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

2-1-1910 Volume 28, Number 02 (February 1910) James Francis Cooke

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Nocturne. Op. 16, No. ^ ' Morris Dance (4 hands).. li Vais.. Briiliinte. Forget-Me-Not .. i Loving Glances . Three Themes from Schubert. I The Bumble Bee..Vhc " The Barber of Bagdad..1 Marching Home.S. V Sweet Souvenir (Violin and Piano\ ^ Pean Triomphale 11’i”e Orean)... ,\ ( But the Lord is Mindful of His Own'v For Love's Sweet Sake (Vocal).R. Mj

' ~ *.. ‘WHENCE YA ore Presser Publisher Philadelphia, Pa. modern piano technics TO OUR READERS

A MONTHLY JOURNAL FOR THE MUSICIAN, THE Don’t forget to introduce THE ETUDE to those who should have it regularly, we MUSIC STUDENT, AND ALL MUSIC LOVERS. will reward you well for your efforts. Edited by JAMES FRANCIS COOKB If weather conditions prevent working outdoors, make an effort through the mails. Subscription, *1.50 per year. SinRle Copies, 15 Cents. Many of our most successful representatives secure a large number of subscriptions each Csuadliiu I'ONluge,25cenIs. Foreign Postage,72cents. season by mailing letters soliciting subscriptions. Liberal premiums and cash deductions are allowed for ob¬ taining subscriptions. Try the method of sending a short, well-worded letter to likely subscribers. Write and tell us to whom you have written and we will supplement your work by sending a sample copy. Remittances- should- - • be^ made by post-office- oreg - ; alwa gerouB, and v A GIFT DISCONTINUANi USEFUL AND ORNAMENTAL MISSION MANTEL CLOCK RENEWAL.—No receipt the wrapper of the This guaranteed timekeeper given absolutely free i Is paid up, which s to anyone who will send us six yearly subscriptions MANUSCRIPTS.—All manuscripts Intended for public to THE ETUDE at regular price. tion should the addressed lo THE ETUDE, 17 Chestnut Street, and should be written on one si No better timekeeper made, no matter what you of the sheet only. Contributions on topics co nected with music-teaching and music-study a paid. The case is of solid oak, finished in Mis¬ solicited. Those that are not available will be re¬ turned. sion or Flemish Oak. It is fitted with a guar¬ ADVERTISING RATES will be sent on applicntlon. anteed eight-day strike movement, striking the Forms close on 10th of each month for the suc¬ ceeding month’s Issue. hour on a rich cathedral gong and the half hour on THEODORE PRESSED, a separate cup-bell. It was selected from over three 1712 Chestnut St., Philadelphia, Pa. Entered at Philadelphia P. O. as Second-class Matter. hundred designs as the most genteel and most ser¬ Copyright, 1910, by Theodore Presser Co. viceable clock we could offer. Sent by express, charges not prepaid. If you have not one of our late catalogues of pre¬ CONTENTS miums of Watches, Jewelry, Furniture, etc., etc., send “THE ETUDE”—February, 1910. dies wide x 1154 inches high. a for “ free COpy’ Editorial . 1 European Musical Opinion.Arthur Elson f Methods of the Paris Conservatoire. Moritz Mqazkowski £ EASTER. OFFER Haydn and the Sonata and Symphony, OF POPULAR FASHION MAGAZINES AT REDUCED PRICES James Francis Cooke £ The Story of Pepita Arriola, Told by Himself. £ If you would be up-to-date and posted on fashions and the changes in Style of Woman's Dress, Prodigies and the Gift of Music. .11. T. Finch £ Three Notes Against Two Contest. £ you should read one or more of the following well-known magazines. We are prepared to fill your Gallery of Musical Celebrities. £ orders for any or all of them in conjunction with your ETUDE subscription at a considerable saving What is Expression in Music?... .Louis Elson t to you. Our Making Your Music Really Valuable, Value Price Mrs. Gustav L. Becker 1 Culture of the Great Masters... .Oscar Gauer ! Delineator, illustrating the celebrated Butterick Patterns.with Etude, $2.50 $2.20 How to Retain Repose in Music Study, Designer, illustrating the famous Standard Patterns. “ “ 2.25 1.80 Harriette Brower 1 Dressmaking at Home, illustrating the popular May Manton Patterns . “ “ 2.50 2.00 Some Theory Questions Answered, Good Housekeeping with Patterns of its own. “ “ 2.75 2.25 Marti G. Evans '. Selecting Pieces for Study. ! Harper’s Bazar with Patterns of its own. “ “ 2.75 2.25 McCall’s Magazine, illustrating McCall's Patterns. “ “ 2.00 1.65 Some Uses for Old Music.Alice May Raymond '. New Idea Woman’s Magazine, illustrating New Idea Patterns. “ “ 2.00 1.65 Great Italian Masters for the Piano. J. de Zielinski '. Paris Modes, illustrating its own patterns. “ “ 2.00 1.65 The Music Teachers’ Business Letters, Pictorial Review, illustrating its own patterns. “ “ 2.50 2.00 Geo. C. Bender ! Woman’s Home Companion, illustrating its own patterns. “ “ 3.00 2.20 Three Famous Marches. Edward Baxter Perry '. Teaching All Alike.Thomas J. Lennon ! All of these magazines contain in addition an abundance of literature and information upon Educational Helps on Etude Music, subjects of value to women. P. W. Orem ! Have you had a copy of our magazine Bargain Catalogue for 1910 ? It’s free for the ask¬ Teachers’ Round Table.N. J. Corey 11 ing. See our money-saving offers. We duplicate the offer of any reputable publisher or How to Get the Most Out of Practice, Laura Remick Copy 1! subscription agency. A Physiologist’s Comments on Piano Playing. 1: Club Department. 1; Voice Department . li Organ Department. 1! HOUSEHOLD NECESSITY Violin Department.Robert Braine 11 Children's Department.C. A. Browne li PATENT TENSION SPRING SHEARS Publishers’ Notes. l: World of Music. 1: What Others Say. 1: Answers to Questions. 1: Recital Programs . i< Old Traditions and New Ideas. Hark Hambourn 1 Suggestions to Concert Goers. Edith E. Farnsworth 1- Mirth and Music. 1. MUSIC. Nocturne. Op. 16, No. 2.Geo. A. Burdett ! Morris Dance (4 hands).F. P. Atherton 1' Valse Rrillante.T. D. Williams li Morning Song.F. Boscovitz 1 , ^ F™®* 'JT'Provement over the old-fashioned kind. The patent tension spring device keeps them Forget-Me-Not .P. Rohrieht 1' sharp.. The blades can be .so 1 adjusted as to cut anything from the thinnest fabric to heavyheavv woolenwoolen. Loving Glances .B. Lindner 1 Three Themes from Schubert. 1 A pair of shears the size of these would cost at least one dollar in stores. We will send a pair The Bumble Bee.Chas. IAndsay 1 postpaid, free to anyone sending 11s only two yearly subscriptions to THE ETUDE at regular rates’ The Barber of Bagdad.H. J. Stnrer 1 offerer wir n° f^^able article for home, office or studio use than the pair 01 shears Marching Home.S. Steinheimer 1 offered. We know they will please, hence this offer. Sweet Souvenir (Violin and Piano).R. Ferbcr 1 Pean Triomphale (Pine Orcan).F. Lacey 1 But the Lord is Mindful of His Own (Vocal), Send all remittances to T. Lieurance 1 For Love’s Sweet Sake (Vocal).R. M. Stults 1 THE ETUDE, 1712 Chestnut St., Philadelphia, Pa. 74 THE ETUDE THE ETUDE

ZIEGFELD PIANO “The House That Helps the Ti TECHNICS THF FTIIflF SUBSCRIPTION OFFERS THE BOSTON MUSIC COMPANY MMER) By DR. F. ZIEGFELD 1 I1L L 1 UHL. WITH SELECTED MAGAZINES The book holds in compact form all that need be taught to insure that train¬ Comprising the best Journals devoted to Music, Fashions, World’s Events, Out-Door Interests, Etc. ing of the hand essential to an early and easy virtuosity. The book pro¬ NEW COMPOSITIONS FOR THE PIANOFORTE vides for the necessary fundamental work, and embraces all that is needed for the gymnastics of the fingers and essential to a thorough training and control of the hand. The plates and illustrations, which have been prepared with unusual care, illustrate the p- JlrJXL; Bound in Flexible Cloth. Price, $1.50 The Child’s First Grade By BLANCHE D1NGLEV MATHEWS and W. S. B. MATHEWS A primary book of piano principles and practices which is intended to help the busy teacher and aid the child. It has been prepared to meet the demand of modern methods, by leading the child by the shortest practicable road w AC • • • to keyboard fluency, musical feeling and musical intelligence. Price, $1.00 Left Hand Etudes e lower pa By AUGUST W- HOFFMANN reble Clefs. CARSE TECHNIC FOR PIANOFORTE The unusual way in which results By Herbert E. Carse are reached largely enhances the value An authority and text-book for students and teachers. of the exercises and awakens a lively Finger, hand and arm position, and .troke. interest in piano study. The studies ILLUSTRATED BY PHOTOGRAPHS and accurately Field, Dickens and many others. described. Endorsed by many of the greatest concert are eminently useful and practical, and Beautifully bound in full buckram, with fitting pianists. Price $2.00 postpaid to any address will prove acceptable indeed, as there illustrations by Dixie Selden. Price, $1.00 CARSE TECHNIC PUB. CO., Los Angeles, Cal. ar®, so few left hand studies of the middle grade. OUR CATALOGUE CONTAINS MANY HELPS TO A cardinal feature of the “Hoffmann THE TEACHER AND STUDENT. | SEE “THE ETUDE” PREMIUM LIST ON THIRD COVER PAOE Ijeft Hand Studies” is that they are **~C0MPLETE CATALOGUES ON APPLICATION Two Books, Price Each, 75c THE QUICKEST MAIL ORDER MUSIC SUPPLY HOUSE Successful Studies for Children By JESSIE L. GAYNOR Theodore Presser Melody Pictures, 60c Miniature Melodies, 60c First Pedal Studies, 50c For Everything in Music The purpose of these widely used Don’t Wony A bout Results! oooks is to supply teachers with first TWENTY-FIVE YEARS AGO, as a sequel to books of instruction by which children If you are in search for an operetta may be successfully taught to play the the foundation of The Etude (then only a journal for for piajio.piano, Theme plan is to give the youngest piaro teachers), the publishing house of Theo. Presser Amateur Dramatic Organizations rfPrhythnmimanddiaaLe a^to'p'lay was founded to furnish practical teaching material in con¬ formity with the suggestions and advice of the journal. Normal- or High-School Classes Famous Practical select either NEW PUBLICATIONS have been issued continually—ever Piano Studies SPECIAL “ETUDE” abreast of the times—adapted to all modern educational demands, “SYLVIA” OFFER carefully edited and annotated by the foremost teachers of the day, New, collections and°—it all of the n helpful character. "A NAUTICAL KNOT” both by THE LIST OF TITLES S<> ** P"Ce' D"rabIy PROMPTNESS. A stock, second to none, drawn from every quarter of the world, linked with a corps of efficient and trained w. RHYS-HERBERT workers, means the correct filling of an order on the day of its receipt, AND SUCCESS WILL BE YOURS. whether for one piece of music o'r the stocking of a music store. ^ Both works are written in 2 acts with piano ECONOMY means not only the giving of the largest dis¬ SATISF ACTION. No doubt the greatest factor in the counts possible and the most favorable terms, but, mark cnun, P^u^nperett^^ublished in this you, fair retail prices as well. Our best endeavors are de¬ success of any business is the personal confidence en¬ successes haseVer e")0yed S° phen0menal a voted to the teacher’s interests, saving time, thought gendered by fair and helpful dealings. No less than “SYLVIA.” labor, giving the greatest value for the least outlay. 25,000 accounts are on our books, denoting satisfaction m our publications and satisfaction in our service. certI?nly5arPeecorranCeS SlnCe Dec” '906' is THIS. ,BUSINESS . founded.. , 3n the above principles has grown to be the largest mail order music After “Sylvia” ipply house in the wor d and is now established in a permanent home, six stories in height 44x^0 ith anxi annex-all carefully planned and thorouehlvthoroughly equippedenninnrH to attend the wants “f "eignr, 44 x 150, “A NAUTICAL KNOT.” Every Teacher, School and Conservatory in the United Stoles and Canada wm° ec^mmemf itself) *° praTse this work’ » EXAM'NE THE VOCAL SUCRE AND INFORMATION AND CATALOGUES on any subject in music free- the On ^ale nlan fr>no f • • YOUR SELECTION IS MADE. nal and helpful ideas to aid the teacher) is very liberal; our New Music Idea Dlease

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ASTERN & CO., Publist easter mdsic HAVE YOU HEARD IT? The New “ FESTIVAL ORATORIO ” JCTION BOOK ‘ THE PIANO FOR THE PIANOFORTE SENT ON APPROVAL gilsss by Price. $1.00 SACRED DUETS Bleh£S:r,g-; ISIDOR PHILIPP Sheet Music S.ze MUSIC YOU WANT Price, 81.50 Will You Come. (Alto and Tenor.) Bird .60 c. A compendium £ modem technic, by a ““ ^ by nAn uom •eat contempora.., __ vau(luowtcexhaustive J~ 1 details, including all forms of finger Watchman, Tell Us of the Night. Brackett .60 -.cercises, scales, chords and arpeggios, (Soprano and Tenor.) double notes, octaves, trills, tremolo, gliss- ando and bravura. All the exercises are Love Divine All Love Excelling. .50 CHNICAL EXERCISES carried out in full through all keys and Qeihel are treated in a variety of rhythms. Co¬ (Soprano and Alto.) 6 En THE ETUDE when 78 THE ETUDE

Some Tools of Special Value to the Piano Teacher Liza Lehmann’: Perhaps the l_ft bothersome„ duty falling upon the teacher of l__ t ‘It is a of teaching material. To find ... ♦hofP.-!?ati,0ins jHst the studies and pieces h,m.,tr accomplish his pur- proportioi^ the PUPl1 “ * task of no 6ma11 LATEST Too often he finds 1 r dig * SONG CYCLES ?mpts tc teach technique

SSjE® d“ «Sa puhllSuot1 which*** is ^effective Jj “BRETON STEINWAY sjrLSd T ^remtte?Uihntd °t£ ^ttfMn*£SL^a too,s wdl —that says everything9’ furnish splendid material for de- FOLKSONGS”! " - singing l tonTj and Tit’ I THE WORDS BY sentiais wh£h ?verv''p“?TO'tearfw is'Lrn" striving to deve]op in hta pupH8. A I FRANCES M. COSTLING S? 80 Perfectly combining a . 'S'ue with dis- I. Quartet, “Sir Fanch and the Fairy.” The Steinway Piano is '1 well adapted to tl 2 Contralto Solo, “1 Dreamt My represented in 250 prin¬ The strength of our edu¬ Love was Singing.” infinitely greater than any composer the university 5ff» SM8H. n cations, our wills, our tal¬ WHEN had ever produced. No matter how many inches of 3. Tenor Solo, “ The Ruby Neck- I ’ cipal cities of the world ents, our abilities, our char¬ alphabet might have been tacked on to Haydn’s ■.to .teach these studies of beers, lace.” THE AND GOWNS academic"distinctions in Eng- mrnr m , • “I'*' they ‘o the dcvelop- acters, is never truly tested name, his greatness as a composer was not enhanced. 2™,°! r -sen minting touch, a fine sense EMERGENCY until some great emergency FOR SALE land, and at the same time teach. ’L*nd ?-1lstic Phrasing that the 4. Trio (Sop., Ten., and Bass) “The Our own Edward MacDowell received his degree teacht. who, realizing their purpose uses comes and places us upon we gave an idea of how them to accomplish this end is invariably Nightingale.” COMES from Princeton University, which had no music de¬ our own resources. Great many people in England had fre aseeff(£,-J.1 the rcsulte. stained. They 5. Contralto Solo, No Candle was I been made victims by un¬ partment of any kind. Just why such a distinction fill,-™ , t,v? as * Keen-edged axe is to the emergencies must come to elhng of a tree. And so varied are they There and No Fire.” scrupulous American “Uni¬ should have been thus awarded is difficult to tell. all of us and it is part of our STEINWAY & SONS, versities” which made a busi¬ The Musical News, of London, in denouncing easily 6. Quartet, “The Spinning Wheel.” life work to fortify ourselves acquired American degrees, says: “Since 1897 some interesting New York Showrooms, Steinway Hall, ness of selling degrees, as 7. Soprano Solo, “L’Ankou” (The I to meet them bravely, cheer- well as an expose of several English music schools 2,500 American Ph.D.’s have been created. It has Death Cart). 107 and 109 E. 14fh St. fully and sucessfully. One of the peculiar condi¬ which had victimized the English public in a manner been said that no Frenchman who wears a decent tions of American life is that our daughters of not altogether dissimilar. The article was based coat can hope to escape the Legion of Honor, but a 8. Bass Solo. “King Gralons Nos. 3346-33*7. Grades I to III Fortune are often placed in a penniless position upon information secured from a little book picked formidable rival to the universality of this will soon Daughter.” Selected Studies from A.*• LoesclihornLUCSUIIIUI without warning. Thousands of women who have up in a London book shop. As far as we could see, be the American Ph.D., if such an alarming rate of Edited and Graded by Ja*. H. Roger. 9. Quartet, “St. Peter’s Night." Subway Express Station at the Door. always looked forward to comfort and even af¬ the English victims had been imposed upon quite as creation is maintained.” Our English friends should In the™e composer’scomposer s mind, 1technical effects fluence, never suspecting that the gaunt, ferocious, frequently by English swindlers as by American know that this condition is largely due to the gospel stood first, vet each study larked impostors. musical worth, pleasing and practical. The Price, $1.50 Net, Complete I terrorizing wolf of Poverty would ever come to of “proven worth,” which leads Americans to dis¬ “lectionsselections are sishort and eac In late years in America we have come to learn -h stands for a their thresholds, have in a few hours been brought credit the degrees of all institutions until the evi¬ ^honf11^1 “ “» musical purpose.purpt the uselessness of the degree under our present KSSrJPakei a,valuable supplement to realize that they must open the door and fight dences of real victory in the battle of life have become BOTH OP THESE CYCLES system of educational regulation. A degree honestly evident. ^X‘ehn«l WILL BE USED ON THE single-handed in the most terrible battle of life. won is no more nor less than a certificate that the vssg.i^s LEHMANN TOUR The man who has been the money earner is sud¬ one possessing it has been through a certain amount Important to All Pianists and Students denly taken away. The wife discovers that the of intellectual exercise and has satisfied some body Few classes of professional THE FIRST STUDY OF BACH savings amount to little more than a few dollars of teachers that he has comprehended what has been BURNING men live as long as musi¬ introductory to the “Little Preludes cians, yet how often do we to tide her over until she can secure more money. studied. The value of the degree depends upon the THE Selected and Edited by Maurlt. Leefson meet musicians who, at the She has two courses from which to choose— importance and eminence of the body of teachers CANDLE AT age of forty-five, are veritable umTehwm be X>rn£Iyi,attr,ftive ,ittk vol- Four “Work” or “Charity.” “Charity” is unthinkable. conferring it. There the whole matter stops. NEW BOTH ENDS old men! The steamship rS'S™* She can not sit down and whine about the culpa¬ A degree in no way indicates the worth of the sys/s f . *'-as man It is simply the trademark of the educational without fuel, without masts, MELTS, ? ssjvSSJ'TS‘-Vi bility of the husband who failed to provide for 99 mill he has passed through. We have known many without rudder, floating in Sfc^?S3S&Si Cautionary Tales her future. Probably his means and time had not graduates of the foremost universities of Europe and the middle of a great ocean, (AND A MORAL) ‘GRADUS AD FARNASSUM made proper provision possible. Her only course of America who have been no more or less than edu- is in no worse condition than 'venteen selections ci— *•- is work, and work she must. cated fools. A story is told of the Buffalo politician. the teacher who, at the age studied even during the second grade. THE WORDS BY Can we ever find words to describe the cour¬ Fmgy” Connors, who, when assured that he would when he should be at his prime, finds himself with¬ easily available during the By ISIDOR--- PHILIPPrxiiwri' out the physical strength or nervous energy to navi¬ ie book, therefore, fill. „ H. BELLOC age, the bravery of the hundreds of women who need a college education to get into gobd society, said: What good is a college education? I can buy gate through the most difficult years of his life. are now fighting the great battle—women with Some students break down from overwork when 1. REBECCA (who slammed doors by souls scarred and seared with grief, who are forced them kind of fellows for ten dollars a week.” This m very near to the American conception of the value hardly out of their teens. Prof, Munsterberg, of Har- ior fun and perished miserably). together and arranged in logical and pr^lU^order V ^ classified to take care of themselves and often families of SELECTED “CZERNY” STUDIES of the degree. If a man can show real worth, the vard, tells us that we must rely solely upon sleep, manner each subject is treated exhaust velv n ! d Proceeding in this children. When the emergency comes, the woman Revised. Edited and Fingered with r„„i 2. JIM (who ran away from his nurse points thus covered are : Vely in a separate part. The main genuine fruits of an education that has been a real rest and fresh air to restore our nervous energy. Annotations by Emil Llebling turns to that which she knows best to secure an Mr. Thomas Tapper, whose work in musical educa- In Three Books Price, P0 & t E . and was eaten by a lion). education and not simply the mark of musty aca¬ income. Thousands turn to music and give music demic erudition, we don’t care how many degrees he hon is well known to our readers, has sent us the 3. MATILDA (who told Iies*and w““ lessons. With grim necessity facing them they pleases to indulge himself in. In other words, to the following Word of Advice, ” which is by the presi¬ The nianiatiepianistic world returning to Czerny was burned to death). often work so hard and so successfully that their great body of sensible Americans the possession of a dent of an Indiana university, and we urge our read¬ ers, young and old, to read it and profit by it It 4’ RlX *>INP (who chewed | «*UTKT, I,• 1 , 68 Various Difficulties lessons in some cases are superior to those of degree means absolutely nothing unless its owner little bits of string and was early Til 1 he entire literature rS _«.• i teachers who have never known the meaning of tf°Ve"uine fitness. It makes no difference whether the degree or distinction comes from Ox¬ S’!:“ .Vrihifr*1, bn‘,ou wiu find Mr. Liebling’s 'editorialAJivuruu worK has bppn cut off m dreadful agonies). want. We have known personally of many, many a ^STd£id °,„m“«hl,3 b“" rb““clfd»«*r ford, Heidelberg, Dublin, Harvard, the Paris Con¬ 1. Fatigue attacks first the nerve-centers. Nerve- A student completing any one of these will have U U?Lab°Ve classifi«tions. women who have developed into most excellent servatory, or the “Great International University 5’ CFORTEsrnpAV^USTUS teachers under the pressure of necessity. It gives nerve-cells.UnW6anable; muscIes lo«g outlast the FORTESCUE (who always 1° .a.fin,Sh “d haVC imbJbed “>e ripest 2 beTide^ Sub^ Conservatory and Kindergarten, of Noname, Ari- did what was right and so ac¬ us joy to have an opportunity to congratulate good.” He mUSt’ m American Parlance, “make the' nLve?PHiSh tL°-,piCt,Ure What is takinS P^e in cumulated an immense fortune). these splendid ladies. the nefve-cells while they are becoming fatigued ^tis Conserv- If you are a teacher and have among the par¬ watch a roasting apple as it shrivels up ThisX™ a-?* m°ney in tuition. I linerv ^ave. a Ionging for collegiate mil¬ Price, $1.50 Net, Complete Skwitbd an? Prepjrali°,n of a work of this tyne6"06 Hd taIent for the ents of your pupils some who feel that music is of linery we have only pity. The Etude regrets that 3- You sometimes work nearly all night There BuIlolC&edre" 1“J5 "*«■ the Von- h devotion and enthusiasm. yP * has engaged in the little consequence because it is not utilitarian T .Engll3h friends have been victimized by comes a time when you seem to recover Horn fatigue «H Each classification will be pub|faM „ , fraudulent American degree factories, but pray are You feel yourself at your best. What is the ca^e? P ALL MUSIC DEALERS 0 take this copy of The Etude to them and ask them to read this editorial. In a very great many cases the victims so very different from the farmer who y°,U firunk- Fatigue has poisoned your blood, ^^n£w^^,nVe“”vo^ and this has intoxicated yqu. You hadbetter advance OF PUBLICATION nsssa-p the money which the father invests in his daugh¬ checkered" sS T “ ,Un^nowtn gentleman with a §Xsessive Soraer, etJ ra£ heir^U arranged g# from Pthe ter’s musical education is of far more value than sell him d M”? .a red tle’ wh° kindly consents to early second to tl Chappell & Co. s I seU him a gold brick for the price of a bushel of drkG:or ry-This is ^bout the *5 that invested in elaborate clothing, entertainments Studvas W Y are,younS- You recover readily Let us send any or all the above o Mudy as late as you please. Dissipate What thin? 37 West 17th Street and luxuries. Moreover, the hours which the Honorary degrees are like post-mortem flowers THEO. PRESSER CO., Philadelphia, Pa. young lady spends at the keyboard in practice cannot" JcZ^Vnyltf NEW YORK When a great English university conferred a decree may some day prove the most profitable hours of upon Haydn, we wonder whether the body of leafned her life. gentlemen realized that it was the universi y that was honored rather than the composer? who was 79 1 80 THE ETUDE Vou are in a state of chronic fatigue. What is a THE ETUDE DIGEST OF EUROPEAN MUSICAL OPINION. a single bar from any of them. According to him 81 even the greatest artist should always feel that more cases they are of immediate and material service. BY ARTHUR ELSON. work is needed; for if he feels that he has attained There are, for instance, a great many foundations perfection it means that he is losing inspiration and derived from private means which assure certain it d ea^‘ Eon t sat bad food if you can heh> enthusiasm in a way that will soon become notice- In a recent number of the Guide Musical, Michael sums of money to those.who distinguish themselves you?ou can.can GGetyt° Urup a club offrom people sur whoP«se are parties willing when to Brenet writes of Napoleon’s attitude towards music in any branch. Then the Government makes a and musicians. Napoleon’s friends and enemies have yearly allotment of twelve stipends of from 1,200 findthe0rb\snt0c"oknyoi'can°r here3fter' Then to 1,800 francs and twelve of 600 francs to the oper¬ argued much about his qualities, but it seems certain In the quarterly magazine of the International Mu now that his keen understanding was quite able to atic and dramatic classes. Each year the piano steal Society Hugo Leichtentritt writes on ornamenta¬ appreciate the fine points of the tonal art. manufacturing firms of Erard and Pleyel give two Sir ^^"^Ss^ll^ tion, reviewing some of the books written on the sub¬ His fondness for Italian musicians was in large de- grand pianos to the best pianists in the women’s bette can°rtUd>; Th,e reSted brain remember ject. The best of these works, according to him classes, while the most talented pupils in the sing¬ in the rest.H KCen r bc-tter- What *« worth more ?!??? man ? °J p°!it?cal P°licy- He often had Italian is that of Adolf Beyschlag. singers called to Pans, and he was glad to get Pai- ing classes are assured of engagements either at is a new thinJ^T ne^’T sh wh0 was a Bour¬ bon. But7 Paisiello, though treated with much honor The demands made upon the young organists who bed^at a certal«7tm«jfeem haS lts fhythm- G° to Ttl™? !ke °ld neume notation, Which existed be¬ and a generous salary, could not escape the keen criti- fore the tenth century, when there were no staff lines compete for a prize are very exacting. They must weeks^and the nervous system adjusts Sfto £ h‘S 1Dlperial, master. He had been ordered to The neumes were simply signs to aid the student in be able not only to play the most difficult works compose an opera, “Proserpine.” When part of this kepePfl"ga spng ln his memory. One variety was called unexceptionably so far as execution and interpre¬ the fly-track notation, because the marks resembled tation are concerned, but to prove their ability to fokled Ve? NaP° e°n Sat astride of a chair, his arms folded and resting on the back, and remain^ immo” those a fly might make if he crawled across a sheer « seoorat/nrtSI?® % co»»»«RHo» of M. Mouzkowaki’ improvise both in fugal and in free form on a given 0 may be read with interest as able through the performance as if asleep. Ti the of parchment after emerging from an ink bottle e ^ tajrf&rs; Twevizi £ fomoMs than Uossko should try to be sure whether it will or not ^ ^ more practical liy informino as man,, musical-tor r, >ur 'readers 'ihould TSSTSSh uTi^mn!'-1' THE Etude with THE PRIX DE ROME. remarksTTh * 2nd made a series rapid-fire oldest institutions of musical learnin/in the mo^ MSjlf? thi* ex°ellent description of Z uZgTatZZ^th" remarks to the composer, criticising faults of orosodv The great prize for composition, called the prix of diSpatnW ‘ Youthkne 3re °t!he,r a"d ^nds Z&WW&gfs ITS EXAMINATIONS. de Rome (Roman prize), is conferred officially by these an average of ten leave each year, therefore the Academic des beaux arts (Academy of the Fine only nsr~5 s ;?siiif"irf^h2-h<« The instruction includes theory, all musical instru¬ no more than this number can be admitted. If one Arts); its only real connection with the Conserva¬ ments, acting and singing. It is, as has always been schoo1, hardiy knew h“ ^ =”»,Sod„” "Xy “ r™ »« »'• » will but consider that of the 240 who fail at least tory is that the latter assumes the obligation of hSrthat°ye F, r y°uro„ aaare?eS aallPll0Ut grown' through. wifh tne case, entirely free of charge and is open to 200 weep, and their respective fathers and mothers, superintending all the formalities attending the students of all nationalities, but with the stipulation award. The jury which grants this prize is not athietics Go to tZ d“satis?cd with our college that no one class shall contain more than two for¬ uncies and aunts scold, it will be readily under¬ Or saw wood *fnna8lu,n- Or play tennis. stood why the members of the jury always seek to composed only of musicians, but of painters, sculp¬ eigners. The course of study may not extend over tors, architects and engravers as well, each of the J: Be cheerful if you can—if von „„„ w a period of more than five years, for since the num¬ beat a hasty retreat from the precincts of the Con- ably you are morhid i , you can- por Prob- professions which they represent being also eligible sSt ber of pupils is limited, provision to a similar prize. Berlioz in his day strongly op¬ because your nervous ’system^ and bIue’ Just must be made for the admission of two independent natures ken ttem apart 'ceZ f posed such an arrangement. It fatigue. But be cheerfullf Vou cZZ W,th.?hro"ic newcomers. The conditions of en¬ seems, however, that when it was r« make y°U Wel'- That is noE°pro!°r0y t? trance vary according to the differ¬ ent branches, and since it would first established this was done to once said 4 so unis a mUS1C’, the first c0"sul Bach’s Prelude6in*1 C ^h indispensah!c- Thus through youyr° brodgy°0a^ °t YT cheer radia*es out make nothing of it» T and1comPbcated that I can lead me too far to consider the sub¬ prevent the too strong influence of blood, affects Ze nutrftfon ^'^“Jation of the ject in detail I shall confine myself routine and convention among those thing about not being compelleTt?1 wHtS°me' makes you sweeter or d Upbu,Iding of tissues, to the piano and violin. The age of the same profession from acting cheer is reaffinj? fineZ* PreSentIy y0«r’ coent£edd UDderStanding of others, 'and6 the^feud -» A o?,k ss»-sr*r fixed for admission into classes in to the prejudice of young and enter¬ giving cheers, or your gloom? "®W and hea,th- these two departments is from nine prising talent, which - is naturally of new miseries WT *s reaping a fine harve t yeSti't r sn” *«»- NEW MUSIC IN THE OLD WORLD. ta eighteen. The applicants are re¬ disposed to innovation and hence brood Take a ' ' .cheJerful if you can. Don’t quired to bring three pieces chosen always regarded with more or less again and made him fritter awayli^me"1’6 Nap°leon suspicion by those old in their art. introspections and remorse; Go’‘ Z ^ M1 °f soirees at Schonbrnnn a 3y lls tlme ln arranging Dm«ekf’s “Ad?ntlSd™r P”b,i“tions are Felix by themselves, which they are ex¬ worth while instead Tw! G do something pected to perform as tests; besides Can we not remember how it was of man. 3d‘ Dont worry over the destiny was not uZSCth,Vter °f faCt’ Nap^°" and Karl Bleyle’s “Ifugn on =S •chorUs and orchestra, these, a musical manuscript is placed with Richard Wagner, who in num¬ t8o9 the composer’? opera ?P ?mli-'C' the year tral work whh m3 4k ReISetzu,ng’’ a" °rches- anonymously at the Chaf ^rnahone was given before them to play at sight. The berless cases, while understood by famous,11 win' whaSrlJ y°“ Ca"’ be rlcb and be Songs just issued inctnA borus and boys’ voices. Napoleon was waved to des Tories theatre, entrance examinations take place in such of the laity as were gifted knowledge, and power Zn°d ?? m°ney’ and Max Schillings, while HunZrH^ iTi Hug° Kaun and with an instinctive appreciation of but even after Snhig th ” he heard the m«sic- ‘November and are conducted by a while you are about it ’ g ace’ but keep well songs from 4s yZ £ke It’’Z the clown^ art, was considered by many reaHy bearing did no, h“ accompaniment. °r edber P*ano or harp jury of about twelve artists, and these decide the fate of the candi- eminent musicians as one bent upon a i^the hands Z/ " bet^ ffiites This body of judges is destroying all that was true and HOW THE MASTERS PRACTICED. praise, e^cklly hZgracTf’ul^'h62’ W°n mucb headed by the 'director of the Con¬ beautiful in music? It is perhaps successful symphony was the On fherz?- Another Surely if7oua an^*^/0*™**?* ^'ant' servatory, but his colleagues have well, then, not to ridicule this ap¬ Hummel, which pleased beduse of'v S, °f Ferdinand parently unreasonable composition >.Se wfe; -> Gotthelf’s East Indian “M? °,f„lts clearness. Felix no connection with the institution. tot ™ "-S’ with all my waking hours ” This d h repbed> ‘Practically Ihxs condition, made but a few of the jury. potson the whole worM^f y°U Wlth glooms. nor cases of other artists readilt n°. exa^®ration, as the years ago, is for the purpose of In order to compete for the power of joy. So have jolly tfmes ^ “1“”* y0Ur forced by his father to nr Sh°W’, Paganini was beZmSg a^enfatfo^'L ViSSTb’T^ shutting out, so far as may be, the Roman prize candidates must first teach, m either case without regard to ready to hours each fo & dl ^V?*6 or fo“rteen possibility of partiality. Since I undergo a preliminary examination, I beseech you do nnt k g , to exPense. have been a member of this jury for which consists in writing a chorus of this that he laid the vioHn ?COme because viattsJLrzzttg&rt and the Star.” ° Stel,a Instead of “Syl- ends. Save the ianffle y".;'.?' “nd,e ** b”«i number of years But h ° * a lde aItoðer for a a long time, and for the most in at least four voices and a strument and practiced beIoved part have had the duty of hearing M. Moritz Moszkowski. fugue in four parts. For this pVs£L”Z2rJr- 4r -«32* ,ts greatest master. Even when VIgor.tIlat he became bavrng^Se^To^fwi^TZd ‘Zu9 J°Urncy’” they are allowed six days, and dur- ■ Save the candle. Go to bed ^ that bgbt reIunie- for piano and orchestra bringintr™ ' HlS concerto can testifyZ°tTTVn T ^ W°men Pianists> I ITS REWARDS. would sit for hours fingerW d;4 ,fUS'ng the bow he r„t off „ ‘ng .thl? tlme they are absolutely result, he could play cerS£ ■ dlffic,ult Passages. As a male chorus, was well received ? S x?6 work for a of bofolx;«^„rthe «n£.thc tasks Z J J a'l commumcatwn with others-this to pre- tival. Brussels is to hear a PrZ j p® Newcast'e FeS- Even those who gain the coveted privilege have no guarantee that they will be allowed to finish ••tAsr&rj^ssr&X’" - *- ^ Legend of St. Hubert” b? HerZ-i?°”“? cantata- “The no^SlhT"^- ?e firSt « Sk possess Ince Tho?5 ?7 of Jhelr profiting by outside assist- no small degree of virtuosity and must tkVt their studies. Every year, in the month of July A LESSON FROM BRAHMS. gian composer is Desire plZ be,ngS‘ An active Bel- aSowed to entZ ? 6 S-adsfy the judges a- then' •tice is found fn the" weD-kno” f3V°r C°nStant prac- to -7e»„. Mm mull be prepared with a selection of pieces and baHade's open exam,nahons are held in which prizes are’ (sometinies attributed to iT" rRn?rk of Rubinstein BY H- antclifpe. his piano concerto at Bremen k erJ’"' He PIa.ved IhnZn ’t6,??7 LisZt’ difficu,t s°natas byBee- not practice for a £y I kn1 concerto as well and = men> he has finished a ’cello the lat’tefZst ^ by Bach’ etc” etc.; whife days, my friends know Jt- "f J ®ht?n,d 1 ,miss two given in Hamburg 3 "eW opcra by him is £ be know^s it.” n 1 miss ^ree, the public to keen L mL tkeSS St-°ng P°wers of medl°ry In England Bantock’c to keep in mind the merits and defects of each greatestCOb?ra^oBon^rao?Wthen0t °"Iy °ne °f the individual performance, as well as no less strength his day, counting success " T* SUC.cessf«l of hard PMHic^wTen a^tuT? kWlT W3S forced !nto HoZ’ fr,V°ice and orches rZ'a? ni"e1.SaPPho frag- wealth and comfort. It Ll, Z attalnment of Holbrooke’s two-act “Pierr? ' ?Je11 ''ked. Joseph a Ion?dUS rCSiStanCe ^°,be able tD withstand "uct compliment to the German ne ibe an “"deserved of his teacher. The latter mL ''n the bous« given successfully. CoIeHdZ ?"d, Plerrette” has been long-drawn-out musical enjoyment. The contin¬ t””,” S™ 'hI *“*«“•« >l»>* .VS; where there was a doo^ whh ^ Pky 5n a room gent _ of ladies playing the piano is always the larg- tne same composition, which is chosen each vear hv success was due entirely or even 6 t0- ?ay that this orchestral rhapsody on "ei^ 7 °?is t0 write a ne? PsitSSSSii trmsic merit of his com™? mainly to the in¬ sound of the violin ceased fo? an mWl Tf the committee, whose choice naturally falls on works foce of the instructor CoiiM h lnstant the scowling given at the Norfolk (C6an ) we]°dles- This will be es4, Uh hk J54 frew years We have always bad in the success partly to that, but LX'ni°Wed SUch Poser himself will come overTT^1’ and the com- neighborhood of 250 pianists to examine, which has to his genial nature as a man and e Jarg<:r degree Mendelssohn wa enSslastV-'" the pane , Jeno Hubav’s new *° dlrect it. taken three days from early in the morning until s£K t rnr in”r- to send several works in large form to thn Z ? many other wavs W. . *C ,n oractice, as in so evening:. s LU comprehensiveness of his musirft ? th® variety and be g‘‘ven at Budaoesth Paul0? ^issionschiff,” Js to '|f'„!”Ss“„“*|tr'"" *he -re“”mpo°,”d des beaux arts The first thr» tQ tbe /icademie compositions are usualjy L 7 His own aratmn for certain organ mcitals • n'?? °f hk Prep' On the last evening, when, after the consultation Ot artists not belonging to the Conservatory but ested in mv wort n,.,. '"'rats, x became so inter- Xr’ °P- •42’ in 3 minor stowed tS vioIi" ^ obscure; yet he admired and ? d sornetimes of the jury, the names of the successful candidates !• always Present mank composers of the lightest and “n!ed, much from 1 Practiced pedal nassagel °to sue? PaSSCd 1!ke bo,1rs- are announced, a tremendous excitement pervades ests itS< greater or less approval, and if at the end ?ct of walking along fhe °ree ,?Xtent tbat tbe ac er such as Johann Strauss an?° S,ernder char- the court of the Conservatory—and not only there 2e not* fo“e * ^ a a??ds announced by the director Opera Comique. t0 the Opera and the Johann Gung’l. Although he could^" J°Seph and SSuFa fu- - but in the neighboring streets as well, for the fathers’ hesitation i ?rd Wlth popu,ar opinion there is no the music of Dvorak and coti n0t aP"reciate Poem of Pushkin that has 4? ',bretto is on a and mothers, the uncles, aunts and friends of so hesitation ,n the expression of disapprobation In ners vulgar and blatant, h fo „ j S°me -°f Wag' many young girls naturally form a numerous throng- deed last summer the opposition to the verdTc't was' •h« Mrf account as wide apart in intention and ? pIeasure m works Practicef a?well a^artsTfteSr ^ d“C to constant s;r to youthful musical talent bv assistance unusual habits is that of wo??116^' °n« of his unfortunately, too, in the great majority a disa? r4StrMg Iha‘ 11 assumed the character of a small as those of Mendelssohn .Wavn? .??"4 in ideas, instruction and financial nJ a . ldlng ,t: WIth free Passages by night. SometiZf k 8' °u, rUns and rapid pointed throng, for the admissions are but a drop sequently nearly all his S rf™ Con- touttoTiie le Umonde:TdZZ e son fiereTT° (onen cannotne feut satisfy ^ everv however, the fully fledged artist1”1? When’ sympathetic i„ the and or two such bits, from new Z^t W‘1 ^ork over one in the bucket compared to the whole number of small hours. So constantly dmZh? "nhI far into the objectionable features' ^re^fo" . Peterab«rg. The applications. Since there are but three piano classes one and h,a father); and here we may make a sfeht his struggles begin. The French are n4°* HlS ?6t for women, and each class may consist of but twelve Va"atl°n and say “peres (fathers).” g ‘ mg people, and the Parisians in n !• , 3 wander- *“ -,ta -r*tissc pupils, there is room for only thirty-six in all Of aid Gonservatory.Prizes are not only a powerful exiles when banished from their?”1? 3? feel Hke aid to the laureates in their future careers; in mlny even when living in theirTwn Car'y loved city> ° "flea “,h' «s pc.,, ,o„r<1 82 THE ETUDE

