarten Music Method W°twr+lCti0n is pIaced uP°n ^ which not only the working out, but not go beyond the seventh grade and : volume, and they will be divided length of the compositions : subscribers. We should like every or Young Folks.” Cooke, the editor Tschaikowsky the frequently quoted the themes themselves are the com¬ many of them are easier, some as easy : “ * parts. The first part will be m,hn=L0^P0^n0nLwhich has been poser’s own. Variations or transcrip¬ as the fourth grade. At uc sir|ger to examine a copy of this work, of The Etude, is Biography. prediction that the music CORRESPONDEHCE linilRM published shall be eligible for a tions will not be considered. As the The special offer price during the time;o!!I sixm in each, SeCOnd part Story- and shall be pleased to send it on a w s° “ear completion that unless we of the future will come classes are varied and the prizes num¬ current month will be 30c postpaid if The advance price is stillUB selection wherever ordered, re subjected to unforeseen delays at from Russia will be glad to know that FOR TEACHERS force, At a retail price of 50c we have erous, we look for a large represen¬ cash accompanies the order. If and for 20c we will send the work gaVher^d‘together'35 of tH win bnn-ter'S and tbe binder’s, the book we are able to offer a very few of our tation in this competition. sarged, postage will be additional. postpaid. work gathered together 35 of the best songs n t r 'n °Ur readers’ hands before the readers an opportunity to secure copies ______S.l’.hStit publi,'hed *he on our catalogue, have printed them x tude is published. We desire to of the celebrated Newmarch biography 454 w- Bririghurs, st*

>n THE ETUDE when add. THE ETUDE 561

Learn Piano Tuning PROFESSIONAL DIRECTORY 1 aWoAHd,TlTanr I] WOMEN-CONSPICUOUS ARTISTS AND TEACHERS

“URH ^ budd nlTr^” CULLIS1SSSS5? DAYsTi>» si KINDERGARTEN DEVINE.LENADORIAS STORER ”J .-. „ .. | FjTra^TJlv^rZriZ INSTRUCTION BY MAIL '."KSSt GILBERT.HARMONY- -. ;SS'«t'K Ireland.hughey . KR0EGER*£5B3gr:, SHEPARD ’""ayglr-,.., ;i;Cs3Sr‘:'“‘;' “..."',l' NIONZEL SCHOOLS AND COLLEGES JS. p&fi MOULTON BARTEL^^^^E .. mm NICHOLS ^Saare.»~ PATTERSON ...... PETERSILEASS’Sts-, THE WORLD RENOWNED POTTER rgassL ncTfiniT CLAYTON F. SUMMY ROWLEY DETR0IT AND MUSIC for upwards trty y'afs f upward! l°htoy “sis: KNOrS-giEf £Ea±l=3£rS wJSSSS'.i.^SKMSrv.b t Coffee and Got Well. Si±Slpot^T!:“C LYON & HEALY’S STERNSDORFF' 5- Good PIANOS THAW^aBnasr_ BS!cadyUCatl°n SerleS’ ty CalVm f^llSSi-SSSa VEON Z“"hssa^SI" VIRGIL “c So." bF;s?e„Lis°“ !°r ,k‘ main0- ••From childhood up I had b«u a “■^cs-visisias-** *• ™ coffee and tea drinker and for the past “ Very First Lessons at the Piano,” 20 years I have been trying different by Mrs. Crosby Adams. LYON & HEALY, Dept. Z7165, CHICAGO ** Piano Technic for Children ” by The Comprehensive Scale •‘TS^3^-wA?r and Arpeggio Manual ''PrSfBHffiE„°' M"*” “r PIANO FRAUDS! Postuin and such a change there is >" “ Class Work in Music,” by Blanche me that I don’t feel like the same per¬ The Piano and Organ son. We all found Postum delicious Purchaser js^Guide Bm SSTj£?JBX"S> ‘^wSksSK: 3=«IrSHs.s lllll subscriptions to Tuu^Vf" all of mv trouble- are gone. I #» 'ages.utkYear. is cents by Mail, Pr .e mu-pie'(if^mHioinK^irnuhritwm?' nn’1 flcshy. my food a-iniilatcs. the pres- MUSIC TRADES CO. much‘anrv^8^ 't r,usU'- Thp' bloa seems sure the chest and palpitation are?' ee a e y the students. gone, my bowels SSHi CLAYTON F. SUMMY CO., Publishers gwS!»Hf£E»E 52ES1SS ZABEL BROTHERS “““.SSSr"- »2S^^?«apWSSgir5PiS i§S£ •'’* i:i‘SiP3E~ .MUSIC PRINTERS EMERSON PIANO C0.SS51 4SasgfS= high grade Grand and Upright Pianos. Catalog on request. AND engravers Ayp. r 2S5S.':z. 13 S.HJ5 560 HARRISON AVENUE, BOSTON Please mention THE ETUDE when addressing our advertisers--- THE ETUDE 563 THE ETUDE ANSWERS TO QUESTIONS