of Handel, and later he wrote his famous oratorios THE ETUDE 83 The Creation and The Seasons. When the French army entered Vienna in 1809 Haydn is said to have from memory such pieces as the B flat minor died of excitement and old age during a bombard¬ Scherzo, the A flat Major Polonaise, and most of ment of the Austrian capital. He is buried in Vi¬ the Vaises and Etudes of Chopin. I also played the enna. His instrumental works number nearly 700 Sixth Rhapsody of Liszt and the C minor concerto including 125 symphonies, 50 sonatas and pieces of Beethoven. for piano. His vocal works include his oratorios In the meantime we moved to Berlin and this has Franz Joseph Haydn and the Development of the been our home ever since, so you see I have seen far more of Germany than of my native country, Spain. In fact it seems more natural for me to speak Sonata and the Symphony THE STORY OF PEPITO ARRIOLA German than Spanish. At the age of seven it was TOLD BY HIMSELF EXPRESSLY FOR “ETUDE” READERS my good fortune to come under the instruction of By JAMES FRANCIS COOKE Alberto Jonas, the Spanish virtuoso, who for many iED'Tori’s Note.—Some years ago The Etude printed three portraits and an account of the r -}/nola, who was then astonishing the musical critics of Europe by his wonderful precocity. _ years was at the head of a large music school in leei about the advisability of exploiting a prodigy, it is nevertheless a fact that a very great number of the fame America. I can never be grateful enough to him for -e found Of particular v.fluVa^ ?fPthr, d™^i0,Tm™tYXmuffca|9Ur“f.omd,^l0/JV't’f Mll:jk'" llr|d Is one of forty "L,,'"' world have been musically precocious, lt would appear from this that musical talent when of a pronou,.^ ...... ~ st.uleius as welliSfor aduIts whn Zf* ?ree,e? ,to ,the P«»ent day This acter makes itself evident at a very early aye. he has taught me without remuneration and not inter..,!\.!7es5nt0,.‘7e ?( yT«.a Etude investigated the case of Pepito Arriola with a view to presenting to our readers some even a father could be kinder to me. When I left used’by amWtloV^selthefp^smdStef] “USlCaI hlstory° is reqSired upon the*part^Yhe tSSSStinn^iTl^SL fV,s ",nst Monishing case of precocity known in recent years, with the possible exception Of Master Suits, the child mathematician of lioston. Berlin for my present tour, tears came to our eyes, To understand the Sonata thoroughly, one must take thnn,p‘,,° was. ltn.rn,in Madrid on the H,th of December, 1897. .1 careful investigation of his ancestry reveals that no less because I knew I was leaving my best friend. Most up the study of musical form. A modern Son! i a musioinn °kitihWutkT u" rc'"‘i0!‘s. harc »<•«•» pronouncedly musical. His father was a physician and his mother Ws modi! t V1°’n and at fflusical composition, along singularly natural lines. ° ° t0 Mm hU hU mother’ °* he tel‘* in ht* own story’ was of my present repertory has been acquired under musical composition to which there are usually two o? his model for sonata writing being the works of Tfr JhZ.hs apparently a perfectly healthy, natural, modest child, with all the inclinations of the average boy of his years. Jonas and he has been so, so exacting. more distinct parts. It is the follower of the , ..choose to rt pealed most to me. The result is that I now ap¬ and h!*!*** performance. Bis ideas upon musical interpretation u Pornnra ™ 6 StUd‘,ed Ullder tIle famous teacher and breadth can only be described as astonishing. preciate the works of all the composers for the iorpora, serving as his valet in payment Havdn piano. Beethoven I found very absorbing. I 1 * 5011:1(3 ,n three movements or parts. 7i I1K istian Bach, osity and my mother wanted me to study in the (Pepito has written a feting to the younger readers of thought right, and then saying it in the right way. Ihe Etude upon the above portrait.) much todevelop the SonafaPP Bach’ did regular way with good masters, and also to acquire If you think it right, and your aim at the keyboard is This classical form, however did tint l • . more strength before I played in public very much. good, you are hot likely to hit the wrong notes, even first time I found musical notation interesting, for until it had been treated bv Havdn nr6acb ltS height I did, however, play at the great Albert Hall, in in skips such a8 one finds in the Rubinstein Valse hen I realized that it was not necessary for me to thoven. The first of these Wn^ ’r Mozart and Bee- London. The big building holds 8,000 people, but n Hat. I do not ever remember of hitting the Rohrau, Austria in 1732 HislaSfr W3S b°rn in that was so long ago that I have almost forgotten all -ir1. S,0me °,ne else p,ayed a Piece before I upper note wrong. It all seems so easy to me wright. The talent of the bov » i Was a wheel- about it, except that they all seemed pleased to see a could begin to explore its beauties. Ah! it was won¬ and at the age of six he moot tWaS dlsc°vered early little boy of four playing in so very big a place. I derful, those first days with the pieces I was in a look unlSUrih 3t °th?r ChiIdre" ” America would tive, J. M. Frankh. At eTght he f"dy. wjth a rela- also played for royal personages, including the new country and could hardly wait to master one could Ah<.tr .exampIes in ^ same way, they Kaiser of Germany, who was very good to me and at a time, so eager was I to reach the next one and cou!d not find their work so very difficult. I love to choir at St. Stephen’s Cathedra, °’wd the famous see just what it was like,. he stayed for over nine vears st„d ” Vlenna’ where gave me a beautiful pin. I like the Kaiser very Ra h I, Ch0P’n;. ,°ne cannot be so intimate with much. He seems like a fine man. preckendorf save me some studies by Bach, he is a little cold and unfriendly until cm* Here he obtained free support and"^3"-1 *'nging' knows him very well. y unt,t one «n singing. At the ae-e nf „ . free instruction Dussek, Cramer, the Inventions of Bach, etc but MY FIRST REGULAR INSTRUCTION. before long the fascination of playing beautiful missed from the choir and hid it^nm h™ f8" pieces was so great that he found it hard to keep friends he might have starved. He practiced*™ the My first teacher, aside from my mother, was a me away from them. p Herr Dreckendorf, of Leipsic. He was very kind to I have said that we play as we • , (During a terrific tempest w HAYDN CROSSfNC THE ENCUSH CHANNEL, me and took the greatest pains, but the idea of learn¬ EARLY REPERTORY. this voyage, lt ig aid that Haydn received ^ , ing the notes was very distasteful to me. I was ter¬ So hungry was I to find new musical works that the Inspiration for “The Creation ribly bored with the technical exercises he gave me, we must see the beauties in ^ beautles ln m«sic when I was eight and a half years old I could play T 84 THE ETUDE

“T"”- 1 « some SOME OBSTACLES TO AMERICAN MUSICAL choruses and female choruses. How much mor Electricity Sr T 'hc regu,ar sch°o1 studies. PROGRESS. profitable it would be to have one large body 0f , H interests me more than I can tell you vocalists capable of producing the greatest compo. THE ETUDE 85 St i s *hr *’ b“‘ "iy greatest infer- sitions for mixed voices—a grand chorus that would could be fi„er t£n°0 a.Str°nomJr- Surely nothing be an honor to a city. PAGANINI, CZERNY AND OTHERS. Paganini, when he was only eight years old, com¬ Wends among the astronomer o^Beriin who^el With the American people and with no other HONEST MUSICAL CRITICISM. posed a sonata which was so difficult that no one but people rests the future of musical development in about°°thet ;°ffUgh thdr tdeSC°PeS a"dteU te ill himself could play it. Another boy who became a this country. Blame should not be placed upon the In the musical affairs in this country the question famous violinist, Sivori, played, at ten, at one of the shoulders of the Russian, the German, or the other of criticisms is ever present. It is to be doubted if exclusive Conservatoire concerts in Paris. European musicians, for the sole reason that they anyone cares to be ‘‘raked over the coals;” yet Clementi was only nine years old when he was ad¬ come to these shores and are financially benefitted in every city there is a clamor for unprejudiced by so doing. There is no one to censure but our¬ criticisms, but the person who is so anxious fo mitted an organist at Rome. Czerny, at ten, played Bach and Clementi so astonishingly well that Bee¬ selves. If foreign artists appear in crowded audi¬ impartial public review, curiously enough, wants \ toriums while capable American musicians fail to for the other fellow and never for himself.’ : should PRODIGIES AND THE GIFT OF MUSIC thoven offered to take charge of him and give him lessons. find a livelihood in this country, is it right to re¬ have used feminine pronouns, for women irt aer Among females Mr. Winterburn found a much proach the alien for this lack of American patriotic haps, more unreasonable in this respect th, m«n" By HENRY T. FINCK spirit? smaller proportion of child prodigies—only one girl Let a musical critic censure a body of w,r to every fifteen boys. Camilla Urso made her debut One also learns by traveling, and when I l ! Because a city is visited, during four or five. singers, and if they don’t make things lively °, H.year *«utaC. Bison wrote an article for The Etude cl months of the year, with the great musical attrac¬ 1 ing ft® musical prodigy who is carelessly e.\ploited. In the present article Mr H at the age of seven. Maria Theresa Paradies could th^same^ribe, it will be because the millennium nVndio^od a»Hthor, of ?lan‘v hJsnly successful musical books, indicates that many of the greatest 11 musicians have I Z5"«if tions it is not a sign that the city is musical, but 512? «es* ^ a 80 8hows thut m®ny prodigies live to a riDe old »are nnd »m#in baoi+vixr successrui. In this perform the works of Bach at five. Pauline Viardot in^?fsue ftev2 aPpear,s a talk with Pepito ArrioF" rather that the inhabitants possess sufficient means indicates a» .wwmental developmentaeveiopment h.guiyhighly astonishing 'undlog^'ther1'witrilT' Fi^ekTaSicle" afforts“[eacYers'^d 'student" Garcia at the age of four spoke four languages, and to purchase tickets for the concerts. In many a an ODDOrtunltv■pportunity totn petlmatnestimate the nature»o of the phenomena-t.. of prodigious musical ability somltimes found in fhildren ] THERE ARE MANY PEOPLE IN AMERICA WHO WILT three years later she was helping her father with city it will be found that many of the leading musi¬ his music lessons. Teresa Milanollo, when six cians are very rarely seen at a musicale. This does NOT DEVELOP THE TALENT THEY POSSESS When Josef Hofmann came to New York in 1887 Charles Wesley, brother of the founder of the years old, made a concert tour, giving violin recitals not mean that they are not in full accord with the A”y°ne who ,has ^tended church concerts and to give his first series of American concerts, he was Methodist Church, had a son who, at the age of three, in Italy, France and Holland, arriving in London. but tbat their pocketbooks will not the smaller mustcales where the programs were fur at the age of eight. < only ten years old. In company with two o', er critics would put a true bass to the tunes he played. At sjsssssIs admit of their attending. mshed by amateur talent, has on many oc«si„“; I called on his father to become acquainted with the twelve he performed the works of Handel and Scar¬ theoretical studies. listened to work done by young people who were PRECOCIOUS COMPOSERS. wondercliild. Wagner’s “Siegfried” had just been sung latti “so as to excel anyone in London at the time.” Musical theory bores me nnw *. . naturaBy gifted with the ability to accomplish great in New York for the first time, and I had in my pocket Tom Cooke, of Dublin, played a difficult violin con- This list of singers and players whose talent de¬ my first technical studies did. Richard Strauss Vh' gs in the musical world; but very few of these a copy of Harper’s Weekly containing a double-page veloped unusually early might be increased very much- persons, especially those of the male sex have the picture of the fight with the dragon. Taking little but of greater interest still are the cases of precocious * szzrr rarhu -SW-at the ambition, or the willingness to de. Josef on my knee, I showed him this picture. He was composers, concerning whom their respective biogra¬ e time recessary for earnest study To on* greatly interested, and then, looking at me with eyes phers relate details that are still more astonishing be¬ cause composing makes even greater demands on the wide open, he asked; “Are there any dragons in cal life in Am”-ana,^?is of this P^se of the musi- powers of the brain than does the cleverest performing cal life in America, this lack of seriousness on 1 America ?” i ** « When Handel wjis a child he showed such a great This same boyish hoy played the music of the masters couraging6 T“f S!' ‘’V” C°'“"ry liking for penny trumpets, drums and other musical as few adults have ever played it. In Chopin’s E minor toys that his father, who did not wish him to become concerto, in particular, I remember in the Romanza, a musician, destroyed these, and in other ways tried to wirJsSSS,r*-- his rendering of the bars marked leggierissimo; he suppress the “alarming symptoms of genius.” The lad made the grace-notes light as gossamer and accented nevertheless succeeded in smuggling into the garret a NEGLECT OF AMERICAN COMPOSERS the quarter tones in a significant way that he himself clavichord, on whicn he played to his heart’s content. has not equalled since—nor has Joseffy, nor Pachmann, Sr,evfn he p!ard the organ so wonder- to be written for me^but I k°^hestraI p?rts will have nor even Paderewski. It was unique—an inspiration hls father trDnke SaXe Weissenfels persuaded .... .1 c ™,tab;5 “n<” I from above; and. often have I longed to hear those tor,;ihhA f 1 him xe 3 musician- At eleven he as¬ bars done again so poetically. tonished famous professionals in Berlin by h'- im- wt provisat'ons on organ and harpsichord. At this'time wS“Vr mX»»*—* That was twenty-two years ago. In the interim, censures of mu«‘cal (?) aT temerity to brave the many wonder-children have come and gone. The latest Which ara y M°mP,OSed 3 set of trios for oboes which are considered more remarkable even than is Pepito Arriola,- who has made a sensation compar¬ Mozart’s productions at the same age able to that created by Josef Hofmann. In view of this matter needed explanation. ma"ner’ aS if the . .Mozar‘ is usually regarded as the prodigy of prod- fact, the editor of The Etude has suggested to me lgms, and not without reason. When he hat barely <- P*U» Piano. . p,ay oVi,"5S" (U” that a few comments on prodigies and the gift of music MacDowell, ve yPrar”Jyfda" °ccasionaI selection by turned his third year he picked out simple harmonies 1 in general would be timely and welcome. As it is a on the harpsichord. He learned to play reading and study. American c’omposer ul I"6 ' ^ "ame °f a“ subject of exceptional interest, I gladly comply. Be¬ when hve years old, requiring only half an hour to recital. The pupils are not^H * ^ °f a indents’ PEPIT0 AT the keyboard fore offering any conclusions, let us look at some of and TuU thereafter be wrote minuets ^^Mwleteers^°f ? b°°kS 'S The (He is obliged to play . nlsno capabilities of the native writer ^ bcHeVc in the the facts on which they must be based. 3"d 0ther P^ces of his own. He was only six years Shakespeare, Goethe Schiller J a d somethi,,g of student has passed througlT tL AS- S°°n 38 the old when his father took him on a tour during whmh 1 like Parts of the ^reS snan tf ““f °ther liters. are y stretch an octave upon the o^ryXyboard.^ and other inflictors ofTechniJll ag°^‘CS °f Czerny ABUNDANT WONDER-CHILDREN. he astonished all the world by his playing In morning, „oon> and night o ' li cruel,les. he is fed WHAT COOPERATION WILL DO. London, when he had just entered his eighth yean Child prodigies occur in diverse branches of mental tL \IearnS °f the beauties of th'8" C?mpos,tions. it was announced that “he plays anything at sight the chances are he does L l th natlve writings activity. There was once an Italian boy named Jacques statement1that^n unlon^there^ ***** tr5h of the was tCenmhrhSadamaZinfly Wd!” By the time he sized. There is no well ni„i , I s.trel1"th empha- trough ,h. instrumentality’of t "°* Inaudi who at the age of seven, could carry on mentally was ten he had a perfect craze for comnosintr- at multiplications of five figures by five figures. In other States which does not possess th ^ m thC United 'km W38 just recovering from a fio- words, he could multiply, for example, 34,967 by 84,934 student who thinks Silvofh “°-e beautif«l. The with to equip a choral society orZt l teachers. so he couM w\\had a ^ Hgged across bis bed chestra, yet many of these Ht.Vo & y"lphony or- without using pen and pencil—in fact, he did not learn the piano cannot play a ST*™!* d°Wn keys a‘ to write (or read) till thirteen years later. Dante was mozart and his little sister, two of the most knew riSing' At-th3t 3ge he for at least one good reason LeTm^'^T'■ e'thcr’ vancement of musical ^ttSnm'e tfte againSt the ad forty t ms art as most musicians do at only nine years old when he wrote a sonnet on Beatrice AMAZING OF ALL PRODIGIES. soon as a person, possessing more ^T "’i As than is the work of the in "this Country No one except those kf> competent music teacher and Tasso wrote poems at ten. At fourteen Raphael succeeds ,n getting around him orh SS talent> ueciare that, with t a'e^f,‘ta* S i^or$“ tn musical affairs is awlre o?^ C,ose touch SS was already famous, so was Vernet at twenty. When :.. U1C s gifi exception of Mozart “in personal friends who sing or fl°, hf\r a grouP of ”r.t0iat 8even- and five years later he composed for ™ Wetton was five he understood Latin, Greek and He¬ the praise of the would-be dkecto^th f^8 by and played on nine different instruments. at the concert. brew, and five years later he had also mastered •StaLiiss r“i,rs *k.,r*,,r smg, an organization is formed ^ ^ they can William Vincent Wallace, composer of the still ible power as fn Ty h such resist- I do not know what it is tn Arabic, Chaldee and Syriac. of some musician who is dead and ‘flT’V 'C name popular opera “Montana,” had produced two hun¬ found he had everything afhiTfin H>S tefchers I have played so much and j am T°“S at concerts- not rebel at the use r,f u■ d d’ therefore, can- SplS h« £*?£%?$£ Many similar cases might be cited, but in this what I am going to play that nem 3Way8 so sure of dred compositions before he was fifteen years old bining a!1 the avai,ab]ef materiTun ■°f COm- article we must confine ourselves to prodigies of question. Of <5u«e I am^L • TSS 18 out of the Persons/torn * ^ 'IVeUenT*'^ the ni'mber of the musical persuation. An oboeist named Robert Bochsa, played a concerto sms-J choral society capable of nrna ^ CIty lnto one 5 which audiences will receive m °USi ak°Ut the wa>' in &ans are being rendererl * \°.Ices> whose vocal These are by no means rare; and in saying this I do f . ® P,ubhc concer‘ when seven years of age, and a year Please them so much P^- 1 wa'« to masterpieces worthy of a hearing ‘he Rreat later he composed a symphony. not by any means refer to the. fact that nearly every me because I am a bov hut "T-T* th1Cm to aPPlaud music-lovers g0 ahead and give eg°tisticaI Before Dr. Wm. Crotch was four years old, he could come as real music-lovers * wou.Id rather have them locality has a child who is hailed as a prodigy. In re¬ friends compositions that are oftim f ^ admiril,g play tunes, with the cords belonging thereto. by public.school children Pr=, ”es sunS better gard to most of these, we may apply the conun¬ If I cannot bring pleasure to thim in thT^ itSe,f The story of the Irishman who, when asked if he not deserve to be before the public ^ W3y 1 do P«es to orchestras. It woufdrahC ICfa'lythe ap- drum: “When is a prodigy not a prodigy?” and smaller amateur orchestras to united-b-etter f°r the the smart answer: “In nine cases out of ten.” r dJIay the fiddle-answered that he didn’t know as he had never tried is recalled by an incident in the although r'somethnes^pbjfencores *for sh°Ur t" length’ symphony orchestra that wonW* **• ’nt° °ne grand With the counterfeits we must place the human par¬ that he began music in his S yefr ST r ^ tone of the city i„ whSiThe the ®™1 rots, among them the boy who was supposed to be im¬ life of Domenico Dragonetti. When nine years old taught turn to play the violin and c£. W wher than”1 ar'hnf° ^®"of \ncT m°re unf°rtunate The trouble in this country L ?h“"'C"loVers r^ide. provising for an audience, but suddenly stopped and e asked permission to play an accompaniment on mother that my mind will he i/w?" ^ave told my ^ m«siecaI ^ucaSr^ cried out: “‘Papa, I have forgotten the rest!” the guitar. His father thought it a joke, but the Scff r,hf irs £ i: to thank the many friends I have malt' J wa« S, HowPefroSo°HshW1t S £ ex thC ^ fifth °“ accompaniment was played all right by the boy, who dents who have come to mv de amonS the stu- PhysicalTaStedj but there Ts tZ V ^ time and As regards real prodigies, a magazine writer, George Wm. Winterburne, once made some laborious investiga¬ had some time previously hidden away an unused } m*y have told them some thi^ wW h^-u h°pe that sbcea°f 1thC HigheSt tharacterewhene TnTt CU!tUre to guitar and practiced on it secretly unused hi. J«“/,,™St,i”h,he “T”' H«"ln ... in their work.” ’ gs wh,ch W1» help them scarcely support one choral society Can tions which he printed in the Galaxy (1874). He her of small choruses-two ° ly' We find a num- John Purkins, born blind, played the works of Handel hand, imitating the violin playing oftWtL8ticks “ lessons inZZe ^8pecially those eng"gedS•rUm•en•ta, found more than two hundred on record in the same master. It was this that c,,„y g ,ot the school- '”d VOi“! *“> •*« number of years, all of whom achieved local celebrity was tailed “YS0 WC“ wbe" he was on'y seven that he he might have in him (he w1?g^ edfl-he idea that was called Young Handel.” John Stanley, also blind previous to their seventh birthday and, on reaching thMmaking 0f 3 musician y five years old> maturity, showed eminent talent. Let me briefly cite was an acting organist at eleven, and two ye1rS W a dozen or so of these cases. London. apPOmted 0®dal 01^st of St. Andrew^ •» »■»■»» he wrote the overture to the “MM W3S seventeen 86 THE ETUDE

nor to anything he composed in his more mature VARIOUS KINDS OF GIFTS. SOME THINGS FOR YOUNG ACCOMPANISTS years. Fortunately, one can be a musical wonder child, TO REMEMBER. CHOPIN, LISZT, TSCHAIKOWSKY. or adult, in more ways than one. Those who fall short in one way may excel in another. Some BY HENRY C. HAMILTON. A child not yet eight years old, who, in the acquire piano technic almost as instinctively as a opinion of the connoisseurs of the art, promises newly hatched chick runs and scratches and picks to replace Mozart”—in these words a Polish writer up food. Others, to whom technic comes much To be a good accompanist does not necessarily de¬ referred to Chopin after nearing him play the piano. more slowly and laboriously, play instinctively with mand that one should be a brilliant solo player. It js At the age of nine Chopin appeared at a public expression, which is infinitely more important. more necessary to have a sensitive ear, a clear idea of concert. How far his musical talent was ahead of Thus, the gift of music is not a simple thing, but time (both regular and irregular), the intuitive ability his general development at this time is shown highly complex. Some persons are absolutely de¬ to anticipate the ideas of the soloist. The ear is neces¬ by what he said to his mother, who asked him void of it. They are tone-deaf, as others are color¬ sary so as to determine how loud or soft to play, the when he came back: “W»ll, Fred, what did the blind, or unable to tell the difference between a public like best?” “Oh, mamma,” he answered red dress and a black one. Between this and a idea of time so as to keep with the soloist on every ; everybody was looking at my collar.” Schubert there are endless degrees and varieties, occasion, and the intuition so as to anticipate and aid Liszt got his first lesson: cn the piano when he usually quite independent of other mental faculties. every varying shade of expression. To accompany a was six years old. He took to music as a duck Blind Tom, though an idiot, could reproduce on singer on a piano or on an organ are two very different does to water, becoming soon so absorbed in it the piano any piece he had heard once. I wonder things; but as the former is the better known instru¬ that he avoided his playmates and their games. if he could have reproduced the nuances of expres¬ ment, a few remarks relating to a good piano accom¬ He remembered everything without effort. Me sion with which Paderewski plays a Chopin Noc¬ paniment may be interesting. i wrate music before he had learned to write words turne, as a phonograph does. I heard Blind Tom Perhaps one of the things to strike the listener as but once, and did not think of noting that point. and there was coherence in the notes he jotted’ decidedly unpleasant is the preponderance of the bass down. Falling seriously ill, he was reported to be I have been told that one of our best American notes on too many occasions. There are times when composers, Mr. Chadwick, cannot improvise. I dead, and the village carpenter actually began to the bass part of the piano should be heard very dis¬ know that Edward MacDowell could not transpose, get his coffin ready; but he soon recovered, and ‘he Piano, as so many minor musicians can, and tinctly, but few things weary the ear more than a hts skill was now more wonderful than before his Ihat' .1,ke ,mar'y other great musicians, he lacked continual rumbling of the lower notes. It should be illness. He could transpose a piece into any key the gift of absolute pitch. I once made an inter- well understood by all who play that the higher ind he chose, and his cleverness in improvising was Tth M?ritz Rosenthal. Asking him to lower part of the piano differ greatly as regards most remarkable. When, as a boy of nine, he gave turn,his back on the piano, I struck the most un¬ strength and sonority, and if one plays with both hands a concert in Fressburg, it was this gift of improvis- usual chords, and he promptly told me the com- exactly alike the bass is more powerful than the treble l?Si, 111 partlcuIar* that impressed his audience to mvefilt0neSa Th,?”1 hit the keys at random with Special attention, therefore, must be given that the such a degree that six Hungary noblemen made upper part is always the loudest, except, of course, this ultra-Debussyan ca^honyT *** ingredients of up a purse to enable him to pursue his studies. when the melody happens to be in the left hand. In This was as marvelous in its way as Hans von Czerny was so delighted with the boy’s achieve¬ this case the rule should be reversed, care being always ments that, after giving him a dozen lessons, he eN°|®,”7g a. manuscript concerto away from taken, however, that the bass never sounds so loud as relused all compensation therefor. to be coarse. Just how much power one should use m Tschaikowsky got his first musical impressions ltk?nana0taitf:gainmeS "d thc“ pkyi"g “ without the loud parts, and the proper degree of delicacy in the through a mechanical orchestrion which played a softer passages of an accompaniment, is a matter of Considerable number of pieces. When he reached his fifth year he played these pieces on the piano, knowledge and taste. Some singers can bear a heavy symphony to savers Hfe^Sebul*™ Mother to w uch he was so ardently addicted that he had accompaniment much better than others. It is impo/ to be taken from it forcibly. If this was done, nro^ cr.eates 1charmingly original harmonies and sible to lay down any definite rules here. A uood he TieTTf’vf u? “eI°dic &ift k so weak that understanding should exist, however, beforehand as in oJT T a°AUm the rhythms with hh fingers, ne tries to hide his defect by crying out sn„r too many cases the style of the singer and the style of that i T dldAthll°n a window Pane so violently accompamst are opposed to each other. At all times hQ .' ,b;toke- At the a^ of ten he began to corn- how?”~“Wh° W3ntS md°dy in modern ““sic any- let the voice be heard, and if this is listened for the piano ^ 1 IS’ t0 improvise thinSs of his own on the • Jt is fortunate that the gift of music is so manv- piamo will not be played too prominently. s.ded; it gives all of us a chance to excel in some direction which best suits our own gifts To be ‘“Portance of keeping exactly with the singer LOMBROSO'S mistake. cannot be overestimated. In this might be considefed <£me .a good and .useful singer, player; teacher boIkeo,!at“'ThPr°^SSOr f»« »bg.r. F«4„’„y what we call “cranky,” they were not really all cannot be generals; there is need also of colo ^cracked. To be sure, some great composers— nels, captains, lieutenants, sergeants, corporals and Schumann, Smetana, Donizetti, Hugo Wolf Mac- many, many private soldiers. A corporal or a = private may enjoy life as much as a g2raLr Dowell—died insane; but the malady in most’or all must, however, be able ?ebe accompanist ■of these cases can be traced to causes not connected c ow; “£° Tt U,1CaSy Iies the head tha? weear7°a interpretative ideas aiVtry^tP arry'out i° V with any special ability shown in childhood rera°dWthe cha^r F?' ^ the same sentiments that The sin Jer T " H'S P.lay,n* Nor can we endorse the current notion that most book '.'Success in mSS7nd'£iuX0J” JS r„e!haVuhr1nraa,iand ^KfV’S? sVo°„'£ t prodigies die young. Winterburn collected facts you will find abundant cause for consolation. d which indicate that, on the average, men who were accompanist is ofteT engage^ in°“filhngthin”lJh! ^ precocious live somewhat longer than ordinary mor¬ tals. PLAYING THREE NOTES AGAINST TWO zssrzzs? rs-iff rnvf It is true that some of the greatest musical PRIZE CONTEST. iWO’ render this in suitable rime Wh"- th

launched it in his “Pastoral Symphony;” Men¬ The First of the New Series of the Portrait Gallery delssohn advanced it in his concert-overtures. One other year ^espre*^ *at*sf®cti°n which these portrait-biographies have giyen t° our readers during the past year has decided us to continue the feature for an- of the latter may illustrate very clearly the weak¬ ness of programme-music, as this pictorial music a scraD honlc j P ^ l 3111 *°9raphies published during the past year may now be secured in book-form for the benefit of those who have not desired to make is cabled. Mendelssohn wrote a beautiful overture a scrap-book, and yet w»h to keep these unique pictorial aids to musical education. on Goethe’s “Meeresstille und Glueckliche Fahrt.” This pictures being becalmed at sea (“as idle as a painted ship upon a painted ocean”) as an intro¬ duction, and then a prosperous voyage. It is glibly JOSEF HOFMANN. ANTON GREGOVITCH RUBIN¬ translated, or mis-translated—“Calm Sea and Happy STEIN. ALEXANDER VON FIELITZ. Hofmann, was born at Cracow, June (Fee'-litz.) Voyage.” As a consequence a few thousand audi¬ 20, 1877, and was the son of a professor _ (Roo'-bin-stine). Alexander von Fielitz was born in tors have mistaken Mendelssohn’s tonal picture of of the conservatory, and director of the Born at Wechwotynecz November Leipzig, Dec. 28, i860. His father was marine desolation for a very calm and smiling sea. opera at Warsaw. His mother was a 28, 1830, Rubinstein died at Peterhof November 20, 1894. His first musical half Polish and his mother Russian. A gentleman of considerable culture once sent me ann^h?n^Vhf3t,lf heredity counts f°r instructor,was his mother, but a Mos¬ He studied composition in Dresden the opening notes of this as a parting wish before i SeIected his Parents with great foresight. He first appeared cow piano teacher named Villoing gave under Edmund Kretschmer and piano¬ one of my European tours, but I do not think that in public at a charity concert before he him lessons, and in 1839 he made his forte under the direction of Julius he intended to wish me to suffer in a dead calm. was six years old. At the age of eight first public appearance in Moscow A Schulhoff. In 1887. he conducted under Surely, therefore, Rufus Choate was not far he played the Beethoven Concerto in year later he studied under the guid¬ the direction of Arthur Nikisch. Ow¬ wrong when, on attending a certain concert, he ance of Liszt in Paris. He also made ing to delicate health, however, he was said to his daughter, before the music began— S'™ ,n.SUch a way as to cause Ru- bmstem, who was present, to declare the acquaintance of Chopin.' A long obliged to leave hib home and go to “Now explain these numbers to me, that I may not that he was a boy such as the world tour through Holland, England, Ger¬ Italy, where he remained for ten years. dilate with the wrong emotion!” There have been had never produced. Soon after this many and Sweden followed, and in 1843 It was here that he composed much of many prominent instances of critics and of audi¬ he toured Europe as a prodigy with the Rubinstein went to Berlin to study the music by which he is best known. tors, in modern music, dilating with the wrong emo- greatest success. In ,887 he came to composition with Professor Dehn. In He wrote many songs, piano pieces, America, and appeared at so many con- 1846 he went to Vienna, and Pressburg two suites for orchestra and two In ancient days expression in music was almost at in a different way from that attained by the With the advent of modern music the signs of as a teacher, and two years later re¬ operas, one of which. Das Stitle Dorf, always synonymous with loudness. “Play skill¬ study of harmony The chords ensued by different expression in music increased enormously. Yet ‘ down aV.° C3USe His health to break turned to Russia. Another long course down. The matter was taken up by obtained a hearing at Hamburg, March fully with a loud noise” was a Scriptural injunc¬ melodies progressing together. The music, in these by themselves, no matter how numerous they ot eight years’ study followed, but at » Vuuj'ety for Prevention of Cruelty 13, 1900 and has since been played in tion, which was almost always carefully observed. other words, was horizontal, like the strands of a are, do not constitute the actual expression of a the end of this time Rubinstein came n?t!r j^en’ a"d caused a great deal of many cities in Germany. The composi¬ And this ancient music of the Psalmist was always rope, while now it it is chiefly vertical, like the work. Beethoven, who turned the tide from the to his own He appeared first in Ham¬ pt^l.c discussion. In consequence of tion by which he is best known, accompanied with a great degree of gesture and pillars of a bridge, the chords supporting a single spinet and harpsichord to the piano, used many this Hofmann retired for six vears burg and then all over Germany, both pantomime, which was at that time called “dancing.” signs of expression, yet he understood that these his playing and his compositions being 7i, ,P%7 ,‘4 beautifu! song-cycle prominent melody. As a consequence, in the old most of which time was spent in Ber called -J.lilcnd, though this is only one In this, style of expression were given the Song Latin treatises on Counterpoint, there was a chap¬ were little more than index-marks of the true feel¬ most. ^thusiastically received. Sue- hn though for two years Hofmann of a number of works of a vocal char¬ of Miriam and Moses, the Song of Deborah and ter or two talked on at the end, which treated ing. Franz Kullak said that even with an exact was a pupil of Rubinstein, with whom ^ReS flowed throughout Europe. In acter which have brought him fame. Barak, the Psalms of David, the Lamentations of observance of all expression-marks a soulful inter¬ i»58 Rubinstein returned to St. Peters¬ of chords which sometimes ensued by the combi¬ ‘ Tn Ts^,°u tCrmS. °f intimate friendship. At present he is engaged in teaching Jeremiah and the Prophecies of Isaiah. nation of different melodies. pretation is not arrived at. As long as nothing In 1894 he again made his debut in burg, where he founded the Imperial at the Stern Conservatorium in Berlin It was only in 1722 that Rameau endeavored to more is done, the interpretation will usually prove Dresden, and in 1898 repeated ’his Conservatory. In 1867 he went abroad and was appointed conductor at the treat chords as entities, and his treatise was so mis- stiff and void of expression. Ferdinand Ries, Bee¬ former success m America, this time as again, touring America in 1872. His EXPRESSION AS THE GREEKS UNDERSTOOD IT. Theater der Westens in that citv in , taken in its theories that it had no influence on thoven’s pupil, calls attention to the great master’s a mature artist. He possesses a most compositions were very numerous in all heavy black line, paste along this In ancient Athens there were vocal teachers who Harmony. In 1791 a Frenchman named Catel frequent deviation from fixed erpression-marks. remarkable technique, and is exceed¬ forms. Of his larger works, the and4'taL°hn ieHtZ ^ bcen to America, taught both singing and elocution, and the famous and taught4 for some time in Chicago. brought forth the very first essay on Chords that ingly versatile, being a skilled mechanic Ocean Symphony” is perhaps best old orations were probably chanted and came within nown. Of hiS short piano pieces the \ man °f wide educational at¬ had any practical teaching value. More than a RUBINSTEIN’S DIFFERENT INTERPRETATIONS. among other things. He has com¬ tainments, and is eminently fiffed for the domain of vocal music. The Phonarci, or Voice famous Melody in F” is most familiar decade after A. D. 1800 came the first real Har¬ posed many pieces-for the piano a the prominent part he has played in teachers, made much of on'e kind of song, which _ My own experience with great artists of modern Peasant little “Humoreske” among mony instruction book—that of Godfrey Weber. ecoUn7r erf- tAS a pianist he ranked the educational life in Berlin He U was called Orthian and was sung almost entirely in the times has been very similar. I have heard Rubin¬ uy7 LlSzt as regards tech- exceptionally gifted as a linguist and highest, register of (the voice. Plutarch warned stein, for example, play Beethoven’s “Moonlight mque while he possessed most remark his pupils against the danger of bringing on hernia EFFECT OF COUNTERPOINT AND HARMONY. Sonata” four or five times, yet no two of the in¬ able fire and passion. S%SaremarkabIy magnetic’ per- or convulsions by using this kind of song too much Counterpoint had the minimum of expression. terpretations were alike. Sometimes the moon (The Etude Gallery.) or too strenuously. Harmony has frequently the maximum. As a con¬ was full and sometimes a crescent. Rubinstein The giving of definite pictures in instrumental sequence there was little of that emotional power .was the embodiment of what may be called true music was not unknown to the ancients, for it is which" we desire in modern music, in the older con¬ expression in piano playing. It was a great man SIR ARTHUR SEYMOUR ELIZABETTA NINA MARY related of Dorian, the Athenian wit, that once, after trapuntists. Josquin Des Pres had a glimmering interpreting the poetry of other great men. Nat¬ SULLIVAN. LEHMANN. HENRI VIEUXTEMPS hearing a picture of a tempest, 'given .upon the harp, of the modern idea, when he, a little before 1500, urally there was an amount of individualization in (Vyay'-tangh). he said that he had often heard a greater tempest in a £>”’yan born at London, May (Lay-man.) introduced dissonances as a means of portraying such work. The artist played as he felt at the pot of boiling water—the origin of “a tempest in a emotion. Without changes of tempo and subtle¬ time—and a great artist has the right to moods. L 4H,aM,ed “ that city Nov. 4 “Liza” Lehmann, as she is more g»ivT l.SA'Sf? teapot.” ties . of shading it would be impossible to teach Hubert Herkomer once said to me regarding tor at Kn Jat lr ,73S darinet instruc- ?Xra y kn°wn, was born in London, 1881 at Mustapha (Algiers) He’ When, however, we read the tributes paid to musical expression, and in 1450 De Muris wrote— . *i r nel er P.a11’ a military training July 11, 1862. Her father was a Bulow’s exactness of interpretation—“When a man school for musicians. In 1854 Sullivan studied the violin as a m H, first Music by the old Greek and Latin writers, we can¬ “In Music there are three tempi”—quick, slow, and painter, and her mother, a highly can always achieve exactly the same result, he father, and under a ver?™^'" his not but imagine that there must have been beauty medium, while the marks of expression and tempo, gifted amateur musician, was the ceases to be an artist and becomes a manufacturer!” araThea„Ch0riSter 3t tHe Chapel Roy- in their sengs as well as loudness. There are some which are the life-blood of expressive composition, . SchnlTrclf- hC 7°n the Mendelssohn daughter of Robert Chambers. Many Rubinstein certainly never was such a manufac¬ Scholarship and proceeded to Leiosie considerations (too lengthy to rehearse in a mag¬ only began with the Italian operas, after 1600. turer. Once, after he had been in a rather unpro- where he studied under Richter, °*Jber expositions under the pen- azine article) which lead the present writer to sup¬ name of “A. L.” are well known. Li"a Once the seed of expression in music was planted pitious mood, at one of his recitals, a lady ventured pose that some of the ancient music resembled London h- ° 0n his return to it grew very fast. Tentative efforts at picturing to sing the praises of the recital to him, in the mniW11!, StUdied sin£ing with her hi"'° ff°°of X«° the Scottish folk-songs of the older type. definite things in instrumental music (above spoken peare-s r4rC, mUsic to Shakes' green-room. “Great recital!” he exclaimed, “why, wfved W3S V6ry favorably re- rier’ lafr WaS a PUpil °f Ran- All these ancient musical compositions were of as existing long before in Greece) began to re¬ I could give another recital with the notes I left in W- 44 also studied in Rome and era,^ z probably unison works, presenting the tune only. appear. Couperin and Rameau commenced to make 2FEl beca™ organist at one of Sechter in Vienna “??os'tl0n under out!” the big London churches, and wrote Cuim th ’ Whh Hamish Mac- Monophony was the music of the world for count¬ the spinet especially prominent in this direction. niany anthems and hvmns « a' Lunn. She made her debut as a singer Chopin used to give a comical illustration of the less age?. Indeed, there are indications that more We must remember that this instrument could not comparative uselessness o'f marks of expression 0«r-d, Christian slZrf 't oS a fi°”d°"’ November 23, 1885, makfng than 200,000 years ago paleolithic man enjoyed a primi¬ a fane reputation, which she main- shade, but gave a constant staccato, mezzo forte. without a soul behind them. When he was not in tive monophony. In the Middle Ages, however, poly¬ oratorios C°m,POSCd many well-known tained during the nine years she was a As a consequence one element of instrumental ex¬ a mood for playing, and his friends, particularly phony, the adding of melody to melody, began. Whether rn/JZ r and cantatas, such as The professional singer. She retired from pression, proper phrasing and fingering, was en¬ Mme. Dudevant (Georges Sand), forced him to the Golden Legend and Kenilworth and works were Wiv • Brussels- These the expression was much improved by this may be the concert stage on the occasion of year *«*. A tirely lacking. Praetorius, in 1619, said—“Let the piano, he would play one of his Nocturnes or Etudes ?S“"s s°n2s> °f which The Loft doubted. The yoking of two melodies together, whether osity were arW ! d great virtu- pupil strike the key with any finger he wants to, yes, with absolute exactness, but with the soul left out. a iTmge 1° Mr‘ Herbert Bedford they sounded well thus or not, was scarcely a great u Z 7uPerhapS the Most popular he well-know,, English musician. Since even with his nose, so long as he gets the right tone I have heard De Pachmann do just the same thing is best known as a composer of lie-ht Vi.LaS”Sr.5^ J* IP“™' step in advance. at the right time.” The present writer has in his but unfortunately the mass of the audience, par¬ her aettenfioennttShe h3S mainly de™ted went to Russia at thn • • *^4^ he It is of course unnecessary to speak here of the Czar, in order ‘he.,nvi^on of the possession more than one “Harpsichord Method” ticularly the “encore fiends,” did not understand 1806 hi * t0 J-ornP°sition, and in empty fifths in constant succession, or the fourths def t S°ng;cycle In a Persian Gar- in which the scale is fingered—2.3.2.3.2.3.2.3 in the the subtle difference, and believed that they were after five or six years'1 uV,°hnists- similarly treated, with which the science of com¬ den, was produced in private Sn™ so-called “American” (really English) fingering. receiving an important and beautiful addition to wandered afield Th^ °nce more position began, not long before the year 1000, for One fault this music-picture-painting always has. by many splendid works of a s mTlar their programme—without expense. not only’ his i°ur- with these the reader is probably familiar, but it It cannot be as definite as painting, or sculpture, European cities hut f f *he reguIar may be stated that the outcome in the old con¬ or literature. I have frequently tried this experi¬ kcy and to America t0 Tui" trapuntal school was often to have the tenor sing ment before large audiences. Playing'a certain In 1 he went to Brustt’i 1 57’ l870)- a well-known folk-melody in very long and sus¬ piece by Rameau, I have told the public that it rb of the violin at the rf ** Pr°feS- tained notes, and as loud as he could, while the quaintly pictured something. At the end of the but two years later th Conservatoire, other voices wreathed counterpoint around it. work the public remained mystified. Then I have the accounts of many auditors may be believ paralysis. His recoverv Stricke” with To finish our catalogue of the three styles in given the title, “La Poule” (“The Hen”), and Beethoven himself used this in his piano perfon he lived for the most 'vas slow. and SEtfaSSS*'*-'* which all mortal music may be classed, let us at played it over again. At once ripples of laughter ances. Yet the latter-day pianists associate it chie ln his beloved Paris P?rt ,n fetirement once state that the monophonic (unison) music, would greet the cacldings of the music. In paint¬ with Chopin and avoid it with Beethoven, an err, ways returned from his^tr^'t011 tC aI' and the polyphonic (plural-voiced) music, was ing it would scarcely be necessary to inform the we believe. been said that “hestnZt -™^ It has finally followed by the homophonic (united-voice) spectator that the picture was that of a hen, before What is ‘Tempo Rubato?” Not “stolen tim at the head of the ^ Beri°‘ music which is the chief expression of our art to¬ it could be appreciated. Paderewski believes, for often there is an increa' school of violin playing^” dern French day. This is “Harmony,” . and few have any idea instead of a subtraction, by means of a ritardam (The Etude Gallery.) of how young this branch of our music is. MAKING MUSICAL PICTURES. Liszt once impressed the idea of a rubato up Were there not chords in the old contrapuntal a pupil at one of his Sunday meetings at Weim; But picture-painting has become one of the chief music? Certainly, but these chords were arrived points of expression in modern music. Beethoven -y,0Ung pianist had played a Chop Ballade that4 fairly staggered like a drunken m 90 THE ETUDE 91 Stated to L!sz‘t0(* to the window and MAKING YOUR MUSIC REALLY VALUABLE. the organ grinder has a value unknown in other THE ETUDE tw es Z treeS‘ Look at them,” he said; “the _ hours, but it is not the organ grinder that jott ThfL™, 1 . are danci"g freely in the wind, ' really want—it is your own old piano. HOW TO ATTAIN REPOSE IN MUSIC To illustrate: Take simple finger exercises and of musical history. That Bach was a man of RS. GUSTAV L. BECKER. t he larger boughs move very little, the trunks not STUDY. think them through straight from end to end. Some¬ marvelous scientific and artistic genius is clear “■ JUt tbat be >'our rubato!” Liszt loved to PLAYING FOR DANCING. times use the metronome, and with closed eyes really from the fact that he (Bach) was able to anticipate them il Parab,es’ and allow his PuP'ls to unriddle Service is the keynote of the age in which we But life isn't’all “pain and anguish;" there are BY HARRIETTE BROWER. see the notes and movements as in a mental picture. even in his day (now some two centuries ago) , ,as ,Te may allow The Etude readers to unriddle this one. Hauers to live—soeml service is what distinguishes it from the “hours of ease,” and I cannot see how it would If the thoughts wander, quickly recall them. When almost all the harmonic possibilities of the musical tiie ages that led up to it. We have improved hurt your dignity or abase your art to minister t jf Every man and woman, yes, and every child simple exercises can be thought through easily and art as practiced to-day amongst the most advanced X’fS WC may Say that sarcasm was another of Lefy tuic upon Liiethe arts, butDut we navehave u__used them thee common goodgooa ive Up her music”? It erature of his own country. Weber, like Wagner, OVER-SENTIMENTALITY AND SENSE. seems to me that she, like all of us holds those small; if it did not hurt Paderewski to play for danc- over pupils’ recitals, while outwardly we strove to quite sure of the notes? The mechanical and tech¬ nical part must be absolutely under control before had struck deep down upon an immense mine of hour, ,„d in trast „rve ing children, it wot ’t hurt you; indeed, it will give you appear unconcerned and confident; and we mentally M ;K O^^utimentality is a fault of expression that the performance can be reposeful. The piece must dramatic wealth and of musical possibilities in the a sense of rhythm if you haven’t it already, and the cried out, oh, for the power of self-control and re¬ riches of mediaeval mythological lore: and as the making music in the home feeling that you r be thoroughly analyzed, to note the different keys Wagner anT^ch^ -—..6 ,uu must go on and keep the beat, whatever pose! The good news is that this power can be pioneer of romanticism, apart from his stupendous happens, something that will do you a world of acquired. Repose can be gained by. intelligent, in which it is written, the progression of the chords, the modulations, the form of the piece and its tech¬ musical genius, was evidently a man of very con¬ • 2r stem good when you come to ensemble playing. It is earnest, painstaking effort, along the right lines and siderable literary culture and refinement. _ ' Qopi" N„a„,n, %hlr:Lr:sfr™; nical and musical content. Everything should be all m the spirit in which you do it—if when it comes from the right beginnings. Mendelssohn, too, we know, possessed very signal The teacher must control himself if he would done to come to a full understanding of the piece in rZL, fUrn 1° p ay yOU think’ “-Vow my music is all its parts, so that nothing will be left to chance. literary' and artistic gifts in addition to his won¬ called for—here is another chance to serve.” teach control; he must master himself if he would drous musical ability. Some glimpses of the former help those who come to him to attain self-mastery. B <*** *«. w. b.,™ftCt, s?sr .Jr%d-ZShl°nZ enotJSh t0 re*ret the neglect UNNECESSARY FEAR. are apparent in these very charming letters that he •of the Sunday night sing,” the livrnns ni-rk™,! For repose comes from within, the result of self- was accustomed to write to his sister Fanny; whilst IlSPil control and self-knowledge. An impatient, excit¬ In Fear and Uncertainty we have two very com¬ by the whole family. Nevertheless, there is still his artistic taste was evidenced by those exquisite mon enemies to repose; but with thorough prepara¬ able and irascible teacher will never foster control in water color sketches that are still in existence. great6 subject fhan'by dting a *£ X of .discretional cultivate the garden of the mind, we shall be re¬ aginative cast. SSrStt &S?3Srt X'ho,"K and the makinir of n k st appalling. Marriage 3- Imperfect understanding of exercise or piece. warded in the end. powers Id " , beaut.ful home needs all your 4. Fear and uncertainty in the performance of ex¬ From the consideration of these facts we may, I think, conclude that the cultivation of the musical hatbeXin ^morTbton/gen^"06 .expression be able to play “Bonnie Boon”or “Marv o a”','- Sotag to shut ouf the accomfd'sbments—are ^ou ercise of piece. rights of the interpreting2 1 lZ art, at any rate in its higher manifestations, is con¬ with a lovely flowing cantabile that it ^ accomplishment to w-hi T°St beautlful Power and THE CULTURE OF THE GREAT MASTERS. under your fingers Think to, that it Smgrssings years? Most women y°u <,cvotcd s<> many DEEP BREATHING. siderably assisted by this widening and broadening ; &£££ of the mind which is the fruit of the assiduous Deep breathing is one of the essentials of repose, -ho ail the bills fdr'aff6 thos^pfaeticenZL:°J until they have little*°Ilittle child rC3^5 8'VC “P thdr,,lcir music BY OSCAR GAUER. cultivation of literature and of kindred arts; and hour Even and with care and thought it can be so cultivated inasmuch as music may claim the distinction of be¬ that it becomes second nature. We all know that When we reflect upon what the music of to¬ ing the youngest as well as the most plastic of the FOREIGN mggjkJI. AMERICAN when one is excited and loses self-control, the day has become under the combined influence of arts all the latter may be said to converge and breathing is irregular. But deep breathing is con¬ literature and of the sister arts, with which (as m°'Wn Shar6 tOWards Its devel°pment.—Musical it from mother to 'c'lrild ln2.“ence.‘hat extends with the lungs slowly and easily, with the body in a re¬ of the musician of a general culture in these matters Jealousy and prejudice!' Such arc ti, laxed position. Count audibly up to io, using only set forth by nianv fnr fi • ^ re^^ons ther who used to play so wriMlmt °"e y°Ung n,°' and a knowledge of what has been achieved in them. to hear her; now she has tT™ evcr-vo.ne loved enough breath to speak the words. Inhale again But it is not infrequently urged: how comes it that PERSONAL EFFORT IN MUSIC STUDY hear her at all- she bn -V° chldren: they never and count up to 15, and again up to 20. Use this the great master musicians of the past, to wit, J S 5S&Hhfca and the other day she said Hp, hcr music”- little exercise daily two or three times, and increase Bach. Haydn, Mozart, Beethoven, Gluck, Wagner' BY SIR FREDERICK BRIDGE. service, it helps the oto„, ’ k , forms of social the number of counts as more control is gained. .1 can’t think where ‘Bov’ vet"1?,’3 "I051 111 tears’ Mendelssohn, Schumann, etc!, so little experi¬ »y Si.ndfather pC't'hi'T,"“ 7“l”r' m music—he loves those get.s hls dreadful taste Each morning and night, on rising and retiring' enced this pressing need of general culture? In the Of course it is a great advantage to have a rei h.s dear daughter died he pressed me in? Wh-Cn from 25 to so deep breaths may be taken, near an must take him to the Youn1 first place, the musical art itself was then in course bit tWfT ",StrUCti0n at sorae school or colleg ”i.i tkh'ybrd- open window, where pure air may be inhaled. On marked with an O, while the cngCr t0 be Ah, what an opportunity she^hnA P 6 S ,SymPllony.” of development and literature was naturallv in a far sll ZZZ IS ,en°Ugh t0 insure success. Pe, numbered i 2 i i •ru, " ther fingers were ago I went to the hi ,.ad m,ssed- Not long the street, one may also note the number of deep less advanced condition—at any rate in Germany— sonal effort, a real devotion to study, is the mai in Germany ’whtn Thlt attCt finfferinS originate.! wife, the mother of fourchiM “ co,,effe-professor s breaths that can be taken walking from block to than it is to-day. Furthermore, it must not be for¬ block. After practice of this kind, one can soon are on the high road to fame. You must remembe ful sensation I experienfed f*r»nge and beauti- four-hands, the Symphontf f"’D° P,ay with ber. gotten that the fact that the above-mentioned great £vr nA pa^fees and imagine S of her boys stayed in the mom c Bee,I,OVt'n- Two begin to associate correct breathing with exercises men survived amongst a host of smaller luminaries -“S«» ,So„ omonTjhe did and later, with the playing of pieces. Deep breath¬ of their time, effectually proves that they indeed (h„,f .tll0V man diligent m his business he sha ing is one of the stones in the foundation of health did. in effect,, pejsess a wider outlook upon the sand before kings; he shall not stand before me? "d i?•“S'£%”£iT,ST^'°^y and repose. As one has said: “For piano playing, culture of their day and generation than their less fi L \ r?3d that text as a yo“g man an deep breathing gives strength, elasticity, timbre and successful contemporaries; although' probably the 3rsBF-t:’SS; B~~ endurance >0 perform long and difficult passages you ! S °;rer TT My advioe t ployment in every snecies to .-lo - ,conttmious etn- amount of literary culture possessed by such' great L j your bedr°om and ponde great musician do we owe our nre"'03! t0 this with ease and restful mastery. It also gives the men as Haydn and Mozart would perhaps have vividness and beauty of touch that come from the and the natural fingering which followed P0Siti°" scarcely sufficed' to place them in the highest places bounding life within, when muscles and all the ner¬ had they lived in our day. However this may be vous ^mechanism are pulsating with health and the fact remains that the comparatively primitive b' <», "y^"’^%nsSrV6^ It all rests with tho • .sbe can play just fine f” conditions of their times did not make the absence of ‘it v”d.; which you how and Tj*’ ^ ^Tspfrh L Mental discipline. This subject is so big that it such culture so keenly felt as at the present day. thinks tT'Xuzof the niann He £,rv & f ?°unds- you^ begin0"s to almost covers the ’whole ground. Concentration is a S4 iSr^’srrJ ~ the chief corner stone. With the pupil taught music ing?—The Musical Enterprise. f °r stand- ache for the touch of smooth^co y°Ur Rngers or you c'whold yourSJusia ^ ^“Ptive^culture" BACH’S BROAD CULTURE. ed. 1 es, he answered. “Well then 1 upon educational principles, concentration is a large We,” I exclaimed. “Make ‘Don’t Z l grUn factor in the instruction from the start. But we be¬ Tlmt. however such men as T. S. Bach. Beethoven, Gluck. Wagner. Mendelssohn, Weber and Schumann hang it up in your bedroom and read" 3 tCX lieve that anyone can acquire this quality by well ing of your life_it will n “ r. d every mori directed effort. were each and all men of special mental calibre and breadth of mind is abundantly evident to all students confessed ,h„ i, „ad neall/donl "™’tood ” 92 THE ETUDE be cultivated to some extent, but is largely a matter of 93 SOME THEORY QUESTIONS ANSWERED. The terms major (meaning "greater”) and minor one’s own artistic insight. THE ETUDE (meaning “less”) are applied to the diatonic modes be¬ It is very frequent, even on the concert stage, to find place of the heretofore most frequently used menuet. BY MAY GARRETTSON EVANS. cause the distance of the 3d degree, the 6th degree a player, though well equipped technically, lacking in (usually), and the 7th degree (under certain condi¬ The reader should remember that the modern sonata good interpretive ability. He may be able to play a tions), above the key-note is in the major mode a semi¬ is a development of the seventeenth century suite. and.JE ?instruct..IT?E’S,,N „0 T^~TThe Allowing Is from an attractive Liszt number with all the vigor of rhythm, clearness and little book called Questions and Answers tone greater in each case than with the same degrees in Contrast in character of movements, grave alternat¬ on^the Element 3 of Music. The minor scale which the and charm a brilliant piece demands, yet be quite in¬ __ lU8 *° Icnd’ thcy become soiled piano music began first to be written, and bear on a brilliant period of musical^ art, a period contempo¬ A By raising the 7th of the pure minor, because in care and accuracy in mastering the delicate crossing oieces in n. t be also that we have books and every page the stamp of modernism. It is music raneous with ■ Mendelssohn, Schumann, Chopin, pared an incomparable edition of different works by P n perfectly good condition, but they have John Sebastian Bach. modern music the tendency of harmony requires a lead¬ movements. But pieces containing arpeggios should that should be used by teachers to develop a vigor¬ Thalberg and Liszt. Unfortunately for Dohler, he ous and natural train of musical thought in the was a dealer in platitudes, yet he traveled as an ing-tone (that is, one forming a semitone, instead of a not be avoided, however, but should be given more £“'forSt0hl',e ”M Of prominence in their own country, and esteemed Dt mind of young students. very few of his compositions are of any value, whole tone) in progressing from the 7th to the 8th dc- attention by the average student. Good arpeggio plav- be made of^T by n° means useless- but may as musicians who have interesting things to say, and One of the great pupils of Padre Martini, of the should hvT f,“iaI as S'ood Beale playing, and O^r n •JVaIuable ^vice in your teaching. " wherever their compositions find their way, are Fran¬ should m fact benefit scale-playing considerably. If Bologna School, was Ferdinando Bertoni (1725- RECENT ITALIAN COMPOSERS. I D 9- **ow Is. tbe melodic minor scale formed? practice cesco Simonetti (1842-1904), Giuseppe Buonamici A. By raising the 6th of the harmonic minor, in or¬ the study of arpeggios has not beeen commenced early ?»v.ptpta“;„Tlearning where Te r,””'"to locate the~ notes they 1813); his compositions, mostly chamber music, also 1846-—), Marco Enrico Bossi (1861-), Nicolo see on the printed page six harpsichord sonatas, are of the most brilliant And now a few words about some men of more re¬ der to avoid the unmelodic step of a tone and a half in the student’s career, lie might have made a wiser r*atr<\ If the old music is to be van Westerhout (1862-1898) and many, many others choice m the matter of instructors. adapted for beginners and romantic period of true Italian instrumental cent years. Alfonso Rendano (1853-) comes from occurring in the harmonic minor scale between the 6th cut out the separate ex- whose, names are here omitted because of the im¬ The next point in the consideration of a new niece ercises and give to th. ’ music. Of Giovanni Rutini (1730-1797), a Florentine, the little village of Carolei, near Cosenza; he studied and 7th degrees; the normal melodic scale-succession possibility to include every name of prominence in is its structure, harmonic coloring, and general "suit¬ write the names of n ~ ch,ldren fo take home, and there are four collections of sonatas for the harpsi¬ at the Naples Conservatory and later became a pupil tones l" StCpS n0t greatcr than semitones and whole so limited a space. ability for the pupil. This is largely a matter of ex- chord, and Andrea Colizzi, born in 1740, wrote a of Thalberg. Giuseppe Martucci (1856-1909), pupil *• nis £hnr, ar* *—*» number of things for the pianoforte, including a of Beniamino Cesi (1845-), was an ardent disciple Q. Is the melodic form used both ascending and tion j -°ne f™* pieccs of ve,T s>raple construc- in descending? f n“g difficulties that are purely harmonic— concerto with orchestra. of Wagner, whom he taught his countrymen to know' and appreciate; he was director of the Naples Con¬ ! A. No; in the melodic minor ale the pure nor' vague Jone combinations, or peculiar modulations As (Bass Clef) c, f, a, & d- MUZIO CLEMENTI. servatory when he passed away. His piano composi¬ is used commonly in descending, .„„lc tllc for . S’ are many Chopin Mazurkas, and : ofo Grieg’srnosr c .. jf the pupil is able to memorize tions, aside from other works, are remarkable for deviating from the signature do not obtain in descend- This brings us to Muzio Clementi (1752-1832), a easily, there is apt t be less risk in choosing pieces their style, and embrace varieties of form, including 8th' degree^ degrCe n° longer leadinS upward to the Pupils, until ffi'ey^ecom^^f18 I’61'''1''1 with young Roman by birth, and founder of modern piano play¬ position find it difficult to put down the notes correctly in which harmonies are the chief. featmeT mhe^t'han a concerto which attracted the admiration of Anton ings Clementi surprised his contemporaries with a Q. What is the difference between relative and corre- those which contain elaborate scale-passages and ar- note is to be found a^d ^ where cach Rubinstein; Martucci’s ten transcriptions of Ancient Though there is a certain amount of freedom necessary ment’s hesitation ’ ti7 hnd “ without a mo- great number of most important and useful innova¬ spondmg (or parallel) major and minor scales5 Dances and the beautiful Tj;io in E flat, Op. ^2, are m written manuscript, and the day has gone by when hand'^-n ifS g00d memorizing ability frequently goes tions on the instrument which he developed to be A. Relative major and minor scales have different make an analysis of the^hT.ii5' a,S° be askcd to sure to delight a musician who is also an accom¬ owing to the expense of printing, a fine musical calig- pf„ha"d -W.lth a deepcr musical understanding. his medium of expression and the chosen exponent key-no es but the same signatures. Corresponding (or Pieces containing fairly simple harmonies, and natural to learn to play the exer -hythl? and Phrasing, and plished player. Constantino Palumbo (1843-) is raphy was of -lue, yet there are one or two rules of his activity, for, like Chopin, he v^as a pianist- parallel) major and minor scales have the same key melodies are at first desirable for those who mem teacher. They enjov the^i-6 Wlthout helP from the another favorite pupil of Thalberg. After concertizing composer, and wrote felicitously only for that in¬ which might well be observed. In writing four-part notes but different signatures. The signature of a cor onze with difficulty. Otherwise discouragement or awakening their curiosity mUCh' Cach °nc with his teacher through Europe he returned to his strument. He studied Handel, Bach, Scarlatti, Para¬ music for voices, write the treble with the stems turned responding minor scale is that of its relative major a a distase for memory work may ensue Here it about it, and hear how the ^ °Ut 3,1 they ca" native land to become professor of piano playing at upward, and the alto with stems down-and similarly minor 3d above. J ’ disi, the influence of the last two being distinctly per¬ the Conservatory of Naples. Although he absorbed ^mno V rememb1e,red that a performance of anv more difficult music may be cutl Un\SOUnds' T1’c ceptible in his earlier works; later he became imbued with the tenor and bass. When two parts meet on the For example: A.major and A minor correspond in the touch and style ,of playing so peculiar to Thal¬ T ,Si SeldT thoroughly satisfactory as or sections, and studied in rim 1>hrases. periods same note and are of the same time value, use a double key-notes, both beginning on A; but A major has 3 with the melodic style and form-of Haydn and berg, he presents in his piano compositions indi¬ cofe I i, Ptbyerf ^ t0 depend °n the printed older pupils, also often f„rn' 7 n,anner by the sharps, and A minor has no signature. A minor and score. _lt is therefore certainly unwise to give , Mozart, and from that time on he made use of three viduality decidedly his own. Some of these are: stem, one up and one down. The tenor note, however cult technical problems iul'ng them with difi'- movements in his sonatas. Out of the large number C major art related i| having no signatures; but they piipd pieces beyond his memorizing capacity"" Romance sans Paroles, Op. 3; Capriccio, Op. 6; Pre¬ high, should never be carried up into the treble staff -studied at home, and writt^0?0'''*’ they may be of sonatas that Clementi wrote, the three great The stems of notes should bo, from the right of the begin on different key-notes—A and C The third point of view, from which piecesn' may be !esson, by either obW * fr0m memory at the ludes and Fugues, Op. 49, 50 and 51; Gavotte in D Sonatas, Op. 50, in A major, D minor and G major, notes, and should be thin and perfectly straight Leger Q. Illustrate the difference between the major scale regarded is the interpretive one,one. and this Jis entirelv - done thus, the teacher?tudents' When (edited by the writer); Di Notte; Sarabande et and the minor forms. matter of individual talent. To interpret well does not dedicated to Cherubini, represent the composer’s last Gigue; a Sonata Fantasia for piano, chorus and wind lines above and below the staff should be of even dis¬ Jf Leering the 3d, 6th, and 7th of the major scale nnply mere technical facility alone; it also requires a Pared, even to the barring 1 ^ the staff a” Pre- and most elaborate style. To acquire this style he instruments, and a most effective Ballade, with which tance, and, in fact, the nearer the manuscript has the nothing to write but the not ^ pupi' wi" have wrote the famous Gradus ad Parnassum, following gives the corresponding pure minor. Lowering the 3d flmdeseandf0r iv6 careful discrimination of various the writer has often pleased many audiences. Carlo appearance .to printed music the better. When double and 6th of the major, gives the harmonic minor I ow valuable time will be taken fr® and restsi otherwise. which he established a manufactory of pianos, their Albanesi (1856-) claims Naples, also, as his cririclsm dAUal 7- t0ne’ and SOme capacity for self- ers who thus dissect m,e?, °7 ,the ,essom Teach- mechanical construction being equal to the technical notes are not used on a single staff, endeavor to let ering the 3d of the major, gives the ascending melodic native place, where he studied the piano with his the music he as evenly on the paper as possible; that is necessary before" one °S ^Ly^t'^dl "Vhe 3 hlT find its place in the rubbish h WOl,ld otherwise development of his school. In his study on Clementi, father and composition with Sabino Falconi To is to say, when the melody goes above B in the middle to understand the composer’s mood and meaning may the shelves will find heap or collect dust on Adolphe Mereux says that in the allegro of his the very thorough training in a broad appreciation sonatas the style is broad, clear, full of character of the treble clef, or D in the middle of the bass clef many ways. a very valuable help jn of tonalities and the art of blending them, which he the stems should be turned down. When the melndJ and unity; while his adagios and andantes are models acquired from the latter, we owe his D minor sonata goes below these notes, turn the stems up. With ' of taste, the ornaments standing out in perfect dis- in four movements, a fascinating scherzo taking the on the line itself, turn the stem as most convenier THE ETUDE THE ETUDE 95 You may say: “The lawyer and the doctor do not Rakoczy was a famous Hungarian general and patriot of my musical past, i building big hopes for find it necessary to send letters like this regularly. in the days of her long, desperate struggle for con¬ the future, and am voring to secure all the One might reply to this—the lawyer and the physician tinued independence, of whose daring ability and phe¬ bright pupils I possibly . I know that my work do not depend upon regular week-in and week-out nomenal achievements fabulous tales are told. This must show .through y pupils, if I am to be sue- patronage. Attention of this kind always pays. ’-‘At¬ cessful in the end. march was composed in his honor, named for him and I shall be very glad indeed to meet Alice, espe¬ tend to your busineess and your business will attend to dedicated to him and is a splendid tribute to his mem¬ cially after what Mrs. Allen has told me about her, you” is an excellent motto to follow. ory. and about her playing. Seasonable greeting, letters of congratulation upon It is a “storming march,” fierce, yet sombre, full of Very cordially, the fortunate recovery of some member of the family, barbaric, half-fanatical patriotism and the lust of From Dollars in Music, by Geo. C. Bender. (Miss) Winifred Mills. some good fortune, etc., or letters of sympathy jn battle. This letter is friendly and shows an interest in the cases of illness or death should never be neglected. Analyses of Three Famous Classic Marches It celebrates the swift marches through the gloom of The music teacher’s business letters may be divided They should be very short and sincere. Do not in¬ mighty forests, the .midnight attacks, the resistless roughly into three classes: pupil which the mother will not fail to appreciate. O f dulge in sentimentality. Letters of this kind contribute By EDWARD BAXTER PERRY charges and the sudden tempests of death and flame 1. Letters designed to secure business. course, if the teacher is a man the tone of the letter to good will and the parent forms his impression of the descending upon the sleeping foe, which made Rakoczy, 2. Letters designed, to hold business. would be slightly different and possibly less intimate. teacher’s interest and consideration from little things [/» the November issue1 of The Etude Mr. Perry’s article on The Story of the March appeared, at the head of his wild riders, the teij|or of the invader 3- Letters designed to regulate business receipts and This, of course, must depend upon the nature of the really a continuation of this article, but may be read as a separate article. These marches are classic IJ i, collect bills. acquaintance. like this. It is needless to say that the teacher should they are high types of established March forms.] and the idolized hero of his people. The mood is impetuous, uncompromising, darkly exultant, the very Few music teachers realize the importance of c ;r- carefully avoid the least suggestion that such letters LETTERS THAT HOLD BUSINESS. MARCHE MILITAIRE, BY SCHUBERT. spirit of the night attack, the delirious Beausark frenzy respondence. They pass it off as a kind of necessary are sent to take an advertising advantage. They are FUNERAL MARCH, BY CHOPIN. evil. The teacher who has spent eight hours beside The pupil's parents are expected to pay you regularly, simply the niceties of good form, and good manners, This is another world-famous march used in many of the charge expressed in startlingly wierd harmonies, the keyboard, pointing out mistakes, listening to errors and you would be very much annoyed if they failed t > whiclj every lady or gentleman strives to observe. lands and in many forms and arrangements. It is full of the rattle of the war-drums and the ring of do so. What do they expect in return? First of all Bells that toll oer a nation's tomb, brazen trumpets and dissonant clank of contending that the pupil apparently finds it impossible to over¬ COLLECTING BILLS BY CORRESPONDENCE. Solemn, slow as the knell of doom, scored for brass band and orchestra, also as a piano come, and endeavoring to pour out inspiration and they want to see results, or, as is more often the case, Dirge, thatrnar voices ua uawmessdawnless ggloom, solo and four hand arrangement, as well as a brilliant hosts. Poland'sPnland'H wneswoes lnmentincr.lamenting. stimulation into dull, ambitionless little morsels of what they think are results. Many are unable to de¬ The teacher, fortunately', has very little to do with . » loved one slain, concert number in Tausig’s superb paraphrase. It is This march is to be found in various arrangements humanity, is in a poor mood to “take her pen in hand” termine just what the nature of the child’s progress is. the matter of collecting bills for services, which is such Strong as Hearts mat exi ' in pain, always enjoyed and admired (in spite of being almost for the piano, the most complete and stupendous being Daring death though the cause DS when the evening comes around, yet, if she is sensible, This is especially the case where the teacher is pur¬ a' serious matter with some business houses. Asa rule Poland’s wrongs resenting. hackneyed) for its freshness and sparkling vitality, its the Fifteenth Hungarian Rhapsody; but there are also she must know that almost all of the letters she has suing a course of technical studies of a nature quite the teacher is paid in advance, but occasionally, through irresistible, rhythmic swing, its simple, beautiful, spon¬ several more or less simplified editions, and it has been to write should breathe good spirits and good cheer different from pieces. The teacher has a definite tech¬ neglect to send in bills at the proper time, the teacher taneous melodies, as clear as crystal, as bright as sun¬ effectively scored for both band and orchestra. if they are to be successful as business letters. nical object in mind, but the parent can have only very is imposed upon by unscrupulous pupils and parents. light on steel. Other famous marches of more modern times are, In writing a business letter the teacher should also vague ideas of what the teacher is doing by requiring More than this, the teacher sometimes encounters the It is a perfect example iff form, content and mood, “The Turkish Grand March,” by Beethoven, from perceive that there is very little difference between a the child to make queer noises at the keyboard unless professional “dead-beat,” the suave person who per¬ Still for Poland sighing. of the parade march—not rapid, but pompous, splendid, “The Ruins of Athens,” and “The Tannhaeuser Brave as blades that In stern delight, 1 letter and an interview. One must first consider the the teacher takes particular pains to state her purpose suades you to extend credit until a really considerable full of martial spirit. March,” by Wagner; both described in detail in my very clearly. Flash and fall In the van of fight, main object of the letter and thereafter the nature of account has accumulated. Keen for vengeance and for the right This march was written in honor of the Austrian volume of aesthetic analyses already referred to. Poland s foes defying. the one to whom the letter is addressed. The mother, It is also no more than fair for the teacher to send In sending out a letter for an ordinarily small ac¬ Imperial body-guard, a crack regiment of grenadiers of the pupil frequently requires an entirely different a regular report letter to the parent. He expects some¬ count little more than the following is necessary: or heavy* infantry, officered by some of the highest kind of a letter from that which one would send to thing more than a card. The letter indicates special My Dear Sir:—/ notice that owing to the nobles of the realm—a proud, dashing set of blades. TEACHING ALL ALIKE. the father. The business man is accustomed to short, interest. The card is a kind of mechanical interest. pressure of my teaching work I have failed to send The ranks were composed of picked men, selected for These letters help the teacher wonderfully in holding Suppliant sigh for a land once fair, abrupt statements and wants to have his letters so you your account promptly. Trusting that you will Heavenward now ascending. their lofty stature and stalwart proportions. They were BY THOMAS J. LENNON. that he can get_ the “gist of them at a glance.” * business. They keep the parent interested. To be of overlook my negligence and favor me with your Sobbing strain with passionate swell, superbly uniformed, wearing glittering helmets, breast¬ The mother is usually quite the opposite, and were any value whatever they must he sent regularly. Tf Striving still of the past to tell, check for the enclosed, I am. Very cordially, Ere their bravest and noblest fell, plates and back pieces of'polished steel and were drilled There has been much written about teaching no she to receive the same kind of a letter that the father they are not sent regularly they lose greatly in busi¬ Poland’s life defending. two pupils alike, try to study the individuality of each ness value. John Wilkins. to the last degree of military precision. The regiment would desire, she might consider it cold and unsympa¬ The “very cordially” robs this note of its business was maintained as much for display on state occasions, pupil, etc.; that the teacher in trying to follow out thetic. Let us suppose, for instance, that the teacher The following system of regular letter writing is a coldness and the presumption that you expect the debtor to add pomp and splendor to court functions, as for this theory is in danger of making himself a sort has heard of a prospect and desires to write to the good one, which has been tried, with tmiformly suc¬ to be anxious to pay promptly as a matter of course service in the field in time of need. They were supposed of human chameleon. father. The letter might read something like this: cessful results, by a very capable metropolitan teacher is a subtle appeal to his sense of j"‘*;~ to be invincible in war, and known to be so with the The following will serve as an example. It is He had forty pupils. He divided these pupils into Masterton, III., Feb. 3, 1909. If you are a little worried about a ladies at home. from the middle of an article entitled, “The Power sections of five. Every week he wrote five letters n account, try some ‘ Mr. Horace Ambler, such form as the following: The music, written as a compliment to them, ex¬ Of Not Thinking,” by Frederick W. Burry. intimate personal letters, each letter entirely different 38 Celter St., presses the spirit of this martial body and conveys the “Force is intelligence. Cells have minds of their from the other, telling the parent definitely just what Dear Sir:—/ regret that it,is necessary for me Masterton, Ill. impression which their appearance in line of march was be thought of the pupil’s work. He reasoned that a to send you another account, but I have a number of Mv Dear Sir:—Through the kindness of our “A pianist sits down to his instrument and, after he parent would far rather know the truth than be unin¬ very large bills coming due next -week and must calculated to produce. mutual friend, Mr. Geo. P. Allen, I am informed CHOPIN’S FUNERAL MARCH. has learned his piece, he finds he can do better work formed It tock, in all, eight weeks to reach all of his look to those upon whom 1 have been depending It opens with an ingenious introduction of six that you desire to have your daughter study the This composition, unquestionably the best funeral by not thinking about it as he plays—giving his piano. pupils, but tins teacher never wanted for business in for returns to help me in this. I, is very distaste- measures giving, even in the piano score, a distinct march yet written for the piano, originally appeared as suggestion of the beat of drums in reiterated chords in fingers full reign, letting them work automatically I have been engaged in teaching piano in Mas- fact be was turning business away all the time and r fL0r. me, ° res°?t to anything more than this lettei to collect this amount and I am writing to the third movement in Chopin’s great, dramatic, alle¬ the right hand, exactly reproducing the most common or, if you like, think for him. Indeed, the finger¬ r: terton for seven years and the enclosed circular the demands for his time were so great that in the gorical tone-poem, the Sonata in B flat minor, Op. 35. and simple rhythm employed by the drummers at the tips have brains of their own. tells^ something of my preparation for my lifc- course of a comparatively few years he raised the price you with the belief that you will leave nothing un- ork. ot his fee two or three times. It is, however, a very complete and powerful work beginning of so many marches—a rhythm familiar to “Some, recognizing this great realm of the within, nieht °r7- tW‘ 1 a"1 Pa'd bef°'c "cxt Saturday in itself, and is published and most often played sepa¬ every schoolboy in every viand, and imitated by every have named it the ‘unconscious mind;’ this is clearly I shall be pleased to refer several of The following is the type of the letter he wrote • "y patror 284 Sunnyside Heights, New York, N. Y. rately, the whole sonata being too difficult for any but boy that ever marched with a wooden gun. Inter¬ a confusion of terms. Sub-conscious or subjective is the most advanced pianists. woven with this is a stirring trumpet call, a ringing bettfer since all mind, all matter, all things and con¬ ■j If you should desire to confer with me regard- . Feb. 6, 1900. A full analysis of the sonata, with the interesting ditions necessarily possess consciousness.” yp: f«g any additional details, terms, etc., I shall be Mr. Allen Wilson, long due, / am, summons to war and victory. Polish narrative on which it is founded, as well as the l pleased to give you any information you may de- 762 Fifth Ave., Very cordially yours Then comes the march proper, stirring, brilliant, with I cannot believe that a pianist plays a piece well New York. allegorical significance of both, may be found in my its catchy melody and swinging rhythm, growing “by not thinking about it as he plays.” s,rc■ e j Very respectfully. volume of “Descriptive Analyses of Piano Works.” |j. (Miss) Winifred Mills. My Dear Mr. Wilson -.—Two months ago I stronger and louder as the parade draws nearer. If a music teacher has to deal with a pupil that Taken independently, the march is the strongest and The light, dainty, almost playful Trio in the subdomi¬ seems filled with conceit, and at the same time does The business man will regard your letter very carc- wrote you giving some details regarding Berenice’s pi ogress. You very kindly replied that you would measures. A letter like tin* ( to.ta^e more drastic noblest expression of profound and passionate sorrow, nant suggests the grace, beauty and gayety of the fair his work in a careless manner, he has to act im¬ inlly; he will consider your handwriting, give attention bring results mil 6 I.,e ^o owln£ "’ill sometimes as well as the most perfect type of its' kind to be found spectators crowding windows and balconies to witness mediately and decisively to call a halt to error; but to such details as spelling and punctuation, and con- letter Cd *° Send you another similar firmfd “dealbTat” J ,to C°"teilfl with a ‘on- in piano literature. ' the passing pageant, with flutter of fans and kerchiefs, if, on the other hand, the teacher has to meet a pupil sider your taste in selecting sensible stationery. Tie of paying his bills ^ forgotten the delicate art Berenice has been studying the Appassionato. It is supposed to accompany the march of the funeral scattering smiles and glances and bouquets upon the that is timid and retiring, seeming to lack confi¬ will laugh at ornament, and if you are foolish enough procession bearing the bride and heroine of the story Sonata' of Beethoven. This is one of the great favorite officers as they pass. dence in himself, he will, if this pupil’s work is to have your letter scented he will probably be dis- to her last long rest. It begins with the distant muffled master’s most interesting works and requires not Then a sonorous repetition of the first movement otherwise satisfactory, encourage and stimulate him gusted. If your letter is lengthy he will in all prob¬ tolling of funeral bells, then the solemn heart-breaking ability never read it. If you are long i„ coming to only considerable technical skill but a nice apprecia¬ with open-hearted-advice. But beyond some such u have ignored my fre- music grows gradually stronger as the procession draws closes this march, which will live as long as “Schubert, your business he will be annoyed. To him your letter tion of musical values. I am pleased to say that consideration for special cases, a teacher may safely ~~ently do not realise nearer, taking on more and more the inflexible tramping the melodious” holds any place in the memory of the like every other letter, is a plain, matter-of-fact business Berenice took a most commendable interest in this treat all pupils alike, put them all through the sys¬ nothing stand in the cadence of the funeral march, with an occasional sugges¬ musical world. proposition and very little different from the other and has been successful in overcoming the technical tem that you have found the best—don’t adapt your¬ XTSL'llfr.tMS, U,JL‘ ■ tion of muffled drums, rising at last to a stupendous propositions that come up in his daily life. Your difficulties in a manner 1which deserves great en¬ RAKOCZY MARCH. (Pronounced Rah-kow'-tsee.) BY self, adapt the fcupil, hold fast to what you have couragement. She also plays with much feeling «!. '"ir"d <» ~ climax of pain and despair, then pausing by the circular, no doubt, contains your terms. If your terms FRANZ LISZT. proved and don’t swerve. The individuality of the ($17.50), and that yoTZLlTlTu mc open tomb. and your ability as they are represented to him by and if you have not already heard her perform student is secondary or incidental; the individuality your circular and your friends appeal to him, he may this piece 1 should be very glad indeed if you would indebtedness otherwise rf 'f™ incurrcd lhis Next ' follows an exquisitely tender and touching This is one of the most stirring and spirited concert little Trio, in D flat major, sweet and simple as the song of the teacher, on the contrary, is of primary im¬ want to purchase your services. If he does’ not see spare a few moments some evening and ask her to Ms makes if neeessa,t marches in the repertoire of the modern pianist. It is money now. -v f°r me to collect this of a child, symbolizing prayer at the grave, thrilling portance. that he will receive good value for the fees you go over it for you. I a quite- "■ sure you will note generally attributed to Liszt, because chiefly known in with tearful memories of happier days. Then ia heavy, The best men in every walk of life are the men that demand you have probably presented your case considerable progress. his version of it for the piano, but it is, in reality, much crashing chords, inexorable as the voice of fate, the have definite systems; systems that are largely their badly or you are not charging the right rate. Perhaps you have noticed the new technical ex¬ humiliation ofa’suYunl* y°U ‘° the ext>ense and older than Liszt’s time and is one of the many frag¬ I also can not consent, f ?ouJorce me <° do this. march movement is resumed, slowly diminishing, dying own acquisition, systems which have for their ob¬ If you are dealing Vith his wife she will need a ercises I have given her. They certainly do not ments of wild, original, gipsy music rescued by him It will be necessary for me'tn f”3’ lo"Scr- into silence, as the black-robed procession of mourners ject the acquiring of ideals; Ideals, also, which are rn, mrT intin;ate ,etter' will appreciate those sound very attractive, but I tried them with several from oblivion, and revivified for the musical world of little touches of human feeling which all women pupils and find that the results are uniformly good. by not later than next j receive this amount return to the village, their last sad offices completed. largely of their own conception. our day in his masterly adaptation for the piano. Its expect. 1 our letter might read like this: to have me resort to 7, unless J'OI< prefer The bride in this story is an allegorical personification Study of any subject will undoubtedly help one JavethrWy fingerj Smnastics, and really do authorship is anonymous, but it was composed (one can save the pupil a great deal of time. of placing the matter in^h^h^/^ alternative of Poland, so fondly loved and bitterly lamented, and to formulate one’s system, and the better educated Sit Masterton, Tll., Feb. 11 igog not say written as they never wrote anything) by one Mv Dear Mrs. Ambler .—Mrs. Allen has told It is very encouraging to know ‘that / have the most sincerely trust fl /,i loZandTP°rtJ>f- S° mmyi°f tke best fam'lics "ft be compulsory. strength and nobility of utterance rarely equalled and for a time so closely identified with the social life of daughter, Alice. I should be very glad indeed if f J' Tt i am d.0lns everything possible to merit - Very truly yours,' mgs of other studies thrown in for filling, the bet- 1 never surpassed, even by Chopin. Hungary in the palmy days of her independence and you would kindly set some afternoon aft«• three this. If at any time you should be in doubt re- ter will be one s system. Consequently, the ques¬ Many books have J°HN Wilkins. Regarded from a technical standpoint the march is prosperity. They were, in a sense, adopted as the when you will find it convenient to have me call sider t ?Jrenice’* ™°rk, I shall con¬ tion that is sometimes asked of a teacher, “What upon you. sider 7it aTVlr/ great favor ° fif you will write me at once. and it is an art which the tra .“pon letter writing not difficult, but it demands an emotional capacity and national musicians, were the special proteges of the system do you use?” might truthfully be answered, I am enclosing one of my circulars which tells Very sincerely, Probably the best and L t ^7’ -d° Wel1 to foll°w. insight, as well as a command of tone quality possessed court and the great nobles, and from them comes all The system that my accrued knowledge, up to date, Arthur -Stimson. teacher, is “Success in Letter*^!- ‘“Ie WOI;k for the by few players, and it is often atrociously murdered, the so-called Hungarian music, though they were of a social) by Sherwin Cody Writing1 (business and even by our leading concert pianists. cotany different race. has formulated as the most • efficacious system fo good results.” THE ETUDE 96 THE ETU DE HINTS ON TEACHING THE FIRST SCALE. THE BARBER OF BAGDAG—H. J. STORER. NOCTURNE This is one of a set of “musical stories” by a well-known American writer. The “Barber of BY M. A. MACDONALD. Educational Helps on Etude Bagdad” is one of the favorite tales of the cele¬ brated “Arabian Nights,” or “Thousand and One The one-octave major scales are best taught to Music Nights.” It will add much to the interest of this piece to look up the story. If the piece were used beginners from the example of the teacher, and By P. W. OREM in a recital, the story might be read in condensed should be learned by heart. form in connection therewith. Show the pupil first the right hand of C major, saying the fingering,, “one, two, three, one, two, MARCHING HOME—S. STEINHEIMER. three, four, five,” many times over until thoroughly NOCTURNE—G. A. BURDETT. This is a “treble clef piece,” lively and very inter¬ established in the mind of the pupil, while the little This is a high-class composition by a well-known esting for an elementary pupil. Play it in regular fingers play it again and again. The same is done in American writer. It is broad in conception, with a march style, with a strong, steady swing. This the descending scale, and then in the left-hand range of expresflon from the tender to the dramatic. piece has the advantage of dividing up the work scale. When this first scale is thoroughly mastered, The passage-work, the rhythms and the harmonic well between the hands, one theme being assigned at the next lesson teach the scale of G, explaining to either hand. This number is taken from a very treatment are essentially modern and characteristic. that the next scale always begins on the fifth note entertaining set of pieces entitled “The Fisherman.” The piece begins quietly and expressively. The above the keynote of the preceding scale. The five opening melody must be brought out in song-like little fingers will find the starting point at once. manner, using the “clinging” legato touch and the MORRIS DANCE (FOUR HANDS)— F. P. ATHERTON. During this lesson explain that the first five scales accompaniment, which should be well subordinated, are all fingered alike. should be played in an undulating manner. All the The “Morris Dance” is an old English rustic Sometimes we find pupils who at once pick up the ornamental passages will require extreme delicacy dance. It is probably of Moorish origin, its name idea, and after watching the fingers of the teacher and freedom. The middle section should be played being derived from the “Morisco,” a dance formerly popular in parts of Spain and France. In England will have these scales memorized and made their own. in a broad and energetic manner, with careful atten¬ it became a costume dance, the characters being When these are learned, it is well to pass on with¬ tion to rhythmic swing. All the climaxes should be those familiarized .by the Robin Hood ballads. The strongly worked out. The tempo rubato should be out delay to the next group of scales, B, F$ and Db, dresses of the dancers were ornamented with bells employed discreetly throughout. which are similar to each other in fingering. Explain of varying pitch. The “Morris Dance” was usually that these three scales use all the five black keys in 4/4 time. Mr. Atherton’s new four-hand number in the octave, and that the long fingers are used for MORNING SONG—F. BOSCOVITZ. is a very clever imitation of the style of this quaint the black keys and the short fingers (1 and 5) for old dance. It has the genuine rustic flavor. This is This is a refined piece of drawing-room music, the white keys, always using second and third reminding one of the style and elegance of Gotts- an original four-hand piece, not an arrangement. Play it 111 a lively manner with firm accentuation fingers for the two black keys that lie together and chalk. It has been carefully revised and edited by the second, third, and fourth for the three black a former pupil of the composer. All interpretative and rather brusque delivery. Duet players will enjoy this piece. keys. markings should be carefully observed and carried the scales that now follow are the hardest to out. Note the mysterious introduction with its bass SWEET SOUVENIR (VIOLIN AND PIANO)— teach, and the following diagram has been found to melody, which reappears at the close )f the piece, R. FERBER. be very helpful. For example, take the scale of Eb also the ornate passage-work which should serve This is a tender “song without words,” melodious major. If the pupil has a lesson record or practice to enhance, not obscure, the flow of the melody. A and expressive. It will afford the violinist an ex¬ book, write in it the following: variety of touches must be employed in this piece cellent opportunity for the cultivation of the singing in order to bring out fully the many contrasting quality. Play it in a dreamy manner. effects in tone color. — . , „ Eb F G Ab Bb C D Eb (Fingering) R. H. 2 123 4 123 PEAN TRIUMPHALE (PIPE ORGAN)— L. H. 3 2 1 4 3 2 1 2 VALSE BRILLANTE—T. D. WILLIAMS. F. LACEY. This is a brilliant concert waltz by a rising Ameri¬ This is a brilliant piece of the “Fanfare” type. Then show the pupil how to use this diagram, can composer. It should be played in a capricious ,L?e “°s‘ fanJ°us piece of this type is probably the following the fingering for the right hand with a manner, with clear, crisp touch. The middle section Fanfare of Lemmens. The word “fanfare” means pencil, towards the right, saying, “The ascending (in A flat) should be taken more quietly. In this a flourish of trumpets,” hence the term is applied scale goes up in this way,” and then returning to all organ pieces suggesting this musical device portion the melody in quarter notes should be well towards the left, saying. “The descending scale An organ fanfare should be played non legato with brought Out, and the accompaniment in triplets comes down backwards through the same fingering.” played in a rippling manner. The “Coda” at the brilliant registration, and not too fast. Mr. Lacey’s close of the piece should be as bold and dashing as new work is an excellent specimen of its class. It tauvh TV 6 .SCalCS °f Ab’ Eb and Bb may * possible. A fine recital number for a pupil some¬ may be used to good advantage either as a postlude found ’ and W^e" ,thC SCale °f F is reacbed it will be for church service or as a fecital number. what advanced. X” S,n,,"e ,hi" “ *“ * T flowed THE VOCAL NUMBERS THREE THEMES FROM SCHUBERT. Both *5® Slnei th,is month are novelties, recently These beautiful waltz melodies are fine examples composed. Both the composers represented are SOME POINTS IN ENSEMBLE PLAYING. of Schubert’s fertility of invention. He was one of the first of the great composers to idealize the waltz rhythm. His waltzes and other dances in smaller by cuthbert bell. fulMorf HisUn0W ,Heura"ce’s “But ‘he Lord is Mind- form serve to demonstrate his remarkable spon¬ ♦ °wn ?s a fine sacred song, a setting of taneity of melodic flow, with rare diversity of a well-known scriptural passage. It should prove rhythmic and harmonic treatment. Play these num¬ popular for church use. P oi£,”' orief M SHirT*,oud",h” ,h* bers in the style Of the German “landler” or “slow Mr. R. M. Stubs’ “For Love’s Sweet Sake” is one waltz.” of his best songs a genuine “love-song,” melodious notes.”01 hUriy thC measures containing 16th or 321!