Edited by LOUIS C. ELSON

TESTED AND SUCCESSFUL ,neon?: about food. He says: '•Ueven4 * 1 havc always believed that the duty College of Music Complete School of Technic 'yplV ! treatin/the* 'sick^buj tha^t we owe it to FOR THE PIANOFORTE ilifisi By ISIDOR PHILIPP IlifJX" Bkssmss PRICE $1.50 ComDrehensive Exhaustive, Practical. The Last Word from a ARE YOU GOING TO STUDY SSgKgswa* A. ^Lootens gives a description of a Dutch Great Living Authority MUSIC IN THE EAST NEXT FALL?

M. PHILIPP is the leading professor of Piafnoforteo^>1®^"®;^ctg teacher ^ItoTlle

saBS*rSS‘l.E3rSaSSHSSS5?~ ssC^sasessfSiSspssss 0U ED 65^PACELYEARLBOOKAT'

lNTfRNAflONAl!AREPUTL AN° *r

Part without any request for it.” ss!!-,™ i Read the little book, “The Road to y be used in DAILY PRACTICE and si h- 'Vellville,” in pkgs. “There's a R» *DDRESS J- H. KEELER, manager IgTU bThe0nnaaiIsmea^ COMBS BROAD STREET CONSERVATORY OF MUSIC Theo. Presser Co., Publishers, Philadelphia, Pa. , true, and full of h THE ETUDE 565

THE ETUDE t that it was worth while to t 564 LATEST WESTERN SCHOOLS f eastern schools MAGAZINE BEETHOVEN CONSERVATORY New York as /t* / r SIX WfctKy LUUKst OF MUSIC of BARGAINS >6d for teachers SPeCiaH^e^“ * $2.00 MACAZIN^ FREE Handnmd, Illustr, OR LAD.ES- WORLD 1 worth, it is still true that a $F65 THE BROS. EPSTEIN. N. W. Cor. Taylor and Olive Sts., St. Louis, Ik P-esffrereby that he is interested in $3.00 MICHIGAN CONSERVATORY OF MUSIC $2°20 Aye, & Park St., DETROIT, MICH.FREDERIC L. A ■s-t ested in you and are ^ about you; $3.00 FALL t]| BM^OPE NS I*2ir9 To^ CRANE NORMAL THE NATIONAL This article has r INSTITUTE OF MUSIC THE*E?UDE )J$1°85 conservatory HARPER’S BAZAR . OR , nn faVv, sh.ll go .bom 1.1 £r”j the limit being me.s.ml 42.44 MINNEAPOLIS SCHOOL OF MUSIC mmm We have been asked only by the bottom of your pocket- Eighth si., s. ORATORY AND DRAMATIC ART real and relative—of circulars, loca‘ book. $2.00 y may appear on the surface— these Man is > £ ing up whatever of possibility the place questions.^ Employ o« rule usually suffers, be he musician or All with ETUDE lor * *4.30 K3 5sa*« *3.00 by the location elstanrding'“and terms^and your sobbed i n't heir work, and (after awhile) Is *2.30 Both with THE ETUDE J 53.30 object of all advertising’is publicity. volityi s Se^oungmusidan *4.00 25l*Vwhite?ertSr>Wndeoft teaching^ especially should (in fact, he must) seek 3E I! *3.05 a ^ a°lUthT time you must secure and maintain his own wares known. 52.50 E. M. BOWMAN THE VALUE OF PUBLIC / — JUSI your name aim me m.e -- i:52.00 at a point where every one in ^the com- pies 53.00 jnean publicity in the superlative degree, vise his services where there is the si: 52.00 ,,."..H designer j$2.25 ..tst^rr^'r^aasst. : as they must, and do, pay fo THE ETUDE )$1°80 L of MUSIC of SHENANDOAH COLLEGIATE INSTITUTE lights and janitor service. larger functions REVIEW ° s)$4.50 beconcise, and avoid using’ any s e are still many ™

y be gratis, ai —-- t tte eit^nffor yon. gpL.dld l,.,Hdl-^ ■„..lgl,.f,l ™e ETUDE S$3°00 - NewEngland essential for two reasons. First, it gives " V . rmah a

brings you, and secondly, because,h' 'T'-" of its *1g”o« E,.“™. d,"r( „ ,,. "Z .is.*.hat in Conservatory influence with the reading public. this way acquaintance of wid h -=r OF MUSIC