FORGET-ME-NOT—P. ROHRICHT.

This is a light but cleverly constructed drawing¬ ductor. chorus or orchestra, watch the con- room piece, containing much variety in thematic ofTthe de°adthrnofPift PUgiHSt h3S been the «use material and treatment. It should* be played in a a fi„ death of tbe!10 amateur pianist. There was tasteful manner and with expression. The themes of ChonT Vr Card V6ry decent Performances areDaptn0tto '£y • IT ^ beginners in this piece remind one strongly of German folk¬ of Chopin, Schumann, and Beethoven in private sisted of one ei^h , e,ghth notes as i{ con- songs. It would make a good recital number for an The amateur pianist did not pretend to any degree intermediate grade pupil. of strength of execution; but her or his perform¬ two-sixteenth notes anyone eShthtCemh n°teS“°r °f ances, coming, as they often did, from a man or Do not p^Sr^T ‘be “lead.” THE BUMBLE BEE—CHAS. LINDSAY. woman who possessed real musical feeling had Do nnt L j out by making mistakes. a charm of their own, of which not the wt im This is an excellent teaching piece, in characteris¬ your own Par^an^vStch^h^i513^5 °u K"0W tic vein. It is thoroughly musical and cleverly put empwUTth6111-^5 the piano was b«"g Do not fail tch those of others as well, • the circumstances for which it was together. For study purposes it will afford splendid each measure, excepf^r ** firSt beat °‘ finger drill, especially in the development of the Kn2tSr^eaitd no°tmfoT“tCh * WOU?d nev" marked on other beats accents are especially trill. Play in descriptive style, suggesting the “buzzing” of the bee. doensSineanhd ®anUfactUrer- NowadeayCs0nhowdCoyfte°n So “ “d ><>"« for .heir lull v.lue, lightweight piano pSS^i^d^dLi^ music as the notes rCStS are as much part of the LOVING GLANCE—B. LINDNER. rooms, and though his performances may Tfk This is a bright but delicate drawing-room piece n-SuC vSenSlbl lty’ they Possess a strength to going.n0t g° back'if y°« "take a mistake. Keep on by a modern German composer. As it contains otof raisbgTraising a atcomparisonoUr Sdd°m as'attainS to ’technic, and’ from the shamenon- much technical and rhythmic variety it will make depends upon self ahnT successfuI ensemble work a very satisfactory teaching piece for a good third- favornf player vacates the piano stool i„ more to you than a Perhaps ™*ic i» "o grade pupil. It must be played with grace, freedom favor of one of those monstrous growths of the semble playingdLand bUt even if this « *0. en- and lightness throughout, but not hurried. CLr tal Cra2C~a musical ^ “Hooligan.”— British Copyright Secured bination and enthusiasmJ/usTas"^0”; COm‘ or even the game of life S Were f°otball- THE ETUDE THE ETUDE 99 THE ETUDE 101 THE ETUDE 100 MORRIS DANCE MORRIS DANCE

THE ETUDE THE ETUDE 105

Dedicated to Miss Letitia Kendall. _ VALSE BRILLANTE T. D. WILLIAMS Scherzando M. M. ^ =80 Tempo diValse m. m.

l 1. 2 1 „ ~" a tempo 5 .1 1 4 1 fl (, R -v 3 p * 3 * 3 a i / at ■ ■ p—^—fy-p— pr " n a —j-

> jl rfy j it J»..i f-rf-

4 1 HNrMtr fP^TT]. "r V ill i Pfi E-ci [ r -1—^ £=f—- =r p cresc-aci "tel poco a poco fflr r Y\ * 1 jXf X-- * ^ i i 3 ^ A Furi OSO 4

* From hete go back to the beginning and play to A; then, go to B. Copyright 1910 by Theo. Presser Co. s **

British Copyright Secured

108 THE ETUDE FORGET-ME-NOT VERGISSMEINNICHT p. ROHRICHT 110 THE ETUDE LOVING GLANCE

Copyright 1910 by Theo.Presser Co. THE ETUDE 118 THE BUMBLE BEE

sj 4^- 0.1 , % J-T-J 'jnxx—-;| Jmi -iP31 1st p' ’ll dolee iV) 3 5 3 m pii m A

61 i > is- J ih -jJ^ r^h r-J d d, rHru la li f+V w u w tf wMsMs 3 LfciJ

Copyright 1910 by Theo.Presser Co. British Copyright secured THE ETUDE 114 THE ETUDE THE BARBER OF BAGDAD SWEET SOUVENIR

* 1 1^-—y—r m M 0, ,

pp L =LJ1 . rTH-... i iffTl-i-. rh r rx c w LcLr L -L f It • s PP J-JJ- lf-UJ

Copyright 1910 By Theo. Presser Co. British Copyright Secured 7

THE ETUDE the etude PEAN TRIOMPHALE 3 2 ‘ - = ^l FANFARE 4 m * (Gt.8,4'&2' Mi Registration1.

Eg^gf (P^ ~g- j -j-f iji ~:...p p #■ ♦ —g~g :-g-g^

^ Jtt Jff+Jff >|A JJ| J J |pT pT|pT pT|pT ptlpTpTljff^Tj^jfel THE ETUDE 119

11N THE ETUDE BUT THE LORD IS MINDFUL OF HIS OWN thurlow lieurance

Moderate R.M.STULTS the etude THE ETUDE 121 120 down? One staff is no more difficult than the other, and it seems to me that by considering them as a whole, and teaching the pupil to learn them in that manner, simplifies the problem very much. There is scarcely a pupil of mine that does not f ^ Why does the sun - light read freely from either staff after a few months of iM ii—Li^rL r r~iVri practice. “Some may object to students memorizing their pieces and watching the hands while playing. But — - my experience is that as soon as the pupil is able to control his hands the teacher can, if clever, gradually teach him to play without looking at them. I should certainly advocate the newer method of teaching great staff, as I have had such THE TEACHERS’ ROUND TABLE good success with it, and hope that it may soon be incorporated in the text-books.” G. H. Conducted by N. J. COREY (SnW' 1 .hr Round Table readers will be interested in this 1—F ' reader’s experience, and doubtless some may wish Knotty problem, are continually arising in the teacher’, daily work. Tell u. your difficulties. We are to experiment in a similar manner. We are glad to have such an expression of opinion from our anxious to help you whenever possible. In writing please be brief, explicit and never fail to give full name and address. readers. An interchange of opinion is always both GSM interesting and profitable, and similar expressions of personal experience and opinion from other - PROPER USE OF THE BRAIN. “The pupils I have do not go beyond the second teachers will be gladly received. The Round Table grade. I teach high Unger lift, quiet body and hand, exists for the good of teachers; it belongs to them. The one thing that is most impressed upon a and supple wrist and arm. I give the scales with It would be a. good thing for teachers to give ex¬ teacher after a few years of experience is the fact various shading, legato and staccato, one, two and You ask me why I love you four notes to beat. I sometimes dwell on a given pression to their ideas in writing more often than melt a-way The mist that clouds a sum-mer day?_ that very few people seem to possess any idea of exercise or scale for two or three months in order how to use their minds effectively. To think is to to get all out of it I can. Then I require one lesson they do. Not only is it a benefit to their fellow- warm and cheer, But I will not for-get you, dean- to be played at least three times successively with¬ teachers, but it also helps them to clarify and class¬ them almost impossible; , while to generalize is ab¬ out a mistake. Is this too exacting? I And this creates interest. I Insist on pieces being practiced ify their own ideas, .and thus present them more solutely impossible. To teach them to apply the with each hand separately at first, dwelling on the principles learned in one piece to almost exactly faulty measures before trying them together. Can clearly to their pupils. The Round Table would you suggest any general plan for Improving my be especially glad- to hear from any teachers who similar conditions in another one of the same kind work? Are Bach’s Little Preludes and Fugues too dilficult for second grade pupils to attempt? I do not agree with the various opinions expressed is often incredibly difficult. Some only need a sug¬ would like my pupils to take up some of his work. gestion in order to perceive the application of a I have difficulty in selecting pieces that will at the in its columns. Many valuable truths are often same time please the child and instruct. Can you brought to light by means of such comparison. If principle; others need weeks of repetition in order suggest any help along this line? I hope the to understand and to apply the principle properly. writers in The Etude will dwell more on how to such expressions are made brief and to the point do things instead of so much on what to do. If the they are especially interesting and profitable. After the teacher^ias studied such conditions with prominent teachers would give some of their studio a certain degree of thoroughness, the only con¬ experiences it would help us out wonderfully.” Backwoods Teachbb. clusion that he can draw from his observations VELOCITY. seems to be that either the pupil is almost destitute Your general plan of work seems excellent, and It is impossible to fell without knowing you of brain power, or, if one has a suspicion that f is a good deal less backwoods than that of many whether your trouble is mental or muscular. If f he has a brain, that he has never been taught how the latter, you are probably holding your hands to use it. The latter is doubtless more often the who are in the great cities, and shows that you too stiffly while endeavoring to push your speed. case, for many marked instances of misused brain have a thinking mind. It would require more space than this department can command to lay out any It is impossible to acquire speed, however, in this My heart . is yours I on - ly know; - I can no oth-er an-swer power show such enormous improvement after correct attention, study and discipline. Of course comprehensive scheme of instruction. It exists manner. You would better make a thorough study if this cannot be secured the case is practically hope¬ more to help in points of troublesome detail. You, of Mason’s ideas along this line. Then take a less. Even, with the simplest things in connection as well as all other readers, are free to send in given etude, one that has a uniformity of figure with one’s work, if an unthinking pupil does not any questions along such lines at any time, as well throughout, learn it slowly with metronome, hold¬ understand the principle he drops it then and there, as suggestive hints. Your idea of insisting on pupils ing the fingers finally as they should be in the without using his brain to try to think out its mean¬ playing through a piece or exercise three times greatest velocity, that is, close to the keys, with ing or purpose. Such is not the attitude of mind, without mistake is a good one. It would not work muscular conditions very free and flexible, and set however, that leads to progress. Such students well, however, to play through three times the longer your metronome up notch by notch until you have never get beyond their teacher’s apron strings, and pieces that belong to the mote advanced grades, approximated the velocity you desire. In the if they themselves try to teach they are hopelessly as too much of the lesson period would thus be course of time you ought to gain much help from helpless. What to do to awaken dormant intel¬ used up. Bach’s Little Preludes and Fugues are too this. Do not practice too many months on a given ligences is one of the most present and significant difficult for the class of pupils you mention. The piece, as it is liable to “go stale,” and you will be problems in the teacher’s round of daily experiences, easiest Bach work that you can use is The First Study unable to do anything further with it. Lay it aside and very often causes him to feel that he is needed of Bach. In regard to pieces, you should keep a care¬ as a teacher of mental training rather than of music. for a few months and then try it again. When one stops to think how much, some pupils ful record of every piece that you use that is found who have comparatively no opportunity do, and pleasing and instructive. In the course of time you SCALES AND ARPEGGIOS. how little others who have every possible oppor¬ will have a comprehensive list that will meet nearly “Why is it that there seems to be a difference of all demands. If you will look in your Etudes of opinion as to which should be taught first, scales Lake I love you .dear, for love’s sweet sake, - I can no oth - er an - swer tunity, the teacher is nonplussed by the dis¬ or arpeggios? I have always supposed that scales crepancy between the two classes of minds. If May and June, 1908, you will find lists of first and should come first, and have so taught, not intro¬ those who do not possess the faculty of drawing second grade pieces. It is much easier- to make ducing simple arpeggios until the first few scales " were learned. I have, however, recently read an conclusions could be induced to take up the study lists for yourself than it used to be. In the first article from the pen of a very eminent instructor,, of the so-called “miscellaneous problems” in arith¬ place,. the publisher will gladly send you music on who advocates the use of arpeggios before the p w£jf^s== * * metic and algebra seriously for a couple of years, selection from which you can choose such as suits scales, as they have a tendency to strengthen and rJrr*’s f 3 f i|: id stretch the muscles of the fingers. I would be they would find at the end of that time that they your class of work. Then there are so many pleased to know your opinion.” would hardly know their own brains, so great would “Standard” albums printed for a nominal sum which be the transformation. Such reflections are com¬ you can secure. These you can keep for your own “This difference of opinion exists for the same monplace enough, everybody knows, but at the reference, and procure for your students any of the reason that there is difference of opinion on every same time they may set some slow-acting brains . pieces out of the collections that please you, as subject, and always will be so long as the action of J" r ^ r i 'g: 1 to thinking how they may improve themselves. w they can all be bought singly. Standard Compositions the human mind cannot be legally controlled. Per¬ They are occasioned by the following letter from for the Piano, first grade, and Standard Compositions sonally I do not approve of beginning the arpeggios one of the very remote parts of this country. Al¬ f I 1. _ ***, II 2 _ 1 for the Piano, second grade, and a number of others first. It seems better to let the hand become thor¬ though denied almost every opportunity, yet teach¬ oughly accustomed to correct action in the natural ers will observe how well she has thought out that you will find in the advertising columns of The things for herself. It is not likely that she is by Etude from time to time. Indeed, some good things positions before extensions are attempted. It is not nature any brighter than many who are allowing of this sort which you will find invaluable for this a good plan to attempt to stretch the muscles too make _ I love you, dear, for love’s sweet sake. dear, for lovefe sweet sake _ their minds to lie idle or dormant, but by study sort of reference are constantly being listed. Stock soon or there will be danger of engendering a con¬ and thinking she has enabled herself to accomplish your library with these as you can afford it. The dition of stiffness that it will be hard to overcome excellent work. The letter should encourage those Round Table will be glad to try to help you solve any later. As for strengthening them, any properly who are working under difficulties, and make more problems of detail that may arise in your teaching work. directed exercise work will rccomplish this, whether contented those who are working under compara¬ on the five key positions or extensions. I can readily tively comfortable conditions. TEACHING THE CLEFS. perceive how arpeggios could be given with perfect safety before scales, but believe the process more “I am interested in the subject discussed in the ,?Rportunlty of any kiuu. 11 you count kj difficult because by so doing the complicated is tfie little opportunity I have had, you would v._ Round Table as to whether the two staves should th« I can teach at all. I can play hut little, be taught separately to young beginners. It Is true placed before the simple, which is not generally ad- and when I tell you that I stammer, you will know that the beginner’s attention is distracted from his now badly I am hampered. I continually regret hands, to the detriment of correct position, as soon • mitted to be a good principle in teaching. So far that I am unahle to illustrate more for my pupils. as note reading is taken up. But simple melodies as possible it is always better to progress from the only encouragement is that my work is very that the child can memorize should be undertaken, Highly complimented in colleges where my students and then he should continue their practice until simple to the complex. Furthermore, a certain go to study and their preliminary work is accepted. they can be played with correct hand positions. result might be safely accomplished by an “eminent” 1 had about decided to give up teaching when I was “Then, is it not well to begin at once with the asked to take charge of the music in a select school great staff, letting the pupil learn it as such, using teacher who had acquired his eminence by long and near my home, a position I have been holding with middle C ai success for a dozen years. ” n ”,~">t and developing a knowledge of successful experience, but might prove something of notes in both direction, up and a stumbling block to a less experienced instructor. THE ETUDE 123 TH E ETUDE 122 PRACTICE VS. PLAYING. A PHYSIOLOGIST’S COMMENTS ON PIANO The ■*»“* b' '""d high ^ would-be pianists are ruined forever by such treat- After the composition is practiced in sections until s PLAYING. MASON’S TOUCH AND TECHNIC. slow individual practice. ment. Their hands become so chronically hardened the tempo is about half-way worked up, play it In recent years two important books upon the “Every month I find some perplexing problem, and BY LAURA REMICK COPP. . philosophy of piano playing have appeared. While therefore hesitate to appear so often. Your advice that it is impossible for them ever to get them m POINTS ABOUT FINGERS. clear through, so as to get an idea of it in its is always appreciated and application made with condition again. It is hard to undo the false posi¬ entirety, then go back to sectional practice again, these books contain very little that can be put to rood results. I have a book of Mason s Touch and Half the trouble pupils have and, to use an old tion of years. Mendelssohn’s Spring Song should -a. I MTf. *1 j-ajftJi out?wss..a?^ straight™ , only playing it a very little. The difference between immediate use by the average teacher, the works Technic/ but never having studied it. I am In a - breakVer of the habit, although expression, two-thirds of the other half, is caused not'be undertaken before'the third book of the have been unable to Dreaa “ -s tNVO-tinf?er exer- practice and playing is thoroughly understood by but of Breithaupt and Steinhausen are significant of the from not knowing how to practice. The rules for J would II Standard Course. ^ises^a/efullfand assiduously. Can you suggest a few, but the majority would have less woes to interest taken in the scientific exposition of piano¬ VJ.. R.) proper practice are few and with propriety may be suffer, if they did understand and understanding act. forte playing. The London Music, commenting on SMALL HANDS. a .^.l^ln T?Ea®T§asternateach?rU*vho°rga've>,e1^err- condensed into the words “go slow.” Constantly Dr. Steinhausen’s book, says: It would hardly serve your purpose to endeavor to you mentioned an having the pupils press the A short time ago, while in a prominent conservatory systematize twenty lessons from “Touch and Tech¬ ,ve a very interesting i am I impressing upon the minds of my pupils the of this country I overheard some practicing. The “Dr Steinhausen, one of Germany’s leading physi¬ ose Land width is not sufficient to handle keys" without prodSctog any soSnd. Will you please ologists and a conspicuous surgeon-general in the nic” for you for the reason that an order of suc¬ Her attempts at slow octave practice with necessity of slow practice, always telling them, that pupil was trying hard to get over a certain passage. cession that might be suitable for one pupil might i hands are attended svith much fatigue, givc.?‘s Tahi arC demanded by the practicing in small sections. As an ending I will repeat the beginning “go slow.” Srt ntS'’ CVen °n the Pianoforte. THE ETUDE 125 THE ETlD E . , , 124 . . tbp tones you are drawing from the an accident. Soon a contract bearing the ^ tones the (16) of the great operatic manager, k Slllgsing theLUC had had “Beethoven Day” and “Mozart the other degrees what they are until ^ , winding hiU dainty tracks So they went at it, and in two hours nate characteristics and separate de- feggio work and a regular progression and it may be a valuable source of words, t0 yourself, softly and distinctly Day” at other meetings. the row is vanquished. The first time had be£n nothing Ruth learned more of what real practice grees of treatment will be necessarym.t,v,oaai j throughuuuugu theliic consonantsL-UHoUIIdllla aleare Ilclylulhelpful 111ii happiness• and\ litof strength1 and of in- with aI1 the musical quaiities that you Each girl would be expected to play her we piayed this game I was the only wne f the w;„- meant than she had ever known before. for each if the ’ make the attaining to the third. These considera- TLT. . , , , , can “lend” to the distinctly uttered correct singer may be a more valuable words of the writer of the song. favorite scale. “The idea of. ^favorite de ^ ^J^sK dot where she was sitting at the piano “practice was more than pat- most of what one possesses the tions He or should lie at the basis of all scale! Whoever heard of such a thing source of similar benefits Another method of trainin a si trying to practice, but finding it very hard ticular. He made his pupil, before she had way of vocal efficiency. honest “systems” of vocal culture. said Edith, disdainfully. “Well, I guess and flats and finally into the minors. - - , r 5 before her. . ever evc„ struck a note, go’ over and over cjrUT . A correct smger must understand would bfi ag follows: “You have a fine Mendelssohn must have favored ‘A’ A “Scale Day” at the club is well worth With brilhant s FACIAL EXPRESSION AND INDIVID- the best qualities of a good song, and yoi and j wiu select a gon adapted : mamma is unkind,” said thg measure and count it aloud four or MUSICAL TALKING. when he was writing the “Songs Wlth- trying; it helps the teacher over many * do . 111 man 3 she turned a page in her music It has often been remarked that all out Words.” Eugenia said that, and tedious hours and the pupil over many a five times. Then came the musical char¬ But there is something n V C°rreC m Smgmg 3 to your voice’” maki"g the voice the every one knew that she liked to play book with an angry motion. .... g0T° sonff- ... , chief object of the singer’s care and dull one. acters, also the pretty story, and after minors, a most perverted taste, so the “There is my lovely new sled, too; but We all know that we can not get far ir that the expression had to come into the and .h. individuality of ,h, iaf.XS 'ft : does not make any difference how music, so that it might be played as it nance eayit.es of moutn and ot nose _require attention if one would power. expresses the qualities and methods of ^“AiMfoTfear *C> will receive too much Musicland without a thorough knowledge much I hate to play over my lesson, I should be, intelligently. attention, let me say that we will choose of scales. Always follow a plan in pre- 2Sr*J5.tSat MrayM.h.,yn,p,»l,i;,of,„,„di- oo™, .ioaiog in ,h= f„11„.i„g ™d,: voice, wTiich might be truly called “ have to do it just the same. I suppose Suddenly in the midst of an explana- which leads both _ _ only from those scales whose key signa- senting scales, gather up all the ideas you song, the difference being mainly that DaVid Kennedy “Come read to me some poem, wonderful voice” if distinct enunciation 1, read over'the'back numberTof^THE I might as well go at it again.” And about how the bass clef jumped ir Dne of his tours lures number more than three sharps - ““ gg| Mi Wg of sustained or of interrupted vibration round the wor]d Some simple and heartfelt lay. .had been carefully cultivated and main¬ her the treble there came a knock at the door. an old country- That shall soothe this restless feeling. flats and each girl will prepare to play her Etude for hints and scale games, try to she began her s u > wi of the column of air. The prattle of woman Qf his And banish the thoughts of day. tained, disappoints the people when ‘Oh, Mr. How-to-Practice, please do board a Canadian scale recite her scale, finger her scale, invent a few new ones. Anything that eyes, children has remarkable melodiousness they cannot readily understand a word and write it upon the blackboard with the helps the pupil will help you and remem- “Hoity, toity,” and the funniest little t leave me; it is only mamma. Come . - steamer. She had heard Kennedy ana wrue jl upuu me .- --• , , .. r saw perched himself ... it and this deserves to be encouraged sjng in Montreal. On being told that without carefully listening for that pur¬ proper key signature and a time signature ber that scales work downward trom the who I have for a pose, and not a verse or even a line very tip-top corner of the page of music te;cher)» aad Ruth turned around to ir rather than checked We are apt to she was speaking to the concert giver, of 2-2. We will make it an open meeting head and not upward from the fingers. by the most careful attention, because and smiled down on her. make fun of the little lad who recites she at once exclaimed with penetrating and I shall invite your friends.” This last - ____ , , , „ , . troduce the tiny stranger, but, much to The boy stood on the burning deck candor> «Ab; na, that canna be For THE “FINE ART” OF READING. the singer’s training has been for voice peaked hat, all around, the her disappointment, he had disappeared, remark was the finishing stroke and felled in a sing-song fashion, forgetting that the man j beard singing there was fe,, Even reading a good poem or a good development and not for song produc- two wobblers completely, for they did not MISS SOPRANO’S TRIUMPH. brim of which never to return again, and many times the child picks up and remembers guid iookin-!” When at Iengtb per. song in a distinct manner,-,0—0-. giving a clear tlon- even appear___ for refreshments. The. other _ that tinkled every when she had joined the merry children words rather by their sounds than by suaded that glorified song may trans- a,nd ful1 exPression of the writer’s, girls - with eyes- snapping" and"A minds A Game-Story for Use in Young Folks qUeer little body. with a light heart she could not but help THE VOICE OR THE SONG. alert, just brimful of enthusiasm. There Musical Clubs. ‘Well, my girl,” said he, as he threw attaching any definite meaning to them. form tbe piainest features on being thouShts and purpose, may thus possess think about the dear, kind, little fellow A small minority of people care little were to be prizes beside the ice cream and one leg over the other and balanced him¬ Many babies-even of unmusical par- asked if she bad enjoyed tt - concert a power Iike a “benediction.” Correct who had at last taught her how to prac- ents—“crow” i wonderfully _ tuneful she went on: «T was gae well pIeased. reading is a fine art that was highly or nothing for the song. If the voice cake. That was three years ago, and now BY MARY SCHMITZ. self in an easier position, “I suppose the “Scale Day” with us is a veritable func¬ manner. The birds know other but said I to mysel after every song’ cultivated and used on the public plat- ; fine, it is pleasing to this minority first thing you will wish to learn about speech than song. Surely, if r tion, the prizes are fewer, hut of more DR’s Noth.—Here Is a good game me is what I am called. I am Mr. How- re at- t excitingitmg games consists iuir usefl ln musie Next month we will print , ■ ,, » • , ., Y , ,f lady’s criticism appealed to him that a large degree of quiet and restful- H°w often ha« you heard “The the ability to say quickly any degree a jist of these words, accompanied by the cry, but be jolly, said the little elt, a Nearly a century ago Charles Lamb Cases have been known of soprano more intensely tban she thou bt and "ess are necessary for true success in Hallelujah Chorus” rendered so that isWorl for The came goes like this, numbers given in the following story. Neither practiced what he preached by taking his pointed out that there arc some plays voices treated as mezzo < contralto ;n b;s ped the last buslness projects and in home life. the splendid words could be understood “What is VII in fhe scale of D flat?” ^ hat off and grinning at it. which read better than they act, and and vice versa. Nor are teachers always stereotypism In correct singing the thoughts of the without voluntary attention by the “What is III in the scale of C minor?” ^rL0^rfPpear!'m^ “What do you see in that old hat of that to the really intelligent reader act- ~ ("r 11115 misunaersranamg. wbicb ecijosed bis own P°et should be one of the most promi- hearers? Choose sides for this game; the leader of be^wbo frst Ssends PlnZa correct list. This yours to laugh at?” she asked in spite of mg is rather a drawback, because we Curious weaknesses exist in some voices uai;ty g nfnt elements. Utterance must be The people appreciate singing that is each side asks the question of any girl on lai a|Slmple^et_exceHi^Way ofjeathig the her tears. naturally associate the personalities of in the middle register, whilst upper given to his words with perfectly correct, but if they must have the least the opposite side; if the girl to whom the “You must have gotten out of the those whom we first see act certain and lower notes may be all that are “PIANO” SINGING COMMENDED. distinct enunciation and careful expres- attention directed to the question- question is asked, fails to answer cor- Miss Soprano had a voice of great wrong side of the bed, child. I was not plays with the characters of such plays, desired. Timbre (or color) we know Many have arraigned the majority of s’on ,so as to produce the warmth and “What is the singer saying?” (for rectly, she drops out. This game we have beauty. Her ambition was to become thinking about.this, but how to help you.” To a certain extent this is also true of depends on “overtones;” and good modern systems as a contest between tbe inspiration which are to be con- singing is telling something in musical played with undiminished enthusiasm a singer o{ So ;t was (2) she “Oh, Mr. What-is-your-name ? You music. There is a large amount of authorities have it that timbre rather instructors as to which shall force the veyed by his words. tones), half the pleasure of the song is Another game, mu , ptnp er, u sbou]d seek an introduction to a teacher make me so ashamed. Please excuse my music, and especially of orchestral than compass constitutes the difference candidate for concert or for operatic Il: has been correctly said “Words destroyed, and the singing is faulty. and& white disks'6’ Eight disks to each of experience and ability. Her (3) of being so ungrateful, hut this exercise did music, of which it may be said that “it between first and second trebles, as be- fame to shout loudest. Beauty and pur- are tbe vehicle of thought.” Therefore _ player white on one side and black on the manner and the beautiful (4) of her bother me terribly. I wish it was at the reads better than it plays.” This is tween tenors and basses; it is not un- ity of tone, they allege, are sacrificed every word in a good poem or song is IS PRACTICE IN A SMALL ROOM other.’ These disks are nothing more voice made Signor Musique predict a very bottom of the well.” due partly to the imperfection of musi- deal with the baritone as a to volume, with the result that tuneless of lmP°rtance. To neglect the clear, DETRIMENTAL? than gun wads with black paper pasted on great future for her. After studying “How-to-Practice is my name,” said cal instruments and partly to our sub- limited tenor. The voice, too, is capa- and grating timbres often obtain more fmPhatic enunciation of even one word one side. The black paper, by the way, vvhh Signor Musique for a long (5) and be, “and before I leave you I am deter- jectivity to surrounding circumstances. \ C‘t° ,stran®e freaks at times. The applause than the flutey and sostenuto 's an inexcusable fault in a reader or a Dr. Weiss, in a communication to I got out of a box of camera plates, and g»ving up everything of (6) importance mined to help you in your music, and Indeed rarely do we hear an ideal rend- slip ti,aknew ajrv high soprano who,wt.u, whenV...U. qualityyudiiij so delightfuluengiitiui inm singers ofot an rreciter®c>tel’°f of a poem or a- song.o. Each OJ1syl-- Paris Academie de— ---Medecine, has the whole box of gun wads, enough for a her was arranged on a grand (7). teach you how to practice. You have ering of a composition, and few of us . . aa ,a coId- found no difficulty in earlier generation. High pitch and mul- IabIe should be pronounced as distinctly stated that very excellent voices class of ten or more, cost 15 cents; the The fifth of (8) was the date set for better jntentjons than many, but in spite can entirely wipe out the recollection singing in the tenor register! Many tiplications of brass in the orchestra are and with as careful expression as mined through practicing in too small pasting was one evening s work Black her first appearance A (9) of friends of jt all you do not yet understand how of the earliest hearing of any work, a “h £”> .ndicule ,the existence of blamed for the state of affairs. Yet, th°ugh the reader were a teacher in- a room- a statement which has caused and white checkers would do almost as planned to go in a body. Mr. Tenore, concentrate your mind on your work rendering which is not always a good rl fea l ln ^be vcdce and also boldly whenever an accomplished singer pro- s‘ructing a foreigner in the correct use Madame Albani, Madame Blanche _11 w-w-L flLiwr wirt, pio-ht nf these a member of the (10) of a popular jour- T...... A. . . T ... , . aiwa\s a gooo wide * 6 ,ex‘stence °f registers. The duces a genuine pianissimo effect, how tbe English language. So much for Marchesi, and Mr. Ernest Ford to rush disks, could build any scale, major or nal and ad umccritic ofui wiucwide fame,Mine, aucuucu.attended. P,. .15 hard’ but llsten and 1 wlU tr>r and The only way. then. i< to culti- thp °ne S experience of voices and exquisite the relief, how indisputable the c° ectly reading a poem or ,a song, into Print. They one and all dispute the sense of “hearing with the 7 minor, from I to VIII (or I)* and the The night was clear with a (11) wind “• more one studies “systems,” the skill! Possibly many of our most ro- and a Person who cannot read a poem Dr- Weiss’s assertion, and we are in- t at your piano don’t look eyes” so as to be as nearly independent noint was to build it so that we could blowing. After a whole day spent in yo" temrger 1S the ?onv‘ction; as faces and bust vocalists would do well to re- or a sonff correctly cannot- sing it cor- clined to do the same. Everyone of actual performances as possible. tell from the position of the black quiet and (12) her voice was fresh and at anything but your notes. If there whefhramtv,ntS llffer’ S0 d°v°cal organs, member that “the still small voice” rect!y- And now I ask the reader’s at- knows, of course, the defects of a disks what scale it was. The black its intervals true as a bird’s. Her debut a difficult measure, play it over and over, Absolute independence in this respect evktpnl • bear test!m°ny of their was chosen as a revelation of the divine tent‘on rtoT the following important fmaI1 room. Either the ceiling is so disks being placed in a line above the was a great success. After the concert first with one hand, then with the other, is perhaps unattainable by few, if any, existence i..u speech or in song. The essence rather than either the tempest words of Longfellow: low and the walls so narrow that one’s white disks, thus: the crowd made it necessary to (13) a until you can go through it without a but it is an object well worth striving battle of song” is 1 moment and the driver had to (14) his mistake. Then memorize the piece. : with methods orJhe earthquake. “And lend to the rhyme of the poet ymf® "00?168 hack” to the singer, so which every attempt of teaching rather t The beauty of thy to speak, instead of permeating the e horses for fear a quick (15) might cause “Shut your i which vn"1 r ratbeTr ‘han with the art Those who would conquer in the (c > 0*0 ) ) every sound but brings us nearer. vocalizes. In reality, there needs “battle of song” must place themselves A pleasing musical quality of voice ^ ^’tS THE ETUDE 127