STANDARD COMPOSITIONS TOR THE PIANO vilSZSSU. VoLIV^Foi'rKd. Fol. VII—Seventh Grade

the etude 1712.Chestnut Street the etude THE ETUDE 567

| CHICAGO SCHOOLS

BUSH TEMPLE CONSERVATORY

The Columbia School of Music

SUMMER NORMAL June 20th to July 2 SPECIAL

American Conservatory KIMBALL HALL : = = = : : : CHICAGO, ILLINOIS

SUIVUVIER NORMAL SESSIOIV ^ucTtoreekTeLmsmmoXa7eLh ‘° JU'y 3°th' I9I°' Lectures and R<*itals by eminent artists

CHAUTAUQUA (N.Y.) . INSTITUTION MR. SHERWOOD’S EM 22nd Sumn

WALTER SPRY COSMOPOLITAN PIANO SCHOOL SCHOOL a of MUSIC Fine Art. Building, Chicago

fall Tern Opens Sepl.12,1910

”» m-. E'i?3I£mI* cb.1, a WESTERN CONSERVATORY STEINWAY HALL, CHICAGO Wit, Humor elementary Mr. SHERWOOD Solves and Anecdote PIANO STUDIES

There is a young optician in Plover who sings very well. The other mght he Doubt relieving studies lor the per¬ was making a call on aicoupic of sisters plexed teacher. For the beginner, up on Corona street, when he was asked this collection is ideal. Correctly practiced, these studies will esiablish a thorough command of the fingers The Problems to the piano. , f and hand. Studies and Pieces from “Your favorite song, said one of tli the works of Czerny, Kohler, Loes- chorn and other noted writers have gI“All right,” he replied. And then the been judiciously introduced. Pro¬ optician sat down and sang The Night gressively arranged throughout. In o books, each 80 cents. Has a Thousand Eyes ."-Denver Post. TWELVE INSTRUCTIVE PIECES Nu. 8185. Hr Arnold SaHoiIo “Don’t you think you could make some Valuable technical problems com¬ improvement in that orchestra. ey bined with those fancy-tickling mel¬ of Teachers could hardly hear my song last mght tor odies which app< al so strongly to the drum,” said the soubrette. young pianists. Suitable for the latter “Well,” replied the manager, with^ part of the second year Primarily intended to develop an instinct smile, “I might add another drum.’- for beautiful tone, dynamics, and Yonkers Statesman. touch—complete expression. A splendid volume at an exceptional ^HESE problems, and others that confront Chairman (at concert)—Ladies at price—75 cents. gentlemen: Miss Discordant will no FIRST VELOCITY STUDIES music teachers, are solved in Mr. William sing “Only Once More.” No. 1585. By Bern Horv.th Sarcastic Critic—Thank heavens for Though technical in character, H. Sherwood’s Correspondence Course COUHTRIGHT SYSTEM OF MUSICAL KINDERGARTEN KINDERGARTEN TRAINING that. . these studies are interesting. They 150 LENOX AVK., KillDCEPOKT, CONN. Chairman (coming forward again) aim to enliven the rhythmic sense. . of Normal Piano Lessons for Teachers, versity Credits, Graduates fully equipped to Ladies and gentlemen: Instead of singing Besides the original studies, many in¬ 1. How can I get more pupils? ventions by Cramer, Gurlitt, Spindler with questions and answers thereon. Catutog 4,Uaddress *Evi B. Whitmore, Supt. Chicago Free “Only Once More,” Miss Discordant will and other noted writers have been in¬ 2. How can I get more money for my Kindergarten Association, 0 £. Madison St., Chicago, 111. sing “For Ever and Ever.” cluded. As a preparation for the lessons ? This Course of Lessons embraces the Collapse of Sarcastic Critic. higher grades this assortment is un¬ surpassed. Price, $1.00. 3. Why do some teachers succeed better result of Mr. Sherwood’s 30 years’ successful ex¬ Critic (as the composer plays his last ETUDES MIGNONNES than others? piece)—Very fine, indeed! But what is No. 8886. My Paul Waohn perience as teacher and player. You can learn Fourteen short, smile-producing that passage which makes the cold chills 4. How can I raise my standard of teach¬ studies for students in the second from this Course, and apply in your own teaching, run down the back? year. While each study deals with a ing? MUSICAL KINDERGARTEN METHOD Composer—That is where the wanderer specific technical problem, the com¬ the secret of this success which enables Mr. Sher¬ For the Nursery and the Class Room has the hotel bill brought to him. poser has most deftly clothed his 5. How can I keep the Interest of beginners? material with sparkling little mel¬ wood to have crowded classes at $8.00 per lesson. Especially Designed for the Use of Mothers and Music Teachers odies that ring of joy and humor. 6. How can I teach them Interpretation? “How did you enjoy the recital ? ” asked By DANIEL BATCHELLOR and CHAS. W. LANDON This volume will appeal particularly This course will also teach you how to perfect Mrs. Fleete of Mrs. Neuroxe. to those pupils who shun technic in 7. What is the best way of teaching Sight F*rlce, SI.SO “Fine,” said Mrs. Neuroxe; “the valise the abstract. Send to-day for this Reading to beginners ? your own playing by combining relaxation and rheumatic was superb, as were the sym¬ unique collection. Price but 75 cents. rrHIS is the fim complete Mogcri pathy solo and the study in a flat. And I TWENTY SHORT EXERCISES 8. Should all beginners be given the same control so as to enable you to economize in could have listened to the chopping ballad exercises and treatment? forever.”