THElETUDE the development of adenoids. Elastic] 126 LANGUAGES. EARLY BEGINNINGS. LITERATURE AND MUSIC. It is almost indispensable for a £u„0 Teachers who have begun the serious BY H. ANTCLIFFE. SS'SS^||Bsustained < . ing teacher to be fairly equipped with study of music too late in life will always ROOT’S of the effects of the first contingency. a matter of dollars and cents to sing intelligently and right you the* ilungsungs are kept open0Pcn andan,jK|j|*j tense, and a working knowledge of one or two lan¬ find themselves handicapped. There is a Literaturf like music, is, in its es¬ One can make the most of a small se aspirants, though, of course, beautifying your nature tha^ o in expanding theth^owe^rtj lower portions of the guages beside his own. Correct pro¬ saying among the Germans that “what Technic and sence, a sonorous art; for literature is room by standing in one corner and '■'■uth figures to a great extent, strengthening your mental fibre. lungs the apices are also expanded. nunciation of Italian, French and Ger¬ little Johnny doesn’t learn, old John will merely a means of carrying to distant singing to the ceiling diagonally, oppo- . t t know is that the you know it will enable- yoi , The deep respiration needed in song man cannot well be spared. never acquire in his maturity.” Arf of Singing is good and places, or of preserving for posterity, site. And care should be taken in a What £ey^ ^ ^ raune with much tha oxygenates the blood and gives the The distinguished singing master, With all due regard to the fact that a the spoken word. It is quite true that large room, as well as a small, that g answer t0 the question the ap- noble? individual vigor and power to resist Stockhausen, had four languages at his teacher cannot afford to stop learning at i my choir disease. The authors suggest that in the art, in its present highly developed one’s music is sufficiently far away . possessed of a fair voice and i have a college mu. tongue’s end, a fact to which much of any time of life—that a teacher who isn’t face to prevent the passage P ^ forPmusiCj coupled with a good who refuses pay for h^ servmes and cases of predisposition to consumption, continually completing his own education, state, has become much more than this, his success, both as a Lieder singer and of breath from being in direct contact ■ - u+.hg mvAcgives onm#»some faint nromise.promise, worthy of :arly cases, and in certain ir~~ rA no matter how old he gets, must needs but in its elemental, as well as in its as a teacher, is to be ascribed. Speak¬ with the book, a matter which is too > answer must surely be in the affirm- singing is to him a recreation, and he vanced cases, singing should be pre¬ retrograde—there still remains a great elementary form, it is this and merely By FREDERIC W. ROOT ing two languages from infancy (his seldom taken into consideration. One „d id dly it wjH pay ” believes that it aids him in apprecia- scribed. There should be classes for deal to be said in favor of the old Ger¬ this. Rhythm and well modulated parents being of different nationality) I. Methodical Sight-Singing. Op. 21 of the first things a pupil should learn ative aeeme y tion, and not merely that it is a change this purpose. man proverb. It is always a matter of sounds are necessary for beauty in lit¬ and trained in his art under old Garcia Parti. The Beginning.50 l above his music. But, after of environment from the class room questionable propriety for anyone to enter erature as well as in music, though not Part 2. Through the Keys.50 IT IS "WORTH WHILE.’ in London, he had, before reaching Part 3. ProgressiveMusicianship. .50 all, “forward” production is the great the profession of singing teaching who to the same degree. Literature that is Even if the applicant doesn’t possess to the choir room, DE RESKE ON AMERICAN middle life, acquired a ready command thing, which can be achieved in a small heard the housewife VOICES. has not been well grounded in the rudi¬ not pleasing to the ear is bad, and II. Introductory Lessons in well as a large, if the com- a]] the requisites andana doesaoes seem less.ess . Who*«— has UOj 11^ , work Dr of German, French, Italian and English. Voice Culture. Op. 22 - $1.00 room as well as a large, if the ments of music in childhood, and who other characteristics being equal, in e policy be observed of ex- qualified than his neighbor, it would be sing as she g along? In a recent interview published ill To this extensive yet thorough ac¬ has not devoted a considerable part of proportion as it increases in pleasurable *11. Thirty-two Short Song Studies some restraint amid limited ^afe to say “it is worth while.” This the farmer hum as he lods along lx American the great quaintance with the four most promi¬ ercising o.- - his youth to the persistent study of music. aural sensation, so does it improve in For high compass. Op. 24.60 surroundings..is The one danger of «. particularly true providing the person No matter!how.crude 1 llsh and teacher, Jean Dc nent languages of the civilized world For medium compass. Op. 25.50 He will encounter difficulties with dis¬ literary merit. . For lower compass. Op. 26. .50 small-room practice is that the fault was probably due Stockhausen’s free¬ couraging frequency—difficulties likely common to beginners of singing voices and vocal students. He said it dom from that absurd attitude assumed IV. Scales and Various Exercises ... XFJZssr- r.-ss s to prove insurmountable; at any rate, he by so many continental singing masters for the Voice. Op. 27 - 60c will be sure to find his path obstructed ttfi s£ 'S&-* “America unquestionably i —that, English is not fit for singing. V. Twelve Analytical Studies. many make, and it is sometimes tighteners^ of labor ki with an abundant crop of thorns and teacher with any pretensions to effi¬ Any language that has produced the Op. 20 $1.00 y that the folks duces more singers, and more singers brambles. ciency ctin detect and eradicate this, ring voices, than any other loftier forms of poetry is fit for singing. If Your Dinner Distresses ISfetai they SIS? th“t '.hey b*g I^^'^tt^lfijdthdr lyork <*V It would be well if parents could be VI. Sixty-eight Exercises in the whatever may be the size of the stu¬ i the world. I think their It is we ourselves who are, in a meas¬ the, malfititymaking nfof a great artist, so tnaithat growing easier, less irksome, and count led to understand more generally the half a teaspoon of Horsford’s Acid Synthetic Method. Op.28 75c dio. Of course a voice “thickens,” to ure, to blame for the extent to which (The General Principle of Vocalization.) whe™they fail and disappointment themselves more cheerful. God grant vocal chords have more resist,ng necessity of beginning early with the Phosphate in half a glass of water use Dr. Weiss’s expression, when it this continental prejudice has spread. comes they are utterly discouraged, that the working class may always power than those of Europeans. Pos- musical education of their children. brings quick relief—makes digestion is selEconcentrated. sibly your climate has something to di Englishmen, and especially we Ameri¬ when the trouble is solely with them- have song with them, even though it . Every singing teacher of experience cans, are too negligent in daily speech; natural and easy. selves, i. e., unwarranted ambition and is rag-time or the quasi-sentimental with it.” knows that the problem confronting him “I have high hopes for the future of we are entirgly too eager to get ballad of the streets, for — = with the approach of nearly every nelv American singers,” continued the illus¬ down to the pressing business of the The man who said “nothing sue- music has its mission, and numberless aspirant for vocal honors is not so much trious tenor. “Most of my pupils are moment, to the practical, immediately ceeds like success” should have added people derive benefit of some kind one of voice training; that will be found Americans. I have about eighty in my lucrative gist of things, to trouble much nothing fails like failure, and in the from it. As Longfellow put it, comparatively easy where there is a voice. BlfcOWN’S classes, a majority of them women. about the niceties of speech. Our musical world that is true. The path "Bongs have power to quiet His main hardship is that he finds it in¬ Bronchial Troches Of these eighty a good dozen will enunciation is hurried and slovenly. i with the tombstones of ig- The restless pulse of care." cumbent upon him, in almost every case, ,t worth while to cultivate my shortly make their debuts. All of The English “R,” Dr. Brown tells us r J£> a HH ullt. T.J|| nominious failures. I have in mind a to teach his pupil how to speak—how to This is a question one hears them are talented. I find that I can (in the much-quoted work of Brown- every side Vocal teachers have it young girl whom I know, who had Wasn’t it in Napoleon s retreat from enunciate, how to declaim—his own lan¬ accomplish many wonderful things Behnke on “The Voice”), is “something thrust upon them continually.- One of the good fortune to have a fair Voice- Moscow that two young men. seeing guage. This the pupil ought to have with my American pupils which with between ‘Ah’ and nothing.” them told me “Why” said-he, “do nothing out of the ordinary. She be- the despondency of their regiment, learned long before he comes to the sing¬ others would be impossible. The Spaniard, for instance, is espe¬ you know there is scarcely a day goes gun to study and after a while her started a song that soon became so m- ing master; and yet he generally hasn’t. “Much of my work as a teacher cially punctilious on this point. Every by that some one of either sex doesn’t silly little head became inflated with fectious that after a time the whole reg- The teacher, however, knows what to ex¬ the singing? The story consists in repairing voices which have commercial traveler in Spanish coun¬ come into the studio and ask that ques- the idea that she was intended by na- iment joined g pect, and goes cheerfully to work; the cheered and stimulated been injured—voices which have tries is well aware that before he can YOUR VOICE tion, or to have his ‘voice tried.’ with ture for grand opera Nothing but the goes on that customary obstacles may be overcome by THE TRUTH ABOUT IT broken down owing to bad methods. proceed to actual negotiations there are that question in mind.” When he told spotlight and footlights would do. A the soldiers so that they were the bc-t- patience and perseverance. EXPERT INSTRUCTION FOR IT In the cases of most Europeans these a lot of set forms of polite conversa¬ me that it started a train of thought short time ago she made her debut— appearing body of men after that tcr- Very often, however, he finds that, in concerning the topic—“Should I learn which was a most unfortunate event rjble rout. These two young voices would, I feel sure, be irrepar¬ tional intercourse to be observed. After GEORGE E. SHEA, ’86 (GE0 addition to all this, the hopeful student e Gounod, Paris e rewarded with the ably ruined. But—thanks to their r saluting the merchant in courtly phrase sing?” as the PT^ was unr*Pe> m fact “ad closes the tale, with the promising voice is totally ignor¬ One of the first American The stereotyped form as the vocal very little equipment. She prepared a Legion of Honor for the results of sisting quality restore many of of proper length, he awaits the equally —1 ant of the very A B C of music—“doesn't mUHIfW is usually.. ’ this:.. . “Pro- song rectal asae Viegher hid for rmhliopublic favorfavor, Aptheir singing. ,1,,..., !)r,,k n J.nvn American voices." courtly reply, whereupon he carefully know B flat from a bull’s foot!” It is fessor, I thought I should like to learn The morning after her recital when she There is always a need tor music, no inquires after the health of the mer¬ Singers, Elocutionists, Public Speakers: then there arises away down in the soul to sing, and if I have any voice, to read, over her coffee and rolls, what matter whether the occasion ,s one of chant’s family. Having patiently re¬ --PRACTICE ANNOYS OTHERS of that teacher an ardent yearning for a My method teaches how t< - ■■ . • the critics had to say—and they tried j0y or sorrow. In the church, in the ceived more or less information on this study with you. Will yon try my voice cordial face-to-face interview with the to be lenient, poor mortals—she de- home, at the wedding, at the funeral, point, he suavely expresses the hope and tell me candidly what you think of public school authorities of the city of his it? Tell me if it is worth while to cided with much weeping and some 0r the merry-makings, always music that thewnerchant is enjoying the com¬ BY W. FRANCIS GATES. pedagogic activity. spend time and money cultivating it.” gnashing of teeth that possibly she had fs jn demand and song its hand-maid mercial prosperity he so richly deserves, Send $1.00 i KATHEBXXE WALKER Of course, the question has over-estimated her meagre talents and With all these things in mind, isn't indulging further in a long string of cus¬ Specify Speaking STUDIO HINTS. brmnidic'variati"onsrbut the" above is the that maybe nature had not intended there then an opportunty to use the Music as science and as art requires tomary lingual amenities of little or no customary form sprung upon the long- her for a stellar luminary. The,above gift that nature gave you—even if it alertness, concentration and discrim¬ direct bearing upon the real purpose Locate yourself as conveniently as pos¬ suffering and not always patient anecdote is to a degree irrelevant, and seems ever so ordinary? Yon will find ination. Contemporaneous with the of his visit (all this with the greatest sible for your work. teacher. Young and old, though gen- yet ?t is of a pertinent nature. The if you try that it is certainly “worth cruder operations of mathematics are deliberation and in the very choicest A studio should be free of all useless, C.B. HAWLEY orally is is-the young, that sweetly suggestion contained is this: If you while’ cultivating your voice for your the artistic interpretations of elusive Castilian of which he may be master)— tawdry ornament. Don’t overload it with Vocal Teacher, Composer young person who seeks information, find y°u have a voice, by all means own sake and for the sake of your nuance. Musical theory, in its various and now—finally he is ready to broach a lot of fancy goods; fresh air And subdivisions—acoustics, harmony, com¬ and Conductor as the young are the most solicitous cultivate it; but know your limitations fellow men. his business proposition. It all sounds scrupulous cleanliness are of more im¬ position, orchestration—requires con¬ regarding their voices—it is with them don’t cry for the moon. very ridiculous to us, but it all culti¬ portance than fine rugs and bric-a-brac. tinuous and painstaking application. e will discuss this question. vates careful speech. Own your own piano! Quit paying STUDIO IMPORTANT AIDS. To quote a prominent American The supposition, let us take it for There is great beauty in the English piano rent as soon as you can. 35 Wes! 42nd Street, New York writer on musical topics, W. J. Hen¬ granted, is that the questioner is young Mentality has a great deal to do tongue, if we will only be at pains to Put your fees for private instruction Telephone 6443 Bryant well-known fact that many derson, “Music is wholly the creation —in his late teens or early twenties— nth one’s success or lack of success discover it and to acquire some of its as high as you dare, and keep them there; physicians advise their patients to take of ifhe human intellect. The very n and we will assume a music, and with mentality charm. Let pupils be encouraged to study people will soon learn to respect you for In Philadelphia Tnesdays and Fridays that he i: r less musically igno- sonality, which plays a conspicuous courses of instruction in breathing and terials of music are the products of the English poets—and the great poets of it. Give lessons at reduced rates only to rant, for such is the great bulk of those part, but greater than these is t. .thought..... It has no model in... 1524 Chestnut Street other lands as well. worthy pupils who are poor; never give who venture a voice trial. When he perament. If nature has blessed you throat troubles. At one of tlie largest Nature, as music and sculpture have, Care of Hahn School of Music While thus admonishing his pupils, asks, “Is it worth while?” he really has with a good voice, consider yourself sanitariums in the country, where eight It is the highest product of the imag- free private lessons. People rarely ap¬ -. dozen or more questions in mind fortunate; but don’t for a moment think hundred and five patients suffering ination." But Hegel says. “It i however, let the teacher himself re¬ preciate lessons they get absolutely free relativ member the Persoun in Chaucer’s “Canter¬ of charge. > the voice and its use, for that is the onlv thinsr reauired. Re- with tuberculosis (consumption') are of-f the limitations of musicmush- that it holds bury Tales:” that one covers a deal of speculation. member, there are other qualities that confined, there is only one patient who no relation to reason,” referring to the Encourage your pupils to join an a capclla chorus; but let it be a thoroughly BAS-RELIEFS What he is thinking when he makes the : tremendous" ’ factors' in’ the’ making” *—has followed the vocation-“ of music,' ant °f music, not to the logic of its s apostles twelve above query is literally this: If I can ar unmaking of a singer. and he was an instrumentalist, not a construction. good chorus. Wagner, Liszt, Handel, Schubert, learn to sing, will it increase my love If you have a fair voice and 'some- singer, gig . The asking of the question, “Is music Don’t solicit “trade!” Never try to Bach, Beethoven, Mozart for music? What -pleasure, if I have of the above qualities it is eminently The British Journal of Tuberculosis intellectual or emotional?” implies an convince anybody—no matter how prom¬ “If you possess a good voice, do not 50 Cents Each, Postpaid the ability to sing—no matter if it only to your advantage to make the most contains a memorandum on this sub- incorrect answer, for should either the ising his voice may be—that he ought to hesitate a moment to cultivate it, regard¬ be a little—will it give to my family of them. The pleasure in trying to ject by Drs. Leslie and Ilorsford. one or the other reply be given it come to you for instruction, especially if ing it as the most beautiful gift that has Brahms, Joachim, - as cents Each and friends? They say it will materially sing more than recompenses for the They say that it is now universally ad- would be wrong, for music is both. he already has a teacher. been granted you by Heaven.”—Schu- broaden my view so that my liking for outlay. Stop and think for a minute mitted by the medical profession that Would not the question, “Is man intel¬ Make it a rule never to take back a things beautiful will increase. Wonder of the benefit one derives who has singing, and the exercises it involves, lectual or emotional” be held as ab- pupil who has left you to study with These placques are made of hard plaster, size 4j£x6# if a little musical education will further some insight in the realm of music, is one of the most valuable preventive .for certainly he1IC is the highest another teacher in your town. Not in a indies, with a ring attached for hanging requirements. the development of my character, as We are told that a little knowledge and curative measures in the treatment combination of both km spirit of rancor, but because perfect con¬ They form an artistic and appropriate decoration for they say? Will.the amount of money is a dangerous thing—which under of consumption. The encouragement Calm is a great thing for an artist to fidence which is necessary if the pupil is the homes and studios of music lovers. I have sunk bring sufficient results— some conditions is quite true, though of nasal breathing, which is a part of a tain. Technique without inspiration is ‘I never take high tones in practice to derive the greatest benefit from in¬ and the time, what, of that?. And so usually you will find that a fallacy; vocal training, secures the free passage mere mechanism; but it is only when struction—has been so completely dis¬ THEO. PRESSER unless I feel that they will come easily.” ere is calm that inspiration comes.”— you may go on adding question marks but surely a little knowledge of music of pure air into the lungs, and prevents —M clba. turbed that it. is not likely you may ever 1712 Chestnut Street Philadelphia, Fa. Emma Eames. be able to restore it. Please mention THE ETUDE when addressing our advertisers. THE ETUDE 129 the etude DOES A CHURCH CHOIR PAY? Why do the people not come to church? citals at both the Pan-American and the It is partly because they hear what PIPE ORGANS St. Louis Expositions. In ff%*i|re of Estey Church Organs they do not want to hear, and fail to recitals were almost the only hear what they do want to hear. One these expositions that paid expenses Is this modern rushing life things thing—they like to hear themselves Hotd^tor^.„ . —NewJ^ork, N/Y„ 4 98 each of your ESTEY STANDARD MAINTAINED more. Thus the answer ot which we do not really need have sing, and they like to hear their neigh¬ decided “Yes.” MAXIMUM FACILITIES three questions ' “ J HIGHEST GRADE OF PRODUCT come to be considered necessary. In bors in adjoining pews sing and read Auditorium-Armory....Atlanta, Ga. 4 78 PIONEERS AND LEADERS ALWAYS our lives—home and otherwise—things and do something besides sitting there Schottish Rite Temple .. San Francisco, Cal. 2 24 which we have thoughtlessly come 1 st Church of Christ, Sci¬ H. C. MACDOUGALL. as wall-floweis and admirers of paid entist ..Berkeley, Cal. 2 12 to regard as needful are positively performers. In the modern church there 1st UniversalistChurch..Wilkes-Barre, Pa. 2 16 (Concert Organist.) harmful, and still we continue to use is too much of having some one else Church. ..Williamsport, Pa. . 3 24 (Director of Music at Wellesley them and even crave for them. do things for you. In fact, do pretty St. Stephen’s Episcopal There is a great deal of inquiry of nearly everything for you excepting Church.Pittsfield. Mass.... 3 28 Brattleboro, Vt. L i □ w o o d Boulevard Estey Organ Co., late as to why attendance at church is contribute money, and that in and of Christian Church_Kansas City, Mo. 3 36 Classon Ave. Presby¬ not what it used to be and not what it itself is not a particularly pleasant part terian Church.Brooklyn. N. Y... 3 30 ought to be. These people consider as to act. And it cannot be denied that St. Paul’s Evangelical Lutheran Church-Dayton, Ohio .... 2 16 LYON & HEALY’S attractions and as species of entertain¬ there is considerable complaint that all 1st Congregational ment the magnificent singing of a mag¬ the church wants of a person is to get Church.Amherst. Mass. .. 3 27 Shall the Organ Student be Denied Practice Kismet Temple.. ..Brooklyn, N. Y... 2 18 good church nificent choir and wonder why people his money to pay for others to perform St. John the Evangelist do not come to hear them in the same and continue the organization. The Church.San Francisco, Cal. 2 10 Opportunities? Austin M. E. Church ..Chicago, 111. 3 24 served by disuse, any more than it is manner as they flock to hear the en¬ minister finds it hard to get the Grace Reformed Church. Scranton, Pa. 2 13 On the con- benefited by abuse. The harm that is. tertainment in the opera-house. The people to do anything excepting con¬ Church Good Shepherd .Shelton, Conn.... 2 11 A symposium suggested by Mr. Francis L. York, in which many ot the foremost American ORGANS Union Theological Semi- trary, it is a done a modern organ by reasonable prac- At Reasonable Prices church quartet sings for money— tribute, because circumstances have mary . ..New York, N. Y. 4 39 organists and organ manufacturers have participated. benefit.- But t;ce cf reasonable men is not to be com sings because it.is paid. It attends the forced them into the habit of doing St Paul’s Episcopal Church.Minneapolis, Minn. 3 30 even if it pared with the detriment accomplished service of the church, as a rule, only nothing else, and he becomes discour¬ Christ Episcopal Church, Norfolk, Va. 3 47 were possible through leaving the church unheated dur- when it is paid. Of all the members aged and leaves for another church in Park Ave. Church of In Disciples of Christ-East Orange, N. J. 2 II to demon- jng the week and thereby subjecting the of the congregation its members are so short a time that he himself, as dis¬ Second Congregational ments fi strate that organ mechanism to change, decay and the most, regular in attendance. One Church.Lynn, Mass. 2 21 »J*nDU Fine Folding Onrw.it *S~.50! Fine Parlor tinguished from the congregation, has “ZcZ ilileTeMZuZ lace Organs #45.00! Hood Second-Hand Organs at might enjoy the singing of their selec¬ Smith College.Northampton.Mass. 4 67 THBo wiTsuceei * Jr issue the YoSzrSratedfollowing celebrated organistsor,S tooh such a mod- expense. . . half prices 44 apparently not become tired of those Our book “A” giving full explanation of the Austin Organ erate use of the organ appreciably short- 3. This is assuredly to the interest of LYON & HEALY, 35 Adams St., Chicago tions a few times. By the help of grace trying to place their tones, or if they gladly mailed upon request. part: Clarence"'" one might bear the repetition of them ens the life of the instrument, it the church to sanction the usage ot its themselves consider themselves as past AUSTIN ORCAN CO., Hartford, Conn. Ms worhZt 7h a valuable assistance in advancing jt ;s always a marvel that with so many same time give the congregation a little Their perfect voicing, depth and than hand blowing—besides, all in the city of St. Paul that the min¬ FRANCIS L. YORK. that account keep it closed, six days out musicai culture. I venture to say that, ot hindrances to overcome, the young organ- rest too. Coddled possibly by a few, isters who have crowded their churches of seven? If so, why not limit the nran- tw0 mgnj both excellent players, but the ;st can find time and place in which to it is quiet, requires little or no the quartet has grown to think that are the ones who did not have a appearance, are a few of the points of (Concert Organist.) her of persons admitted to services, lest first refusing for pecuniary or other sel- perfect igs work. He certainly deserves it is the most important part of the attention, and is so rated by church quartet, but who simply had superiority by which they are peculiarly service, and seemingly, in order to 1. Theprin- we unduly wear out the church carpets? fisfi motives to give organ recitals, the Success, for he gains it in the face of all of the leading organists, a precentor or a cornetist to lead the adapted to the requirements of the small i p a 1 objec- Children are notoriously hard on the Sun- second generously giving of his.time and difficulties, make the impression that something people—all the people, and whose idea congregation. tion made to day-school rooms; shall we limit the strength thereto, the latter will be of One solution of the problem churches and organ builders. was given in return for the large' salary was “Let all the people praise thee.” the daily- •• use number-«-- of£ —-pupils!1" and save that exoense?expense: much more benefit to the community. ployment of the pedal piano. This is Write for our book—“Modern paid, they intrude at every available opening in the church service. The of an organ Or the number of hymnals, lest all mem- the road which many noted men of the Organ Blowing.” What is called “ success” is a combi¬ in this- “The bers of the congregation sing and thus past and present have taken. consequence is that in the preliminaries nation of talent, character and manage¬ Mason & Hamlin Co. SUMNER SALTER. more our or- wear out the books? The church build- Furthermore, it has been justly asserted the time is taken up, and the time of ment. Any one of these lacking and BOSTON, MASS. <*an is used ing and all that therein is should he' for I desire to by Eugene Thayer that no organist pos- the minister, whom the people have a man remains “only an artist.” The the sooner it the free use of the people, not for the commend sessing fantasy can really practice on a THE KINETIC ENGINEERING CO. really come to hear and desire to hear, three must accord to produce a “star.” will be worn exclusive use of the few pewholders. very heartily ^arSe instrument; the temptation to di- Baltimore Ave. and 57th St., Phila., Pa. .is very limited. —Raoul Pugno. A NEW EASTER CANTATA out.” This is When people feel that this is the case your effort to verKe beinS t0° insistent, FOR CHOIRS not' true, as they will enter the churches and not be¬ bring about a After all, the backbone of organ any comp e- fore. A church, as an institution for more general pJ&yihg is piano technique; the rest, under Established New York, 1851 St. Louis, 1873 \LIGHT OUT OF DARKNESS tent organist, uplifting mankind, should use every i^liO^^ONES^ORG^S^§ use of the ProPer guidance, comes easily, "Etude” Music Club Buttons By ADAM GEIBEL organ builder opportunity to assist worthy (and even GEO. KILGEN & SON organs in 3- The organ being an integral part of 50 cents each, subject to discount or machinist unworthy) people to educate themselves JF C08t- Send for printed matterproof? 8imilar the churches tbe worship of the church and one of its it of Beethoven, Mozart, Mendelssohn, Pipe Organ Builders will say, but and to earn an honest living. It is very ® HOPE-J ONES ORGAN CO., throughout most valuable spiritual adjuncts, must opin. Schumann or Liszt. A pin on the W (Builders of the Ocean Grove and Buffalo Cathedral Organs). JW ST. LOUIS, MO. it is hard to get church officials to hard for a young man who wishes to -kn ordet to fasten on the child’s dress or One of the met l’e “ra”" Pllu,t» >" tie United ADAM GEIBEL MUSIC CO. the country, surely prove a help and an attraction in Jtj Elmira, N.Y., and 41 Union Sq„ New York City, N.Y. understand it. The finest organs in the become an organist to secure organ prac- believing its use as a recital instrument under skill- old country are in daily use, and some tice. Allow me to give my own experi- thoroughly as ful hands. of the best are the oldest. Organs ence. When I was a very young man I THEO. PRESSER, I do that The custom of organ recitals, weekly PHILADELPHIA. PA. H. HALL & COMPANY do not wear out; they are repaired or wished to study the organ. I tried to get New Haven, Conn. Pipe Organs of Highest Grade Only rebuilt, not because they are worn out, a few hours’ practice each week in a cer- more organs or otherwise, is therefore to be strongly suffer from commended. MAKERS OF MODERN Our Instruments comprise all features which ASHFORD'S HYMN VOLUNTARIES Ns. t but because they are out of date or inade- tain church, hut the officials refused One are of real value. Many years of practical quate to the needs of the church. A11 year later they came to me and begged disuse than The remainder of this Symposium will appear PIPE ORGANS Church Organs experience. Write for specification*. Composed by E. S. ASH FOUR organ and its motor are exactly like other take the position as organist. I over-use, and that the great quantity of LATEST IMPROVEMENTS Distinguished for Artistic Voicing' machines. Both will remain in good con- did so, and the congregation had to put organ music for which there is a very Dignified and Churchly. EMMONS HOWARD Westfield, Mass. di’tion longer, giver better service, be up with very poor organ playing while the inadequate opportunity in connection NEW Y0RK PHILADELPHIA M^aAshford^s>’ffret| many other machines, since much of the all if I could have spent that year in pre- beauty and the healthful emotional effect there, until the ropy looked as if it 1 5 3 MUSICAL CELEBRITIES ICELEBRITIESI Price, 73 Cents suit, organists will welcome this^econd^oh durability of its action depends on the paring myself for the position. upon those who come under its influence. had a fit of sickncss (which however Hastings Co. ume, Ashford s Hymn Vo’untaries No 2 which appeared January ist, 1910. In it will be found flexibility of leather. If leather is kept 3. The oftener the church doors swing Every good instrument improves with alwavs umo hr;lHl) \v]lat ’ ’ , Established 1827, All Sizes. jU COLLECTION of portraits of seventy-two musicians includ- nliablc it can be used almost indefinitely, open to admit the public, the better it is proper use, the mechanical wear and tear do- , j- , . ’ , , . mg great masters, lamous pianists, sin^rs, organists violin- ?: .. , _ -r.a U,. f<-vr tVip rhnrrln nuerht in be of its action being very trifling m elec- . 1Na^ • lle "as merely changing a ists accompanied by short, biographies,’ ® s> orSamsts, vrolin- (Bles/be the Tie^L\°E?iids?°“fisus' Saviour* If it becoi Pilot Me,” Mendelssohn (Hark?the Herald damn-churches are often damp places-, a social and an educational, as well as afro-pneumatic organs and in any case note here and there in orderV1,'1"1, to““ make it JFST PUBI.ISHFn mm Angels Sing), “He Leadeth Me," “Italian in any otherlorm? l!Sa^^SS^^clSS Hymn (Come, Thou Almighty King) Nettle- ...qj «.iickly crack and give way when religious, center for the benefit of the poor utterly unworthy of consideration as ' r perfectly with the heavenly musicians as Liszt, Handel, Haydn, Grieg. Gluck, Mozart Pucinni Mason, Nevin, Buck, Gurlitt, dePachman, Bauer, Kubelik,’ Joachim’ ton (Come, Thou Fount of Ev^y Blessing) used. The folds of the bellows, the pneu- man. Free organ recitals are educational against the value of public recitals. pattern shown to him on the mount. Thus A|5E£^T revolution Mendebras (Oh, Day of Rest and Gladness) IN ORGAN BUILDING of musical J«raZmm’ Farrar’ Melba. representing all’£raXs matics the connections of trackers and in character; they give everyone, even Church committees who restrict the 1 ,s with all the great arts. Behind the Could^rri I Speak0h',W ther lMatchless:ip the Ki"*L Worth) Ariel and (Oh,’ iq A Cr,rB' W"s Biller>1- B- 0- 0.. London The book is a fine volume for the teacher’s studio or the music many 'valves in the organ are made of the poorest, an opportunity to hear the use of the instruments under their charge artist there is the spirit of higher intelli- lover s reading table. It is just the kind of a work to have at hand others equally well known. Price of either No to improve spare moments. i or No. 2, $1.25 each, postpaid. leather. If an organ has an electric ac- highest class of music on the greatest of ar? largely to blame for the slow progress gence which shines through and imparts A thematic circular giving the First Page of Each Volun¬ tion unless frequently used the contacts instruments. That the people go to hear of the art of organ playing and the dis- to his works that clearness and that grip “gift"j£ nbook”uWil1,? Urelybemanner .inmorethan which it issatisfied gotten withup. the highly attractivev' tary until oil free when THE ETUDE Is mentioned. corrode and the action will not respond, them gladly has been abundantly proved couragements that attend the efforts and upon the hearers which no small art, liow- LORENZ PUBLISHING COMPANY \s a matter of precaution the organ by the crowds that attended the organ re- aspirations of the young church organist, ever cunningly executed, can ever' have. Theo. Presser Co.. Philadelphia, Pa. 150 Fifth Avenue, New York. Dayton, Ohio -Please men n THE ETUDE when addressing n„r .d- THE ETUDE 131 THE ETUDE • ii„utic when he at once recognized the crudity success in Europe last year. The other the other in B minor, are also often heard ;e music which is.strictly violinistic{ re wnof ^his own_ p.**...*playing and -at -once se. concertos contain much valuable teaching at the present day. Other of his composi¬ Albert SPALDING anu laid the foundation for ai ^ ^ correcting lt by complete VIOLIN STRINGS material, but are rarely heard in public. tions are the Twenty-four Caprices, which development of tectanc. advanced the ment and arduous study. He possessed We carry constantly in stock a com¬ Viotti makes use of much more advanced are admirable for technical study and are plete assortment of various grades of considered to have greatly ^ violin. eat technic for his time, having a fine technic in his compositions than Corelli, studied by every advanced violin student; Violin Strings. These are imported by progress of composit te and his lQne and unlimited command of finger- Tartini and the early Italian violinists. the Moto Perpetuo (Perpetual Motion) ; ourselves direct from Europe and are He wrote with go Hig effect on 5oard and bow, perfect intonation in fully guaranteed as being absolutely re¬ Viotti’s best known pupils were Rode Variations on God Save the King, which melodies are plea S- ^ very great, doubie stops and a most brilliant trill liable in tonal quality and durability. Department for Violinists and Balliot. contains stupendous technical difficulties; We are certain that these strings are thC. rS™,s°t ever be considered as one and double trill, which he executed Variations on Di Tanti Palpiti; Variations qualified to fulfill the exacting require¬ nfdthe founders of the art of violm equal]y well with an fingers, NICOLO PAGANINI. Edited by ROBERT BRAIN E on Non piu Mesta and Sixty Variations ments of the most critical. playhig. His compositions are marked qHe .g regarded both in his mastery Violin Strings Lengths The most famous of all violin virtuosos in all keys on the air “Barucaba.” E Best Russian gut. 4 $0.25 with breadth and dignity of violin technic and in h,s compos.- was Nicolo Paganini, born at Genoa, 1784. Paganini would not publish his compo¬ purity of style, power and sirnpnc y, tions as the SUCCessor of Corelli, repre- E Best German gut. 4 ,25 His father was an uneducated small shop¬ sitions while he was still before the public E Very best German gut. 4 .35 and his reputation stood justly s senting in both respects the next step E Very best German gut (packed keeper, who perceived the talent of his as a soloist, for he did not care to have in bags). s'A .25 ROOT VIOLINS during his lifetime as a ri. are tbe jn the development of the art. Al- son and gave him lessons at an early age. others learn his secrets. Paganini un¬ E Genuine Italian gut. 4 .35 E Best silk. 3 .20 THE VERY best known of his composu arp much though his compositions contain many This was followed by instruction under doubtedly enlarged the bounds of violin E Conservatoire Etemelles. 4 .20 1 BEST made THE CLASSIC VIOLIN SONATA., “La... Folia”„ „ variations-*-- . wn.cnwhich are mu ^ 62 ifficulties> sucht1irh as the double trill.trill, VIOLIN PLAYING IN ITALY. the violinist Costa. He composed a technic as no other violinist has ever done. A Russian gut. 2% .25 in this country The classic violin sonata jjjggggggg played at s^.<; firJt’ sonata in they rarely exceed the third position. A Best German gut. 2js .25 The Italians not only gave the musi¬ sonata for the violin at the age of eight, No new technical feats have been discov¬ A Genuine Italian gut. 2% .35 today. In beauty 1630, and, indicates, it had sonatas and suites. His first so ^ playing and his composi¬ D Best German gut. 2% .25 cians of the world the most perfect and appeared in public with great success ered since his day. His influence on the of construction an Italian origin, te early sonatas D maJor ^^SwTioSm. Op^ tions were marked with passionate emo- D Genuine Italian gut. 2% ,35 violin but they taught them how to at nine. He applied for lessons to the violinists of the world was very marked. G Best German gut, covered with —rich tone were, however, m like suites thant violin stu • Corelli did not tion As a teacher he was painstaking silver-plated wire. ,25 play ’upon it. The great period of violinist Rolla, but that worthy found he All the young violinists set about emulat¬ G Best Italian gut, covered with q u a 1 i ty—and the sonata form; as Bach and Beethoven s> is also interesting. growth in violin playing in Italy was great master of the make great demands of he player ■ and thorough, and formed many emi¬ could teach him nothing, and sent him to ing his feats, thus resulting in raising the lasting service used it. The nent pupils. His letter to one of his Ghiretti. His father was a rough, harsh technical standard of violin playing every¬ G Best Italian gut. covered with —ROOT VIOLINS reach “violin perfec- practically coniempoiaijcontemporary with.. the sonata was Vitali (1644-10921.(16441692), his compositions, ashe...... ^d^not^go b active period of violin making The -ohn ^ show great merit. yond the third position lady pupils advising her how to practice man, and it was not long until Paganini where in a remarkable degree. One of G Best^itaiianVut, covered with fine quality. .75 We guarantee and stand back of bowing is a classic in the art of violin ran away from home to escape his domi¬ the most interesting works to the student, G Best Italian gut, covered with magnificent vml.nSobemg m Among {he test names of Italy FRANCESCO maria veracini. nation. The foundation for the immense ROOT VIOLINS. You run no risk. instruction. concerning Paganini, is that of Carl Guhr, superfine quality. 1.00 technic which Paganini possessed in later “On Paganini’s Art of Playing the Vio¬ DISCOUNT TO PROFESSIONALS Ample time for trial allowed. Sold Stradivarius, Guarnerius and the other ^ V^may be noteT^he^following; One of the most famous of .the early Tartini not only wrote an immense on easy payments if required Partic¬ years was laid in his yearly youth, when lin.” Guhr followed Paganini around on BassanicCorejU, Torelli, Vivaldi, Vitali, Italian violinists was -racmi. bo^n number of compositions during his life¬ ulars and finely illustrated Catalogue he practiced with almost unheard-of ap¬ his concert tours until he discovered many THEO. PRESSER time, but also wrote on general musical sent on application. plication, stating himself that he some¬ of Paganini’s secrets and the characteris¬ 1712 Chestnut St„ - Phila., Pa. early violinists and composers of violin Gem ini»u »■ 1685. It is said topics and on musical physics. He also music of Italy, and the art advanced L« “tell , that when Tar- times practiced a single passage for ten tics of his style, which he describes in E. T. ROOT & SONS made the discovery that in sounding hours at a time. The great strain on his with giant strides. Had the greater Somis, Pug first heard his book. The remarkable advance in ANSWERS TO QUERIES. 8 Patten Bldg., CHICAGO him heVas“so double stops a third or combination nervous system caused by such steady ap¬ makers of Italy not brought the violin ^m Ver lll, violin technic which has taken place since A. A—The inscription you quote impressed^with note is produced, which does not ap- plication, and the fact that he gave way to the supreme perfection which they Tamm, Giar his day is proved by the fact that Pag¬ from the label pasted in your violin his style that pear unless the tones of the chord are to dissipation and gambling from his did, the art of violin playing would have dim Nard.n anini’s most difficult compositions are means that it was made in the year FINE VIOLIN he retired to played absolutely in tune. He is said early youth, paved the way for the miser¬ advanced but little, and the glorious V.ott. Paga played at the present day by many concert 1724 by Jacobus Stainer. If it is gen¬ Ancona for to have written over 50 sonatas and 200 able health from which he suffered the -CATALOG — world of violin playing, which has grad- nini, Gotnpag violinists, and are studied and mastered uine and in good preservation, it is greater portion of his life. From the age ually developed since the early Italian noli, a • practice, in the violin concertos. fairly well by the most talented students valuable; however, there is a large beautiful catalogue. It quotes the’lowest p of seventeen to twenty Paganini lived in violinists, would never have had an ex- Flonl°’ ‘ hope of acquir- To the general musical public Tartini in many conservatories. number of counterfeit Stainers on the >ld and new violins of fine tone. Send i istence It is thus clear that it is to zmi and hun- retirement at the castle of a friend, study¬ r and study the subject before buying. ing the style of js best known as the composer of “II Paganini had two pupils, one of whom, market. Do not have the violin re¬ the great masters of violin making 1.1 dreds of others ing the guitar principally, and writing a Veracini. Vera- Trillo del Diavole” (The Devil’s Trill), Camillo Sivori, became a great violinist, varnished, as an old violin is much Italy that we owe all that has been of lesser fame, set of sonatas for the guitar and violin. a work which is often heard on modern and had a remarkable tour as a traveling more valuable with the original varnish. done in the way of playing the instru- Many of these From this time on Paganini spent his time England concert programmes. The story is that virtuoso. M. A. G.—Your violin is probably an ment and composing music for it. g r e a m largely in traveling all over Europe giving 1714, and v Tartini dreamed of seeing the Devil, to imitation Stradivarius. Look up the CORDE DE LUXE A great world genius in any branch taugnt a n concerts. His success was enormous. He AFTER PAGANINI. at that til whom he handed his violin with the article in the Violin Department of the of human art only comes as the cul- ber of pupils had a perfect mania for inventing new hailed as the After the death of Paganini there was a September Etude on imitation Cre- mination of a school. The school of who spread all request that his Satanic Majesty play technical feats for the violin, and pro¬ greatest violin¬ great decadence of violin playing and monas and fraudulent labels. Silk VIOLIN E dramatists of the Elizabethan age cul- over Europe ist in Europe. something. The Devil played a beauti¬ duced new effects in the way of harmon¬ composition in Italy, and at the present M. F. M.—The label in your violin is USED BY LEADING ARTISTS minated in Shakespeare, the school of carrying with He afterwards ful sonata, which Tartini wrote down ics, double harmonics, left-hand pizzicato, violin making of Brescia and Cremona them the violin day foreign students seldom go to Italian Latin, and when translated would read, HI_B_located at Dres- as far as he could remember it when etc., which so puzzled the other European 15c Each $1.50 per Dozen culminated in Stradivarius. In the same art. mey cities to learn violin playing. There have “Made by Nicola Amati, in Cremona, in den, and while he awoke. Tartini’s “Art of the Bow,” violinists and concert audiences generally Catalog of fine violins sent free manner the school of violinists in Italy s p e n t t h e 1 r been few important compositions for the the year 1650.” It would be valuable if there threw a set of studies in the form of varia- that they got up stories that Paganini was MUSICIANS’ SUPPLY CO, culminated in Paganini, who recreated lives in devel- violin of late years by Italian writers, genuine. This is greatly to be questioned. himself from a tions, is also noted among violinists, in league with the devil, and performed 60 Lagrange Street - Boston, Mats. the art of violin playing and carried its opmg ” ” but there is at the present day a marked L. H.—The_ label in your violin is that ^ 0 high window Tartini’s sonatas in G minor and D his inexplicable feats by means of magic. technic to a point which has never tendency among eminent violinists to of Stradivarius. It would be worth Paganini had large, dry hands, and the been excelled since his day. perfecting the and was lamed major, and a set of six sonatas edited study and play the works of the early $10,000 if genuine. There is one chance immense practice he had done in his NEW CREMONA VIOLINS various forms S°™e by Leonard, are also frequently studied Italian school. Such great artists as in a million that it is. See article on authorities state youth gave him a command of the finger¬ of violin com¬ *— and played by modern violinists. Kreisler, Ysaye, Thomson and others fre¬ “Fraudulent Labels” in September Etude. AND CELLOS THE FIRST ITALIAN VIOLIN VIRTU¬ that he \ board which appeared miraculous to ordi¬ positions. quently play the old Italian classics on H. A.—You could have your violin OSOS AND COMPOSERS. Lack of space sane and tried nary violinists. He delighted to play their programs, and their example has re¬ repaired and put in good condition by an to commit sui¬ GIOVANNI BATTISTA VIOTTI. whole compositions and variations on one The history of violin playing in Italy ?°rblds go 1 ng sulted in bringing these works into a expert violin repairer. Any good vio¬ cide by this string, using, by means of harmonics, a dates back to the very invention of the mto the details gradually growing popularity. linist in St. Louis can give you the ad¬ PAGANINI PLAYING weans ana Viotti, the last representative of the compass of three octaves on a single instrument. All the elements of violin of the lures In a resume of the violin works of others that he classical Italian school, was one of the string. dress of a good violin maker. The label playing were in existence in the thir- and works of Italian composers, the admirable Thirty- in your violin indicates that it is a copy teehth century. It was not until the the earlier Italian_ violinists._mm It ii threw himself from the window in a fit greatest violinists who ever lived. He It is impossible within the limits of a ject which no true student of the violin 0f jealousy of another violinist. Vera- was born in 1753, at a village in Piedmont. six Studies for Violin, by Fiorillo, should of a Stradivarius made by Friedrich middle of the sixteenth century, how¬ few paragraphs to even touch on the re¬ :sa — -•>" *•*"* cini was a successful composer of operas His first musical instruction was from be mentioned, as they are invaluable for August Glass. The violins of this maker ever. thatnatanymmK^—*-“ anything approaching the art should neglect, for markable events which crowded the fifty- violinists, and form part of every compre¬ are of no special value, but your violin know it to-day appeared. Mon- the very beginning of the art and its and has left two sets of twelve sonatas b's father, a blacksmith. He soon became six years of.the life of this wonderful, hensive course of violin studies. Bazzini, may possess a fair tone. The repairer - - ... gradual growth of the time of Paganmi. each, which have been published, and a a pupil of the noted violinist Pugnani, at original genius. Every student of the taigne, the French essayist, heard born in 1818, has written a number of ef¬ can estimate the value for you, as every- Nor should the student confine his large number of other compositions, Turin, and afterwards traveled with great violin should make himself familiar with Mass with violins in 1580, and Ouv fective concert pieces, of which his Ronde things depends on the condition. Baltazarini, a native of Piedmont, was studies to reading the lives of these which are still in manuscript in Flor- success throughout Europe with his mas- the life of Paganini, which is not only in¬ de Lutin is a type, and one of the most D. C.—The “Souvenir de Wieniaw- a1 solo violinist as early as 1577. uucOne He should playJ many‘ A- of: their structive, but is as interesting as a ro¬ ence and Bologna. His compositions fer> He visited London, and was pro- effective. In addition to those given in ski,” by Haesche, will no doubt suit of the earliest published compositions compositions They may at first seem mance by Dumas. w the ^modern show llim to have been a musician of nounced the greatest living violinist. He the course of the above sketch, the follow¬ your purpose for a comparatively easy, for the violin was a Romanesca and quaint and old-fashioned || j|g The immense sensation caused by Pag¬ AU TOSTABILEV 10 LINTAILPIECE violinist, but many of them possess lof‘y attainments. His style is more also spent considerable time in Paris. ing are notable works of early Italian brilliant violin solo, containing some some dances by Biagio Marini, pub- anini’s performances drew large crowds . . . ,v;n -Thi« contains trills A great merit and will amply repay the modern than Tartini and Corelli, and is Somewhat later he abandoned violm play- writers: Locatelli, Sonata de Camera left-hand pizzicato work, and within to his concerts and made him a rich man. Toccata* £ violinS Si.£ time spent in studying ZL marked by grace and piquancy. (David’s High School, No. 14) ; Vitali, the ability of a pupil who has mastered 5 He is said to have earned over a million of\he^olhininaadm^8^UeDfy imProv^ power^nd quality the three books of the Kayser Etudes. was published in 1623, and a collection His sonata in G minor is sometimes _ . dollars playing the violin, and left his Ciaccona (David’s High School, No. 13) ; of violin pieces by Carlo Farina, which ARCANGELO CORELLI. h.eard on modern violin programmes, Persuaded to appear in public in Pam, All the violin music and books men¬ son $600,000 in his will. Pugnani, First Sonata; Geminiani, Sonata was published in 1627, contains double- Among the most famous of the early and this and some of his other sonatas and Iater became director of the opera tioned in this department can be ob¬ The New Improved'Chemical Violin Bridge Many of Paganini’s seemingly inexpli¬ in A Major; Nardini, Concerto (arranged stop chords and a great variety of Italian violinists was Arcangelo Corelli, have been played in public by no less there. tained from Theo. Presser, The Etude, cable feats were accomplished by altering by M. Hauser) ; Nardini, Sonata in D bowing. The earliest instance of where born m 1653. He was a pupil of Bas- an art;st than the late Dr. Joachim. Viotti’s fame as a composer rests Major and First Sonata in B Flat Major; 1712 Chestnut St., Philadelphia, Pa. marlced expressly “for the sani, a man of sound musical knowl- the regular tuning of the violin, and many a part was marked expressly for the sam, a man of sound musical knowl- largely on his violin concertos, which are Geminiani, Sonata in C Minor. Guido H. R. Z.—The bad tone you com¬ a composition by Gabrieli, edge. Little is known of his early life of the other difficulties vanish when they violin” is in , ^composition by Gabneh, edge._L.ttle » known of his earlyhfe in the teaching repertoire of every serious Papini, a modern Italian violinist, has plain of may come from many differ¬ published in Venice, in 1587. In the beyond the fact that he visited Ger- GIUSEPPE TARTINI. teacher Qf ^ v;oHn Hjs vjo]jn duets, are explained. written a large number of pieces which ent causes. Your bow may be worn Gabrieli composition the third position many and France, and finally settled smooth and need rehairing, your iTnever exceeded, but in a composition in Rome, where he found a warm friend ,°f the g.iants of the fifty-°ne «*> number, also rank high, and PAGANINI AS A COMPOSER. are popular with students. whose early Italian school not only as a per- are considered the best after those of | strings may be old and worn half for the violin published in 1610 we find and patron in Count Ottoboni, through, or may be false, your rosin passages up to’ the fifth position. palace he lived the rest of his life, former on the violin, but as a composer Spohr. Viotti published twenty-nine vio- Paganini’s compositions are all remark¬ may be of poor quality or the bow Compositions by Tarquinio Merula, directing concerts which took place violin music.^ He was born in Pirano, lin concertos, of which the twenty-second able from a technical standpoint, but many What a divine calling is music 1 Though not properly rosined, your strings may in 1640, show frequent changes of posi- weekly. Pupils flocked to him from all *n IOQ2. Originally intended for the (in A minor) requires advarced technic of them are antiquated to present-day everything else may appear shallow and have worn deep grooves in the finger¬ tion and octave passages, and those of over Europe, and he was universally Church, he finally followed his great to play, and is still heard in public. Fritz audiences, although virtuosos who wish repulsive, even the smallest task in music board, which ought to be taken out, Paolo Ucellini, in 1649, go to the sixth respected and beloved. His mast emi- genius for music and made it his pro- Kreisler, the well-known violinist, played to display dazzling technical feats still is so absorbing, and carries us so far or the fingerboard itself may not be’ position and show great varieties of nent pupils were Geminiani, Locatelli, fession. As a violinist he was largely it this season in New York, and Ysaye, use such 0f his compositions as the away from town, country, earth, and all level. Then again the fault may be fh”dvg-e’retC-A°- Wemail two bridges (each of them giving bowing. Somis- BaPtlste and Castrucci. Corelli self-taught until he heard Veracini, the Belgian virtuoso, played it with great Witches’ Dance, The Carnival of Venice, worldly things, that it is truly a blessed iter) for 50c., one bridge for 30c. etc. The two concertos, one in E flat and with yourself. Possibly you do not gift of God.—Mendelssohn. bow correctly. Go to a good teacher. H. Bauer Music Co,ri35 E. 34fh St., New York Cily

odr* advertiser'011 THE ETUDE wlle“ addressing TH E ETUDE 133 “Rule Britannia.” Then comes the ven s Symphonies are dramas without The first one, in A minor, was suggest¬ THE ETU DE as more uncomfortable, than it is at answering “French Drums and Trum¬ to any prose writing.” That seems like texts. Mendelssohn’s love of program ed by the perfume of a carnation. The putting the matter a little too strongly, only animals which' are quite unm.s ^ present. pets,” followed by “Malbrook,” and so is very evident in all his works. second, in E minor, hints at the fairy and I am afraid some of us are like the able are those of the to hag forth. The second part is entitled “Vic¬ “Notes,” he tells one of his friends, musical warfare. tory Symphony,” in which' appears the trumpets of the Eccremocarpus, a spray puzzled old lady who said, “Sometimes Cuckoo, the German Q beloved “have as definite a meaning as words_ British national melody, “God Save the of which the composer drew upon the I think—and then, again, I don’t know!” a different ca from that 0 ° Kotzwara’s “Battle of the Prague” is perhaps even a more definite one.” But an almost forgotten piece of military pro¬ King,” which Beethoven greatly ad¬ margin of the original copy, for he was “Bob White”), the Cock (wh The many of us have not developed this lan¬ gram music that was famous in its day, mired. always deft with brush and pencil. This CHOPIN’S PICTURES IN TONES. is world-wide), and other birds guage of tones, so far as these great vine seems to have no common name, and so delighted the hearts of our for¬ THE PASTORAL SYMPHONY. composers. And we need a musical Chopin has been called “the poet bears that it had an immense success for but Gray’s Botany gives it as belonging His celebrated Pastoral Symphony is guide-post or so, along the road to of the pianoforte,” and his most famous a quarter of a century. It described the understanding. to the same family as our old friend, engagement between the Prussians and so distinctly program music that it has the trumpet flower. The third little living interpreter, De Pachmann, is DEPARTMENT FOR CHILDREN In his “Hebrides” overture, which Austrians, before Prague, in 1757; and actually been illustrated by scenes, bal¬ convinced that practically every piece special, to us, ^^^Vr four tones was written to show how extraordinari¬ sketch, in E major, portrays a real the “Cries of the Wounded” part was let and pantomime action in theaters. that Chopin ever wrote tells a complete Bright Ideas on Musical Subject, lor Little Folks and Their Teachers ly Fingal’s Cave affected him, we can Welsh rivulet which particularly struck ^ending^chromaticaHy, which^are very gruesome. “The Storm Rondo” was In this work we have a beautiful land¬ his fancy. story in itself, or paints a picture which scape; a scene by the brook; we dance hear the gentle flux and reflux of water, its musical twin—both of them now obso¬ Looking a little further, I find that can be comprehended. The music of thing, which is the briefest explanation with the peasants; we are supposed to as if it were lapping a rocky shore. MUSIC WITH A STORY TO IT. possible and gives us a comfortable lete, and as lost to remembrance as are Mr. Taylor himself has described the Chopin is full of subtle romance, care¬ syllables mi-au (taken from the allege get drenched through and through with The “Melusina” overture was written feeling that we have struck bottom at the’hands that played them. to express in music the legend of the Eccremocarpus as a pretty little creep¬ less gaiety and utter sadness, truly a What “Program” Music Is and Some¬ language of the German cat). Haydn had a long career. He wrote an interrupting thunder-storm, and we last, and can take our bearings with fair Melusina, who was deeply in love ing plant, a novelty at that time, cov¬ strange intermingling, and in many of thing About the Great Composers his first symphony before Mozart was give ■ thanks when the rainbow first some degree of certainty. the diatonic cuckoo. with, and loved by, the handsome ered with little trumpet-like flowers. Who Have Written Music In¬ born and his greatest one after the death gleams in the sky. You might think his compositions these various moods As I have already told you in the The Cuckoo has been the earliest and knight, Lusigan. But she had a secret It grew in the garden, and the youthful tended to Suggest Stories, of that genius. Perhaps his distinguishing Beethoven had attended one of our own follow each other in quick succession. “Story of the Sonata,” with the old- most frequently imitated of all his she was anxious to conceal, so she ex¬ Pictures, Legends, Scenes trait is a certain out-of-doors feeling, Sunday-school picnics. Yet he adds to Mendelssohn was so delighted with it It may interest small readers to know time composer music was largely a feathered tribe. And this is but natural, acted from him a promise that he and Feelings. similar to that which comes after church the title the significant words, “Rather that he played for Mr. Taylor’s sister, that it is the sixth Chopin waltz, the matter of ingenuity, especially in the S her notes are the only ones which should allow her to remain alone on or school. The pastoral element is unmis¬ an expression of feeling than a picture.” Honora, the music which, he said, the days of the Fugue writers. With the are reproducable m our s=a1^ . certain days in the year. But, as the one in D flat, which is familiarly known takable ; the orchestra strings uttered the You remember that in speaking of the fairies might play on such trumpets. modern music-makers, however their even she alters her interval—the dis¬ old saying goes, “Murder will out in as “the waltz .of the little dog.” And soft hum of woods and meadows, in a wooded border of a meadow not far With his “Songs Without Words” we art is first of all a means of expression tance between the two notes. The the end,” and at last the proud lover the story goes that one evening at her of their moods and of their personality. joyous, exultant praise of nature. from Vienna, he said to a friend who are all familiar—they are household cuckoo note changes with the season, discovered that Melusina is only a home in Paris, Madame Dudevant was However, the descriptive or story¬ He was very fond of imitative music, was with him, “This is where I wrote words, needing no comment. beginning in the . spring with a minor beautiful mermaid, half woman, half telling element has been present to a and many examples are to be found in the ‘Scene by the Brook,’ while the yel¬ greatly amused by her little pet dog, When folks look wise and talk about fish. And then, of course, there was certain extent almost from the first. third: “The Creation.” The “cheerful roaring low-hammers were singing above me, SCHUMANN’S PROGRAM MUSIC. who was busily employed in chasing program music the rest of us begin to trouble, and lots of it, because a secret In this sense, program music has a of the “tawny lion” is followed by the and the quails, nightingales and cuckoos his own tail. She begged Chopin to prick up our ears and wonder what it is one of the very worst things in the The 19th century, the epoch of Cho¬ most ancient and honorable authority, “flexible leap” of the tiger in a most real¬ were calling all around.” The yellow- set his antics to music. And that is how is all about, anyway. At the seashore, hammer corresponds to our golden¬ world to have about your person. pin and Schumann, is the most import¬ if you are not an expert swimmer, the traceable farther back even than Bach. istic manner. Later comes the bleating of this waltz came to be the tale of a tail. winged woodpecker, and it is interest¬ ant one in piano literature. Schumann best thing you can do is to cling to the the sheep, the buzzing of insects, and in IMITATIVE MUSIC. ing to know that in this movement of THE MIDSUMMER NIGHT’S DREAM was, first of all, a piano composer. He Chopin has given us nocturnes that guard-lines, when you see a big wave As the spring merges into summer the following passage we are shown how It is apparent to all that music voices the symphony it is the flute that Bee¬ MUSIC. made extensive contributions to pro¬ tell of both moonlight and storm, pre¬ coming. In the same way, when you the interval varies, becoming a fourth “in long dimension creeps, with sinuous the great soul of Nature; in a sense, all ludes and etudes that have suggested are in doubt upon any subject, there is or even a fifth. There is an old saying trace, the worm.” thoven used to represent the call of the All kinds of sprites, elves and witches gram music. For his pieces, beside in¬ music is descriptive. Titles of names nightingale. their own titles, ballads, fairy dramas, nothing like taking firm hold on a have also been represented in music. trinsic muscal worth, have each one a of birds and insects, like The Two Sky- in England that: good, reliable definition, and sticking One of our nature writers thinks that Mendelssohn’s “Midsummer Night’s distinct meaning, which is usually indi¬ that by their very names confess to a larks, The Butterfly, The Dragon Fly, “The cuckoo come 5 in April, the opening notes of the Scherzo in the Dream” music is among the most vivid hidden story. to it, mentally. Sings her son? cated by the titles he gave to them, The Swan and so on, and even animals Changes her turn in the middle of June, Third Symphony are an exact counter¬ things of modern times. This musical such as the “Forest Scenes,” “Carnival SOME DEFINITIONS OF PROGRAM and reptiles like the lion, the horse, And then she 1 part of those of the Oecanthus niveus, setting of Shakespeare’s comedy brought Scenes” and the “Scenes from Child¬ PICTURES FROM THE NORTHLAND. dragons and serpents—all these and MUSIC. Her notes, as Mr. Krehbiel com¬ “the purring cricket.” And he marvels the fairies into the orchestra and fixed hood,” which last he writes are “remin¬ more, have occupied their place in mu¬ Here is a rather learned one, which ments, had sounded in many a folk¬ that the gifted Beethoven, never having them there. Schumann insists that there iscences of an older person for older While Grieg perhaps never quite at¬ states that the term “program” music sical delineation. song before Beethoven bethought him seen America, has, by a curious coinci¬ is fame enough for any one man in the tained to the heights of Chopin in his As long ago as 1688, Jacob^Walter persons.” While the “Album for the is used to describe Brchestral composi¬ to enlist the little solo performer in his dence, so accurately reproduced the in¬ overture alone. Mendelssohn wrote pianoforte music, he is probably the wrote a musical piece called “Gallina Young” is expressly for the littlest tions of a descriptive nature; music Pastoral Symphony. sect music which' we may hear almost this overture when he was only seven¬ greatest natonalist, after Chopin,among et Gallo” (Cock and Hen), in which the ones among us, with its “Soldier’s which can be understood thoroughly only Our attention is called to the fact that any summer night among the highlands teen years of age, and played it with composers. He had the good fortune cock had the upper voice, as usual, his March” and "Hunting Song.” One of by a reference to the sketch printed on the Beethoven’s cuckoo changes his note to of the Hudson. his sister Fanny as a piano duet, long to come of the old Viking stock, and clear challenge sounding above the his admirers believes that in all the lit¬ program, and usually prepared by the please the musician, and instead of a before it was played by an orchestra. cackling of his hard-working mate. But MENDELSSOHN’S TONE-PICTURES. erature of music there is probably no his music reflects clearly a child-life composer. The term is used in distinction minor, he sings a major third, so: a more effective use of the song of the His three little capriccios, known as work so aptly named as Schumann’s passed amid snowy mountains and to “absolute” music, which is applied to Some one has said that if Mendels¬ Opus 16, were written in Wales for the “Novelettes.” He adds, “For the very among the rock-bound inlets of sea compositions of a purely musical nature— hen was made in Rameau’s “La Poule,” sohn’s fanciful little piano pieces are young lady relatives of Prof. Taylor, pleasure of reading a story I should which form the rugged scenery of that is, music expressing a musical idea printed in 1736, which gives a remark¬ “songs without words,” then Beetho¬ and they are sometimes called sketches. turn as eagerly to these “Novelettes” as Norway. and its development, solely because, with able imitation of madame’s clucking. all the classic writers, pure musical Another French composer, Couperin, wrote a series of little tone-pictures for beauty was the chief end of art. A PLAGUE OF FROGS AND THE Here is another explanation that comes the piano, which include “The Harvest¬ WEATHER IN ENGLAND. a little nearer to us. “Program music is ers,” “The Reveille,” “The Butterflies,” Motion is easily mimicked by music, PUZZLE PICTURES “The Nun,” and other favorite themes. Handel, in a chorus of his “Israel in and there are conventional ways of imitat¬ clearly music with a program.” That Egypt,” has musically pictured the plague means with a more or less definite de¬ Scarlatti wrote his “Cats’ Fugue,” it ing the rolling of waves, the galloping of is said, in imitation of a theme suggest¬ of frogs in a very realistic manner. horses, and the murmuring of forest scription of events or moods. It usually To go back a little—the beginning of aims to present a suggestion of some ed by hs pet cat in scampering over the leaves, or the clatter of the mill-wheel. keyboard. This is still sometimes the seventeenth century shows us an Eng¬ Mozart’s G minor Symphony begins music of nature. For instance, brook lish “Fantasia on the Weather,” by John sounds, bird songs, forest murmurs; or heard in recitals. with an entrancing little melody, like a Mundy. It professed to describe “Faire sprightly, dashing brook in early spring. perhans it portrays some narrative, BIRD SONGS IN MUSIC. Wether,” “Lightning,” “Thunder,” and though its main effort is to display the “A Faire Day.” There were thirteen musical pictures. emotions arising from such scenes and It is small wonder that musicians have so often tried to transcribe the changes of weather, ending with a few Trumpets and drums suggest war. And thoughts. songs of birds. For as one of our nat¬ bars expressing “a clear day.” But there An eminent authority classifies pro¬ as the latter part of the eighteenth cen¬ uralists observes, “Man exhibits hardly are times, in this country, when we could gram music in this way: show Mr. Mundy thirteen lightning tury was a stormy epoch politically, we 1. Descriptive pieces which rest on a trait which he will not find reflected changes of weather all in the same day. find battle sonatas and symphonies by the imitation or suggestion of natural in the life of a bird. There is love, hate, courage, fear, anger, pleasure, van¬ It would seem as though even the ele¬ dozen. (A symphony is merely a sonata sounds. . ments took things more leisurely years for the orchestra.) Dussek even wrote a 2. Pieces in which the mood is sug¬ ity and modesty." It would seem as though these little creatures are a bun¬ ago—for this quaint piece of music is singular composition under the name of gested by a poetical title. “The Sufferings of the Queen of France” 3. Pieces in which feeling is indicat¬ dle of contradictions even as we are. still to be seen in Queen Elizabeth’s Virginal Book. —a series of short movements supposed ed not only by a title, but also by a When Izaak Walton heard the voice of the nightingale he exclaimed, “Lord, to represent the troubled scenes in the last sentence which is relied upon to mark BACH’S CONTRIBUTION. days of the beautiful, but unfortunate out a train of thought for the listener. what music hast Thou provided for the Marie Antoinette. 4. Symphonies, or other large musi¬ •saints in heaven, when Thou hast af¬ The period of Bach falls between 1685 and 1750; that is to say, that he lived cal works, which have a title to indicate forded bad men such exquisite music THE BEETHOVEN SYMPHONIES. their general character, in addition to upon earth!” during the time of Louis XIV and Louis explanatory notes for each separate Unfortunately, the voices of almost XV of France, of Frederick the Great of The purpose of Beethoven’s themes is Prussia, and of the five English sover¬ expressiveness. He said, himself, that portion. all of the birds are pitched so remark¬ Another writer tells us that program ably high that we will find them either eigns ending with George II. when composing, he always had a picture music was intended to illustrate some within the compass of the last octave Although Bach was always harassed by in his mind. But only in a few instances story or poem. The composer cannot on the piano, or continued to the other the worries attendant upon an ill-paid or¬ has he let us into the secret as to what tell the story; he can only voice its side of the woodwork—at least the ganist, with a family of twenty children, the picture was. In regard to the little yet he was much in advance of his time, feelings. „ , . naturalists say so, and it is their busi¬ motive which occurs so frequently in You see our definition is getting ness to know. in every way. He wrote only one piece the Fifth, he said, “Thus Fate knocks “hotter and hotter”—as we say in the that can be called program music, and that at the door of the human heart.” And FOUR BIRDS WITH A DISTINCTIVE was his “Capriccio on the Departure of this is why it is called the “Fate” Sym¬ game of “hot butter blue beans ’—only NOTE. this is a game of thoughts which comes a Loved Brother,” in which he introduces phony to this very day. closer and closer dqwn to the idea, A man who has ransacked the musi¬ a sort of fanfare, in imitation of the pos¬ The Battle Symphony is in two until we reach the simple fact that pro¬ cal literature of centuries claims that tilion blowing his horn. Traveling in parts. The first begins with “English Then two picture, are re-printed by courtesy of the Philadelphia “Evening Bulletin. ” They represent musical instruments and gram music is music that means some¬ in all his examples the voices of the those days was more picturesque, as well Drums and Trumpets,” followed by to solve puzzles solely for the amusement they find in it. We offer no prize. presenting them to our readers who like DIAMA ■