—Brooklyn Life. A treatise that takes cognizance of strength, thus making your playing of the great the simple fact that the piano is 9. What Teaching Pieces shall I use ? played with two hands—a fact fre¬ masterpieces comparatively easy. “What sort of a time did you have i quently overlooked. These exercises 10. What is the. best way to teach Time and the musicale?” can be studied during the latter part The complete Normal Course includes also a “It was rather disconnected,” replied of the first year with great benefit. Rhythm ? Theodore Presser Co., 1712 Chestnut St., Philadelphia Miss Cayenne. “Whenever I got inter¬ Advisory comments as to how to 11. How can I teach my pupils to Memorize? course of lessons in HARMONY, COMPOSI¬ ested in the conversation the music would practice—a valuable feature—have start, and whenever I got interested been added by the editor. Price, 80c. 12. How can I teach the proper use of the TION and COUNTERPOINT by Adolph Rosen- the music somebody would begin to talk.” SHORT MELODIOUS STUDIES Damper Pedal? —Washington Star. No. 4848. My I.udwls Kchytto becker and Daniel Protheroe, which is especially These studies introduce in a clever manner,though simply, double notes, 13. What special physical exercises develop useful to the many teachers who are deficient in NEW MANUAL brings the Burrowes Teacher—“Johnny, can you tell repeated notes, and chords. Both good technic and tone ? Course of Music Study absolutely abreast great crime Nero was guilty of?” legato and staccato touches are Harmony. No teacher should be without this of the year 1910 Johnny—“Yes’m. He played the fiddle. treated; in some studies the hands 14. What is the secret of successful music course. use either touch simultaneously, and teaching ? NEW MANUAL contains many additions in others, separately. The technical, to the study-scheme, leads into more ad¬ Pastor—And now, dearly beloved, the pleasing, and the interesting are 15. How can I best prepare to teach? would like to say that the choir will no cleverly combined. Price, 60 cents. MANUAL the vanced fields, gives fuller uses for the drills and appliances more recently added to the render a number which is in very close STUDIES AND STUDY PIECES Etc., etc., etc. harmony, and I will request the gentle¬ No. ®T81. My A. 8.1,n...II Diploma Granted method man in the corner who is snoring In three books, these Studies and Pieces supply an abundance of ma¬ NEW MANUAL makes the Burrowes change to the key of G, in order to pi BURROWES vent discord. terial tending to awaken an apprecia¬ Course of Music Study the newest, most tion of artistic piano-playing. The complete, most up-to-date vehicle for kin¬ pupil completing this course—but FREE SAMPLE LESSONS. If you write at once, indicating an interest Gentleman (looking for rooms)—Did moderately di Hi c u It— w i 11 have * dergarten and primary instruction now before in knowing more about these lessons, we will send you, free, answers to the COURSES the public. The Burrowes Course of 1910 you say a music teacher occupies the acquired, unconsciously, a well de¬ -t- veloped technical equipment and is the Burrowes Course of 1895, but en¬ next apartment? That cannot be very above questions, also free sample lessons, and our beautiful illustrated catalog pleasant. sense of the beautiful, by reason of larged, improved and clad anew in the best the concrete form in which these Landlady (eagerly)—Oh, that’s nothing. containing much valuable musical information, including a musical dictionary’ thought of the present day studies have been written. Edited by I MUSIC He has eleven children, and they make so E. R. Kroeger. Books 1, II, III, each, I NEW MANUAL should command the much noise you can’t hear the piano. $1.00. attention of all teachers interested in kin¬ Take advantage of our large discounts to teachers la A few Partial Scholarships still available, if you apply at once 0 t>U sending for these studies. Examination costs now- dergarten and primary instruction, and all Wife—What are you so absorbed i STUDY George ? i may save much. Send today. such are requested "to communicate with Husband (with magazine)—A fine KINDERGARTEN the authoress. Illustrated Booklet sent free. article about the magnetic pole. THEO. PRESSER CO. AND Wife (triumphantly)—Actually? Why, 1712 Chestnut Street to hear you men talk you’d think ’twas PRIMARY PHILADELPHIA, PA. Siegel-Myers School of Music c8H™0TTVIZc,s only foolish women who are interested “ Paderewski!—Providence Tribune. ention THE ETUDE when addressing our advertisers. NOW READY-3. HANDS TOGETHER Important to All Pianists and Students

NEW By - , . wide experience in Voice Culture A work suiting from Oie au h of more than thirty years In fo, i of a “GRADUS AD PARNASSUM” Europe and America during a pe^ ^ covering th.s ground. graded coarse. The only sy IN EIGHT BOOKS irse. The only sy vau, and Mu.ic.1 Phra«j in developing Ihe /. Methodical^Sight Singing. Op. 2^ vo.ce^d control of n for fi-sheU By ISIDOR PHILIPP ProSSaiveMuScianship so y fwelve Analytical Studies. .,.,,1 fundamental re- r>„ 5>/).-- fl In this unique work each separate department of technic is considered $1.0 anged that pupils by itself, all the studies bearing upon any particular technical point being Music Reading. ■ 1 m'Aa/J tonether and affanned in looicfll and proQrcssivc order, i roceedinQ practice alone ^tj ji^this manner each subject is treated exhaustively in a separate part. The VoiceCulture. main points thus covered are : ' Op. 22 - $1.0

«71" irarstt.. clatlficTtions A student completing any one 5 these will have fought that particular subject to a finish and have imbibed the ripest and best ideas on

SSmSI jTEk■ J |L type. He K„ engaged D^nci8toaidLfTmVa“1reing Modes. Inter- in the task with devotion and enthusiasm, q Each classification will be published as a separate Part.

ADVANCE OF PUBLICATION OFFER

We will send 1. Left Hand Technic, when published, for only 20 c

THEODORE PRESSER CO., Publishers Theo. Presser Co. ^nocT,,,, 1712 Chestnut Street, Philadelphia, Pa.

A Rich Red-Brown Color Will you need a new That is one of the distinguishing characteristics of piano in the fall?

Then now is the time to give BAKER’S the subject the careful attention it deserves. First among America’s Breakfast Cocoa favorite makes are made from beans of the best quality scientifically blended IVERS & POND

When the cocoa powder is so dark as to appear almost black it is a sure sign that it PIANOS has been artificially colored, or that it was Our new catalogue picturing and made from imperfectly cleansed beans of a describing the advance models for The Florentine Grand. poor quality. 1910-1911, sent free on request. The genuine Baker product is ground to Write for rssfears an extraordinary fineness so that the particles as mailed free. remain in even suspension and form a smooth paste—the only legitimate way of treating it Ivers & Pond Pianos without changing the natural color or impair- are sold by reliable piano houses throughout . ing the nutritive qualities the United States, but if we have no dealer near you, we can supply you direct from our _ A handsomely illustrated recipe booklet for extensive Boston store. Any piano you order Registered U. S. Pat. Office making candies, cakes, drinks, etc., sent free by a strikingly attractive case desfgn that w'" be personally selected and shipped under astes^MuskaUy^aini MnocturaiiyTt'rep- guarantee of entire satisfaction. Attractive H?i'd'nghe lllost advanced 'i1!® “f piano- systems of periodical payments. Write us. WALTER BAKER & CO. Ltd. Established 1780 DORCHESTER, MASS. IVERS & POND PIANO COMPANY, 141 Boylston Street, Boston.

been established 60 YEARS Bv our system of payments takeyofdninctln moderate circumstances can vn a vose piano. We ver the new piano in your T v w_vose & sois D and explanations. vose pianosvose 6 SONS PIANO CO.. Boston. *"