the etude 135

THE ETUDE The first half of lection of more than ordinary value FOR SALE. Virgil Practice Clavier in How to Open The Etude. S ° “ 6 l Outlook for igxo. the teaching^season Music, which«< “*has been included. An- standing the"T” story-tellmg °V" *"characteristics■ and size good condition. Write to W. J. Gillum, _ u d - 0{ 1909-10 brought Sheldon, Iowa. other very valuable addition to this lit- of the work it is in every sense of the We refer only to a few of the books scribers may not knowtheeasiestand ^ a f business our Order VEON’S KINDERGARTEN PIANO tie book will be the most practical w°rd a text-book, but a text-book that re¬ reprinting at the present moment. The safest way of opening then-c opyside Department far excess of any pre- METHOD. Fascinating material for any directions that have yet been published s wlth these books, setting responsible teacher throughout the United avenue, Chicago, sooil either or both. Simp y jt mainder of the season, so it would We will sell as many copies inm ad-au- . . r. Iesson._’ andjiaming;a-—- ““““'s ** States" and• at our usual. liberal discounts, A Department of Information Regarding The Exude, rolled as you hand appear that not only are general bus,- ■ WANTED. A second-hand Manual of vance of publication as any teacher ,ndl ,ee.°r “er w°rk- This will enable According to our On Sale Plan there is Music, by Derthlck. Address Manual, Etude New Educational Musical Works * place one end in each nano u- hana vu* conditions good everywhere, but desires to order for Sc each, and deliver ";r. t0 mtr°duce the advantages of the no guarantee of sale. The customer must, Office, 1712 Chestnut street, Philadelphia. upward that .he muaio teach,u them postpaid if cash accompanies the . * cons®rvatory elementary history work 'however, pay all transportation charges. MISS HARRIETTE BROWER. Centen- also i unusually flourishing s ’ .1 Lecture Recitals for Schools and Clubs— backward* S3* forwlrf It "11 be »»“ ^".."iSnSd' particular!/ by the order. There is not a teacher or person m. her Prlvate classes. The work is also -„ “Chopin.- Address 104 West found that the paper will immediate y ._„ „1lsic suoolies purchased, interested in educational music in any 0t ffreaI value to adults and “self-help” New York, N. Y. . — ” . . the Exude volume of music supplier purchased. way, in kindergarten, harmony closses, ?tudents who want a clear and entertain- FOR SALE. Very cheap material for but that could easily use 100 of !ng outhne of musical history, and who Kindergarten Music Building (N. G. Dar¬ New Gradus ad Thffi very^toportant Mistakes “JkSSt* byThTs welF Vth^ opposHe scents ;.We «« ever v these books. have not time nor desire to wade through lington System). Address T. Whaite, 1451 lengthy works. The details of publication Special Notices Orange Grove avenue, Riverside, Cal. iriidTphtiipp.sti;:-3”J! Easy Pieces. This 1 volume are rapidly beinS completed, and those de- RATES—Professioi WANTED. A second-hand set (3 vols.) per word. All other r eight cents per of Spitta’s Life of Bach, translated by Bell By H. Engelmann. nearly Slnrlg to avail themselves of our special nonpareil word, cash w & Maitland. Address H. B. M., care Etude. quite well on the way toward completion, ™upfC ^he Etude. This work especially Studies We have in press at first hand our Order Department xcaxxy, uut the advancd’ “cost of PaPer and printing,” That is the first volume which we intend f that win be inspiring, stimulat- 20 Melodic S , this popular being an unfailing bnrmne BUSINESS FOR SALE. Established special offer will be continued during the of „4° cents Per c0Py shouId remit music ^school in large town; central State; to issue, namely that part containing the ® d instructive It brings to your Op. 872. writer a new set ditions incidental to the teaching ot sell at sacrifice. Address L. B. G„ care exercises for both hands together or for ^ door thg authority on disputed By A. Sartor . q{ studies that are music in all parts of Ammca a present month. The Album of Favorite thlS SmaI1 amount at once’ Etude. Compositions, by H. Engelmann, has ( practicallynml I*ar»n5t» 3 competi- eTere chapters from this new work, but the voUime. The studies them- pletc stock .,f ^eUaneou^us.c^ advance. Easy Pieces will contain est*mate of this additional- value,-z whichwiuuti mauemade aemanadem? tnat tne above unlawful edi- tuutir aua repairer can either compositions of all styles, various little ™ withoat additional cost to 2£sKtSSSnd a littte there and m the end nothing and the announcement of a new selves in all the publications PLAN, liberal discounts, .he and.ox IBparticj dances, Songs Without Words, caprices Purcbaser> may be secured from the be liable under the copyright laws of the i0 become independent, w«,k by Mr. El... i. too tmpot.an, to h„ tee„ „ „,k, th. ^.^ggaatfiaSSaM and fanciful pieces. This new book will jhapter, “The Music Teacher’s Business S30 contain some of Mr. Engelmann’s great- - .Jfringlng the same. tat V-r. uLucuicn JTuuioPiano Tuninglunine School, 2 G. Schibmee. N. Eleventh street, Philadelphia. For instance, any de!?7- t successes in the line of teaching The Etude as a magazine article. Read pieces. this chapter and see whether you do not a competent teacher wantei7 np™KfKCTiR brings musical ,1 jpstttssxr&i Our special offer price is 20 cents post¬ need such help badly. Try some of the ju every city and town to introduce the homf^TUtJ™I «TO the MUSICAL itronSious'y. S make great strides work postpaid when it is published. a publisher is known by the kind of relative Jo_anyL_matt^ paid. letters as suggested and watch the inter- ISSSU^ChSL WofkJ“?S of bringing Ihe voices oTthe feaTest es in your work increase. The advance wjwta are bringing, results everywhere. in,. ‘he toward perfection in this particular line. gjx Melodious This is a fine manuscripts he selects to supply his music, either from a professional . We would highly recommend all earnest Study pieces, set of educational needs. This feature of affording pleas- business standpoint H you are Recital Music. At this season Pn? we b?ve P>aced upoa is 50 SS5ST T^WSSTfrorti^rS « ^ 'the Victor pieces by the ure has always been uppermost in our fully acquainted with us, don t let a nt- we- would draw fllpC.entS fnr.’ and • IS. . stl11 °Pen for those who have Carnegie Hall, New York. ’ ^^mS^renteM th^wofld within students to purchase these volumes as they Qp. 30g. ) avail themselves of this come out. There will be ample time be- By H. Doring. well-known Ger- minds, and these studies are a fair rep- tie correspondence stand in the way. especial attention to our immense stock „ W r.e?c^of aI1- Th.e new “Mlgnon” record, by tween the publishing of each volume to man teacher and reSentative of this idea. They will not M . Choir masters and of sheet music suitable for recital pur- y pcrKCTuwm.perfect them. The...v .first volume.. with the compose.composer. They .....ai suitable to be used be disappointing to anyone who pur- * organists who prepare handS’ bv^'th'k^hn3^*6^ c°nstant^y °n Editions Reprinted Owing to the in¬ hands together, will be published most by pupils of the third and early fourth chases the volume before it comes out. serviccs for choir, congregation likely in a month or so and our advance grades. They may be played as pieces 0ur advance price is but 20c postpaid. ® Ug d hool win find our stock of to say further that any“de^of music DuHng JanUary- de”?nd wSSTaV"flSSSVftkiaS .3 offer is only 20 cents postpaid. The work or tbey may be used as studies in style . . _ . , . 1 duets trios anthems carols, can- Park Sta., Chicago. ««« ■ itself is not one for a beginner, but any and mechaniSm. Each one is a gem, Musical Celebrities. Musics. Ce ebri- solos, duets trios an J • the promt 1 ybsent"*as1'ann (On l/^ tions of Tlleodore Presser, the current _■-r --the splendid records from^^apho” who is up to the grade of Czerny Op. OOSSessing some particular technical or ties is the title of tatas and services cornpi 1 On Sale package edition of the following works has been 299 will... be. able to be benefited byl„r thistliic Lrhythm i. cai, figurer_ worked_1 out^,,4- music-tnticie- aq giftortfe bookKrtnV orrtt- an rpfprpnt'.reference wrtrlpwork, which Advertising pages of this ISSUe new work of Isidor Philipp. any and in an attractive manner. The is, in fact, a gallery of seventy por- found a choice list of anthems, solos, , six pieces will be published complete traits of past and present artists, cora- etc., for Easter, which are particularly “l"'!!"u'" r'Criv;d m* spec' studies by Czerny is fast becoming one By C. W. Grimm. games. It is a violin solos rWt.P *°- S’X performers: of the standard sets of piano studies in plete“ one^ in’ fhe^Woriffi lhusfrated''’fohw ABANJO N find HD IT A A?O i.rrcv, LI __ N lively, interesting and with ot’he tn°S’ and ,Q.Uartets’ almost universal use throughout this MaXnJue sn-eet rPop-o Music stand SSl-TA? MUSIC. A s Book 1 is the volume which is in monies are quaint and charming. This standard This series of volumes ana with other mstruments; cabinet or- country. The real merit of ™ „„rlr Masbapaue street- Providence, a. I. general use. The book is now ready to set of" pieces’ is’ of' 1moderate difficulty Compositions. has ed itnL^“ and instructive game, for which ■■pack gan and nnp rtt- t i . J • wai mun U1 cvciy ------ATM A copy of The Cadenza (Established ir«uV print and the special offer will be with- and contains in all five numbers, all m Vol VII popular. All the volumes of 52 cards l^isc^l^clmanMias SffiTinstruments S° °S’ a .S°, wltWithh . other°ther devoted to^ educational purposes can be JnAVSIGf>,lrAA',I,) expander, an which 6SpPClaI catalogues gauged by the reprinting of editions, dollar postnaid" Es®?v Pnh,^Lh^nAs- 9?S WA1™ •’Aeons, rUbi,si.Trem“t gt^g, drawn. lyric ,w.. ZL far' issued have letter name- either natura1’ sharp °f Our special advance price during the The special offer on the complete -howillMTffilfrwhn,„;n .T?ld..be gl.ad ltou SsendT1 t0anyto any A publisherpublisher can force the sale of th,the Carnegie Hall, New York " *1*8 Co” ----- proved successful. We have been encour- flat: ,Beneath is a .diagraJ” current month will be I5 cents postpaid. volume during the current month is 20c combinations. Musk not otlr own publi- first-edition’ but thp real of SCHOOL Of PIANO TUNING continue the series and we now wh,ch maj°r °r ,m,n°r C.hord th®1‘ " work is its continued u»e postpaid if cash accompanies the order. haveB in preparation Volume VII. This ^sented by the chord ma,' belong. ration we would prefe- — . caP^aro^^o^rwfth repairing and regulating Masquerade; This new work is thirty days. Music of .„„ ...... Hu rencr euinori is made than ours of teachws.ng Compete dset'eC°Harmonv Thorough, practical shop instruction in thi. „ . Suite for nearly ready for Style and Technic. This work is now will prove a close sequeal to Volume VI gal”e 1S played<(in a ™ . pubhea- Fifty Selected Studies by Cramer, the pHa“pfe>5?ok' Answer'Book, Set ofBpegs’ iucratrve trade day an§ evening.'Thort cSurs”°S' Four Hands. the press. It is one 15 Melodious in press and cop- and will contain some particularly at- !ar „to f'as'.noVby 7aLl'."’g’ . Li ion we would prefer returned only Low terms. Seventeenth year. es will he ready tractive numbers. and chordmg (building chords!. von Bulow editing. We can say the same ^T^S^a^’I0 By Ludwig Schytte. of the very latest Studies for the Som Se^so”. during the summer months, thing even more strongly of the regular cular- Agents wanted.’wanted ALEX. SCHEINERT some of this music which we have gath- 284B N. I 1 th Street, compositions of Second and Third very short Our special offer during the present T.l"s gan7. wl. s.erve to. famdiar!^ , Sonatina Album, edited by Kohler, in the Philadelphia, Pa. Mr. Schytte. These pieces are original Grades. time, but we will month will be 20 cents postpaid. |?layer .w,th rthe, uitervals and with ttte especially for recital purposes we continue the spe- formation of chords. The game will Presser Collection. four-hand works, they are not arranged By G. Lazarus, rivenSUPPy at tbe usua* large discounts Parlor and School Marches, one of our cial offer during Etude Binder. Subscribers who wish Sotten out in handsome, attractive on our own publications. from piano solos or from orchestral earlier collections of piano music, still con¬ oositions. They have all the qualities that the current month. We take much keep files of The st>,,e- . , . , tinues in popularity! The Two Pianists, ^annd*Tour-hand pieces eitmiHshould Wphave. TVipvThey nleasurepleasure in commending-commending these five Exude will find the “Etude Binder” The special advance price during die metronomesWe Yet nil mnra t-_ r. children love latest $1.00 Collections of _ more Metro- Every instrument fre well balanced, interesting for either studies. They are very musicianly and admirably adapted to their needs. This current month will be 20c postpaid, standard Hictn • love one 01 our latest $1.00 collections of nomes than any house „ , . sell IVe handle only those olaver melodious throughout, and full of full of pleasing melody and character, substantial binder will hold twelve Presser’s First Blank This is a blank °f Music.” ry ?toneS- ®ne tbe Standard Four-Hand Compositions of in the world. many’original and striking effects. The They are intended to develop style m “sues, each removable separately, at Music-Writing Book, music - writing best ways to win and medium difficulty, is likewise reprinted mechZ?cauffectsgainSt fainable.^ ^ entire suite might be used at a recital or playing and also fluency in style and will. This is the least expensive way book, made to music is to t 11 tt, "°'d tbe‘r Interest in this month for the fifth time. THE STYLES ARE: I—Swiss any one of the numbers would make a mechanism. Each _ study brings out in which to preserve copies of the mag- fill the popular demand for a book of History is k„e. tbem .tbe story of music. The second edition of two very import- A indie (noeSmed $2.00 4_French G-T- L-> PyramidalMaelzel,de- good single recital piece. some particular point Due attention azine for future use and reference. Pre- this kind at a low price. This book has 3tory. based !|.When,It is a simple, direct ant works is being made—Organ Reper- ican PyramKhil^ tched (no bell).el with door tachableUd (no bell) ..... fe.00 We will continue our advance offer dur- is given to the left hand throughout the vents misplacement or loss of individ- extra wide spaces between the lines of author can mak «TP°n facts as tbe toire> a collection of pipe organ composi- 3—Ai ‘The, Young Folks’ tions suitable for every purpose and need t2'*S 5—French (J.T. L.) Pyramidal MaeL ‘ ‘ ing the current month. The price will be book. . ual iss«es. Price, one dollar, by ex- the staff, but not too wide to be used Standard HwL ” * ‘.le toung u oiks’ tions suitable tor every purpose and need —ached?^p (with/r?.?V bell)da'M aeIzel. with t'oor. t h bl I d 20 cents postpaid, if cash accompanies the The special price will be 20c post- press not prepaid; express or postage for any and every purpose. The work of forty "stnrv^t °* ,s'c” *s a collection of the organist, compiled and edited by order. Paid’ if cash accompanies the order. 20 cents additional. will be found of additional advantage story, taking,, lessons> ’ ,eacb lesson, or Mr. Orem, and the Students’ Popular Al- g P some one important phase bum for Violin and Piano, a 50-cent col-- * H I A Please mention THE ETUDE when addi ;ssing our advertisers. 1 1 •

the etude 137 the e Victor Double-faced Records

PROFESSIONAL DIRECTORY 4\ct0/. w INSTRUCTION__ nvBY WAITMAIL artists and teachers___—jsssrx Us BECKER •: .~r::r HMHIUM BERNETTA. HUGHET . CULLIS.■" r;:" SHEPARD:.v A* “It* day;. ■ SPENCER. ' ~ DENISON THEORY AND NORMAL COURSES ... , _ ? „ , ;„»B IV. Perfect-est NSvs^_. D EV INE.LEN A 00 RIA B'SBEE GILBERTuilulm' " 5V!5«nnnnEln't^S : ’ wsJ-’v r ■ s “““ GRICKS-V';.:,DUHNING

haight " " • •Kindergarten " <'"Y.:; ”si ’—I IRELAND , 5S-' ■ • . ■to‘=Si ’fes?’ fi»as#w*i mmt.■;

SaT.Mhlw.ffl

PETERSILEAr umniFR ’^RjariSSfoT jssjjjj POTTER . DETROIT s^5SR51 In HappyMotion" -en little rhythmic piano pieces forth fi&M* =- hahn’s school:::,*-. sSr ®srmew® .v„6,v „ ^ mic th,n „ HAWTHORNE ^. -at gSSSsfe rnox aaiesw««* SESSSSHi comc- If* ositions sp!iKl%^i\‘Z.. aiiiiAiCMSi? £”"“ ,oinra,”! STERNSDORFF , nAHONAL — TRACI "'.r:'."" NORTF .. Central School M 5H VE0Nr^a=§^ EML^ The Dolls’ Mus of Piano Tuning CS *£respondence Schiil VIRGIL'1.., Festivals ItipStS WH^TUNGi^gli mm PIANOFRAJUDS! E££=s= YgiLDER^#5'^ JEWELRY FOR MUSIC LOVERS SSSJai" cau succeed h, WINKLER ST"' The Piano and Organ GIFTS AT SMALL PRICES Purchaser’s Guide SSS!

usssar-jaJsssvjE IS,?S.“S?„5g25 ■ SIX WEEKS’ COURSE pTo. io S. Bwhs Strert $651 FOR TEACHERS INCLUDING BOARD ^XbiEl brothers ■“**".srssKr““ PIANO, VOICE, VIOLIN, ELOCUTION, ETC. sa»-sai»rasf:::.ss a Fh*tizkv Pianojechr’ic. ^Xprivate 2 25 its. per set of three lessons per week. Cla^lessons in Nor- MUSIC PRINTERS 3icItionPa*'*”dmaybe AND ENGRAVERS ->>lK Pl1' - .THEETUDE^-^--^,-r.-- | | MODERN PIANO 1 1 • « •

THE ETUDE 139

>e OLKttii 1 UDU LO Ue mVa ies w.1 ™ too chine. The studies are ail What Others Say instructions are wlthout a teacher, couia Answers to Questions

lections (Jj°^5etst?—Helen Louise Elisabeth ;w *«•*«—££££ A department of expert advice for all ETUDE readers. friends# n Repertoire” is the best All letters not bearing full name and address we ever seen, and it will of the sender will be destroyed ! the average organist— j a Cracoviemet (8. M. C.) of course Studb Q. What i°L°!lur3,e, can onlY be developed at the key- Se7 charm the falle Milner. me haa been received, . a dance of Polish origin in two-four !lr i°?eVer’ i&e m°st economical method lore faithful pr vamahle Thxe “as verv much pleased with the rapid tune and characterized by many syncopations. “Tor'**Hg,IS through intellectual concen- taught suceessriiLLY, PMCT'CALL ‘rat*°h; a“d it is sometimes advisable to The “Organ ****&££&*& with Ehrmann. o I desire to investigate the requirements ptactice the piece mentally away from the lrfuiinn to the degree of Bachelor of Music keyboard either with or without the music lesson for stamp- the •< »n<1 elections, and ^ilcox- _+Vlo ten years that I taught I ob 1 Oxford and of Cambridge Universities in succeed, you owe me not wr-te^ v . pi»« It is reported that Paderewski has the cus- ' ved the “Church ande Home unfailing England. To whom shall I apply for this f™."1 ,r„e,, aIsi°s his pieces mentally after mean business—other mLCOX, Dqv F. 225 Fifth AW.. NeW YOfK Ci'l courtesy Sd’promptnS's shown me.-i information! he has retired at night. Von Billow is said acred son'- ^ A For Cambridge University apply to “C. to have memorized an entire pianoforte con¬ I Wilcox School of Composition .B0X — expected j. Freeman. i Clav Press Warehouse, Ave Maria lane, certo while travelling a comparatively short IS-M.oS'j- «»“ distance on a railroad train. mv appreciation of. London.” For Oxford, “The Manager, Clar¬ TVIIISICAL I cannot express > £ainstaking care b I Qti^g ItandrCamV tmtyiemtK;her^ase^ with endon Press Depot, 116 High street, Oxford.” courteous treatment ana p you that you State that these addresses have been fur¬ I have been a victim of a fraud music Se^SgJg l^t.VldlUonToVm^vaS nished by The Etude and make your in¬ publisher.her ByTin i,..„this IT t that I wrote a POST CARPS asgsiswd mebve?y much in my work. composition which I imagined' wasi worworthy ■ Made for Prefer Collection, if r». W. /. Johnson. quiries very clear and you will doubtless re¬ because I knew little about music I saw E. B. Ruden. _e tQ ceive full and expicit information. advertisement which literally proposed to^TiuS^hnV” 0. Please tell me something of the life make me ...i through.. , „ I Particular People of Victor Herbert. (A. L. 8.) sent in the manuscript, and _ ...._ A. Victor Herbert was born in Dublin, Ire¬ Hai have to pay for publication and land, in 1859. He is a grandson of the that this included the cost of placing the : TlSfc8=S#4lt alwavs°goodn aSd’relltfble. Vcrfa Eoss. famous Irish novelist, Samuel Lover. His composition upon the market. Since then I . 6 Great Pianists, 13 4 musical education commenced in Germany at have found that the persons I wrote to had Burpee’s Oper» v.wbh~»«- - / lprM, Violinists • 9 . __ .nn for your kindness, your never conducted a publishing house, but were Russian Composed - 6 I Celebrated Violinists 6 the age of seven. He became leading violon¬ no more nor less than swindlers. Would you f^Without th?fe farthe Northland ETunu—Mra. I..““li J-rn VU S Caskey, promftm? and -DjgjlW “> cello player in the court orchestra of Stutt¬ Northern Europe Com- ^j ^*nowned Violinist* 6 gart and played at many important concerts publishersf *° pro8ecute these fraudulent The Leading American Fairbanks. Alaska. foulest to*a brilliant nunll who had iostwoo in Europe. In 1886 he became the ’cello Vi for voul" prompt ful- « district federation medal as a composer soloist at the Metropolitan House. In 1894 A. No. Your case is an example to others, ttv^1 literature . _ __ Thank youf ordersTurina very much the past jenr.^l ? S wnt pleasure In awarding your medil he became bandmaster of the Twenty-second and about all you have accomplished for the “ WINNING INDEPENDENCE," FREE. Seed Catalog lor 1910! fillment of orde pit with the ■•tyuriiGG in TeUing my ...tdlence of your superiority Regiment, and later conductor of the Pitts¬ money you have spent is this opportunity of ry t"ut-u i.«“s™ ” tlle best‘ collection-.. SUr other publishing houses. burg Orchestra. He Is at present resident putting others on their guard. The offices of The Niles Bryant School of Piano Tuning An Elegant Boc-k of 178 Pages.—it is en postpaid ?hinaepieJesThi“ ever used.-fl«e* In New York and is. of court" - 1-- publishers are continually flooded with manu¬ No. 18 Music Hall, Battle Creek, Michigan, u.S-A. poser of light operas, sue scripts, and it is rarely necessary to solicit “The Silent Salesman’’ of the World’s HISTORICAL POST ,by ^cuK^i Toyland,” “It Happened in manuscripts, except from the most eminent Largest Me A Ordet Seed Trade. It tells the others, besides music of a composers. Young writers should be ex¬ -First Steps in ^"^^ha^'eyer used “First Steps.**- I ftnd. « tremely careful in ascertaining something of grown, -as proved at our famoxs Fordhook Fo? heliuneS-lfra. E. A. Cade. book forbeginnersers. whetnerwhether yoras »» the financial responsibility of a house, especi¬ Farms.—the largest, most complete Trial The„ |„,„n, are well graded, and the duet Q. Is a curved line from one note to an¬ ally an unknown or newly-established house, Grounds in America. Handsomely bound BEETHOVEN - TWELVE CARDS —30 the beginning are a snlendid training fo other of the same pitch always a tieT Does before submitting their compositions. In no -- -Malvina L. Oourrct. a dot affect itt (F. P. R.) with covers lithographed in nine colors it case should the composer pay to have a piece shows, with the six colored plates. Nine the new model Pwithn«d^°f^rcS£e the readiness and confide bl£h^Hudson. * A. The curved line drawn oyer two notes published. grIti^aNe.o^^or°XrtUmCnert%"dPrM of the same pitch is only a tie when it is Novelties and Specialties in unequaled Vege¬ S colors* with the"compo»«r’* birthplac. unaccompanied by dots. When accompanied tables, and five ot the finest Beautiful New L. C. Smith & Bros. i each card. 3S CENTS per aet. by dots it signifies a non legato, meaning Flowers, iucludingtwosuperb “Gold Medal” unusual for that the notes are to be slightly disconnected, A. Not if the publisher’s reputation is well- Spencer Sweet Peas OPERATIC POST CARDS usually with a pressure touch. established. Even in the case, of unscrupu¬ Typewriter Renroductions of photograph, of the Wegner E. Freckclton, Jr. With hundreds 01 illustrations from photo- ■rmany. L°ne»*r lous publishers a copyright is of little value graphs and carefully written descriptions it kr.ifal(10),Tristan Though I have vJS®gwJ^S"bit Am verv much pleased with Flint’s “Hand because the publisher might purloin parts of is a Safe Guide <0 success in the garden L. d Ball Bearing throughout, at all vital Culture." and use it eyery day.-W. U. dole. your piece in such a way that you might not sr(9), the Ringi28) detect it. The best method is to select a should be consulted b> every on- who pianos frictional points. Instantly ready virii«^Opc3r«TPrinted “ co,“ seeds, whether for pleasure or profit. While Boheme, Butterfly. FeUtaff,, * {M. D. reputable publisher whose standing is such for all kinds of special work, billing, T thoroughly appreciatei the courteous and that he cannot afford to jeopardize his busi¬ too costly a book to send unsolicited (except Modem Opera., ife?*'nH°MeUter..nger.. A. 1. The first note of a phrase is not ness by questionable practices. If your piece to our regular customers), we are pleased to card writing—anything needed of a ^aUrSral TheXg. Si* .elected cards. 25c. WHEN DINNER COMES necessarily accented. It is only accented if really has commercial value the publisher Is to mail it FRFE to every one who has a typewriter. No attachments re¬ ” ‘ -u‘ ’ in accent would ordi- usually only too anxious to encourage you garden and can appreciate Quality in REWARD CARDS i Have a Good Appetite. narily fall. N ’•e final note ’ quired. No special adjustments staccato, but, as a general rule, the end of Sexds. Shah we mail You a copy? If so, A set of fourteen cuds. Portraits .of the Great Com- SSSaf85 °~' — thtbt>t„. kindly name this pape, and write 10-DAY! necessary. Just insert the paper and poSjta, their birthpl,ce.. panted m are slightlyft disconnected.a?3 beKlnnin S of the following go ahead. a^^rsa^LSSCJK i,VT. X'«v 2. Single repeated notes, known as a ^wilbport^dabtcrm^nd bWk farm- traooto pasaage, are usually played with an A. Not if the instrument is properly played. W. ATIFE BURPFE 6 CO. Gerhard. the digestive process, and that is ansib i alternation of the fingers. For instance. If xonr promptness in send’ng music could lutely essential to health and stren# 1 a..n°te repeated four times, you 0. What is the origin of the carolt Burpee Building, Philadelphia not be better.-—Coro Pierce Xye. Many persons have found that Orape I would use the fingers in this order : 4, 3. 2, A. The old French word Carole defined a course, this substitution of fingers kind of dance which was danced in a ring. From no other house do I find the variety Nuts food is not only nourish.ngbutis KLSJ* tane D,ace where YOU are repeat- The song which accompanied this dance was theo. presser of new, up-to-date and desirable publications a great appetizer. Even chtiaren 8 lords. Repeated chords, if they are very called a Carole, and thus the word became i, ar? b'wd with an elastic motion of common to most of the languages of Europe. 1712 Chestnut St. Philadelphia, Pa. as those listed in the catalogue of Theo. . . . { ;t angr by MAIL LitLSSL'1''J unessential matter eliminated A most practical and,thorough conme^^mggnh^ Terms 1i Evervthjnogjl" ^ W' Sw® '““"’oler,LoirtttS andm rates.us - DOC. iilSSiSP -eg EMERSON PIANO - — ALFRED^ and DireCgrlJFFALjo> i>]. -y. high grade Grand and Upright Pianos. Catalog on request. 322 West U«c»lea -- ____ •sisgfcjass =S —r—^JJetUDE when addressing our advertisers. 560 HARRISON AVENUE, BOSTON m THE ETUDE when addressing our advertisers. THE ETUDE

traditions and new 140 Recital Programs -s- tw Progressive Teachers

AddT'» U'Pt. C. and a t

.... . "‘"UJU"^ SCUWl01"-

fmeMaryWowl Chase Schoo1 of Artistic Piano Playing £ sstSstfjSZ ssc . JL, Safi’S-- a5“.pt ••,, -tfwL estey piano company MSBBP , «V"t vw = c™cmw

SHE R W O O D 3 to evoke it. f'ne AuiH buiijmko. c“I®uJ;;suce ltisoneo hat the credential of its im- American Primitive Music, by Frederick r, and of tradition? What is R. Burton published by Moffat Yard & Card I boleth that has become such a Co. Price’ CLASS PINS , fHI i :•■>• >r|gf “rest in the music of the .; i by the word? I "“bent”& BUSH CO.r”'" 15 School St., - Boston, Mass. N0KTMWESTE8N UNIVERSITY Do they really imagine seriously that studied particularly that of the tribe -- evanston-chicaqo== they know (by means of unbroken kown as the Ojibways, and his oppor- MUSIC and DRAMATIC ART records handed down, I suppose) ex- trinities for becoming familiar with CLASS PINS SCHOOL OF MUSIC actly how Bach, Beethoven, etc., in- their tribal songs, combi tended their works to be rendered? excellent musicianship, h; san ™'5rr°‘ *; -hat he cannot get at kg* »SS» . Columbia School ■t get any better by grubbing, ik’s nature is stm.lar to Seta- I should doubt if there of Music, Chicago , if the former has not obtained authentic letters of th^ *** pubHshed by Stur»is & Walton. Price R OF FACTS ABOUT M eight of the other, more especially posers telling of their ideas of how $ This is a new edition of the ever- hetr works should be interpreted. Un- popular, half fanciful sketches of the ortunately, there was no Vasari for lives of great masters, by Elise Polka, music And even if such records did This new edition has been translated tion San "absohLl^foregone'con" fifteen*tGhermante.ditj0^

«'ays be the best judged how his work ^ThTmlanoTsmith Music Course, a is to be rendered? manual by Eleanor Smith, published and School of Fine Arts all V 7 °f -the °pinion that by the American Book Company, ned S °f m,US1C Cann0t be COn- Price ?a5°- mea to one special interpretation. I This work is designed to assist those American Conservatory SZJS! Ty ar.‘ is t0° elusive and who are employing this course of musi-

DANA’S MUSICAL INSTITUTE, WARREN, OHIO •'■sTtr*--* EiSiSffr'k COMBS bush temple conservatory ^g5Sfflgw NORTH CLARK ST. and CHICAGO AVE., CHICAGO FREDERICK MAXSON JkX

iic,_ I .m sat, In saying thai I jected6® the”amjafi thefact°r. * sub‘ c^Pters are devoted to^seven gAiWSSM Sish^SjF entirely to Postum, for when 1^, to drink it I ceased to use medi HUGH A. CLARKE, Mus. Doc. Read the little book, ‘The R Wcllville,” in pkgs. ‘There s kitrepretiri ai)d gives^ hif ^Ote’an value and human interest. concent;' !11 born of Ws own original -- pe°pIp Melody is the very life-blood ofmusic SEE “THE ETUDE” PREMIUM LIST ON THIRD COVER PAGE , true, and full of 1“ modern f 1 •

the etude 143 T H EETUD E thing about a pianist’s playing or a SUGGESTIONS TO CONCERT- vocalist’s singing that they wish to call goers. their companion’s attention to and PRACTICAL forthwith they whisper! Let it be sug¬ DUNNING SYSTEM OF MUSIC gested to such that they go provided THE SHEPARD PIANO SYSTEM with a pencil and small pad of paper, TEACHING HELPS .Critic (as the composer plays his last STUDY FOR BEGINNERS Personal or Correspondence Courses for _ r it -no- Siicreestions are tne re- jtIt takes longer to writewine a thoughtuiuugiu manthan piece)—“Very fine, indeed. But what is The following sugg Some may speak it, but by writing one is sure of MAKES YOU A SPECIALIST TEACHERS-ARTISTS-STUDENTS fiibbofl’s Catechism of Music that passage which makes the cold chills suit of much ODS that the not causing annoyance to those around, - 0 subj-ct-matter, in the form of run down the back?” think them ;““““wary but ^ people wish to see, as well as s and Answers, 499 m all cover PRACTICAL and ARTISTIC ■essary elementary instruction. Composer—“That is where the wanderer JSSMS? aa ,«^^A-=waKS.,s comments given n peopie tQ hear, at a concert, and their right is ,re direct, concise and < has the hotel bill brought1 to him.”— -in- upon good man ^ pleasure of as dear in the one thing as the other, morized. Price, 50 cents. Had OUR ^EE BOOKLET describes Principles and Processes that will be a ■ Fliegende Blaetter. THEORY and APPLICATION unconsciously ^ seem amiss to Therefore, if you are a feminine con- Revelation. May we send it? its nth la.ee edition, also offers a raneithe attention of concert-goers to cert.g0er do not fail to take your hat Writing Book A conversation heard on a train for Presenting a new world in music alike to beginners and advanced pupils. - « HAS. - B—. - *— nL of the many little niceties that off; no matter how much of a dream" B. S. MARKS “PfOflress,” the 20th century slogan along every line of human ink hook Monte Carlo. Two travelers, unknown to interest and endeavor, has never been more thoroughly and practically '**' SHEPARD SCHOOL OF MUSIC. Orans 5. N- J. some ot tne y happiness of their you may think it, nor if your coiffeur IS ]ged in an original manner, so tha each other, chatting familiarly: contribute to the Jiapp *ot what ^ should be> ^ ^ Mees ruled with staves for music writinj exemplified in educational lines than in the Dunning System oi alternate with pages lined for ordinar; “On your way to Monte Carlo, sir—that Music Study lor Beginners. Burdened teachers are realizing fellow concer-gace • be on time! Get high priced a seat a fat pocket-book handwriting. In the Preface, practica delightful and exclusive home for gam¬ this more each year, also that there is a demand for experts along this into" the habit of planning to be a few has enabled you to buy! It is remark- blers ?” line of teaching. Endorsed by Leschetizky, Scharwenka, de Pachmann, minutes early This will give you able how soon a fine hat can be re- musical notatii “That is exactly where I am going.” and many others, who pronounce it the most scientific and best in use for VIRGIL olentv of time to find your seat and get garded as the next thing to a men- “And you will play just a little, I beginners of any age. The only system whereby the truly normal ttled in it and to look over the pro- strosity when it obstructs the view of suppose?” idea is carried out. Normal Training Class for Teach¬ Studies in Musical Rhythm ers open January 14th, New York City. Address for m When late and sometimes it someone behind it! Even a small hat EDGAR L. JTJSTIS “I do nothing else, sir; it is my busi¬ SCHOOL O F M USIC mav be unavoidable, never go to your takes up a good deal of space, Most pupils are deficient in time owing particulars. to lack of direct practice. In this work ness.” A. K. VIRGIL. Director large one, similar to some styles Teal while a musical number is going nothing but time value of notes is con¬ “Gracious ! You don’t mean to say you Mrs. CARRIE LOUISE DUNNING now in vogue, one might just as well sidered. The exercises can he played on Wait quietly near the door until on one key at the piano or tapped — * - make a business of it?” WINTER TERM begins Tuesday, Jan. 4th. sit behind a kettle-drum! ■ S26 Delaware Ave., Buffalo, New York the number is finished. It may not al¬ tbe table. The ' “Yes, sir; twice a day regularly, and I Another admonition to the feminine tbe very first le Price,;,Vo ivce n, ways be pleasant to wait this way but never by any chance lose.” concert-goer in reference to her hat is, is much better to suffer the slight in¬ “In that case perhaps you will explain Miss Gertrude Paine, a well-known teacher on the not to leave its removing until she sees Teacher and Pupil Fail, Few Succeed, The Reasons Why). convenience it brings than to run tne your system to me ?” Pacific Coast, and the only authorized teacher of teachers of the Dunning System risk of causing annoyance to members the first performer on the program 30 Study-Pieces for Fonr Hands Address, A. K. VIRGIL, 45 East 22d St., NEW YORK on the Coast, will hold a normal training course for teachers in Houston, Texas, of the audience or the performer upon entering through the stage door! ... CARL KOLLING “Certainly, with pleasure. I play the January 4th, under the same conditions as Mrs. Dunning conducts the classes. This work is interesting, useful, neces¬ violin.”—Tit-Bits. the stage. The movements of the usher tbe flurry of doing it at the last moment sary. All the keys are taken up be¬ Address, who finds your seat for you, the rustle she is liable to make the amusing sight ginning at C major, minor keys are also MISS GERTRUDE PAINE, 1023 S. Burlington Ave., Los Angeles, Cal. used. The primo-part is always within the “Now, look here,.young man,” said the of your clothing, passing in front of Qf a Woman frantically hunting for the compass of 5 notes. Each number is pre¬ ceded by a preparatory study. In two editor to the young reporter, “when you’re people, or even the creak of a seat are jnusjVe head of a hat-pin! If women books, each, $1.00. sufficient to be a source of disturbance were a trjfle more in a hurry to get writing these articles you must always say and discomfort to other members of the tbe;r bats Qff before a concert begins, ‘alleged,’ else you’ll soon get us into Music teaches most exquisitely the art of devlopment.—D’Israeli. serious trouble.” When the young re¬ audience. and a bit less of a hurry to get them on JAMES H. ROGERS. Do you belong to that class of con- at jts close, it would be more appropri- The author has attempted to get from porter was sent to do a concert that tbe great mass of organ literature only evening he wrote: THE SCHOOL OF MUSIC-EDUCATI0H cert-goers who whisper and talk while ate. Many a time the best effect of the the best, and to present it in as practical music is going on? If so, think again finale of the last number is lost to a and concise a form as possible in order “Mr. Brown, the alleged tenor, sang an of the effect of your actions upon goodly portion of the audience by the to give a good working knowledge of the alleged song, and duly responded to an others, and consider their comfort. Re- flying aloft of hats from laps to heads, The explanations will be found so clear alleged encore.” ELEMEHTARY SCHOOL that any one with a knowledge of the CALVIN BRAINERD CADY, Principal Finest and best practice instrument made member that everyone around you is The writer has often wondered “why piano can Btudy the work without the aid entitled to the right to hear, and that tb;s haste?” Is a minute of such tre- of a teacher, Price, $1.00. The Robin—When I sing men take off 900 Beacon Street BOSTON, MASS. FOR CATALOfiUE ADDRESS to deprive anyone of that right unneces- mendous value that one cannot be given their flannels. Announcements sent on application. sarily is, in plain, unadorned English, after tbe flnaj chord has been struck The First Year m Theory The Cuckoo Clock—When I sing men theft. Remember also the feelings and for tfie Performance of this little task? OLIVER H. SKINNER take off their shoes.—New York Sun. MRS. A. M. VIRGIL 1/IIiriV PIANO SCHOOL and A drill in the foundation principles of rights of the musician taking part on jn what kind of an attitude of mind musical thinking, affording thorough train¬ Director YIRulL CONSERVATORY the program, who, whether he be an do you go to a concert? Is it a coldly ing in scales, intervals, chords, and key Publisher—“There are several things relationship, together with e-■ —- *- amateur or a professional, if he is en- critical one, or one kindly and geoer- melody J --- • about your composition which suggest EDUCATION FROM 21 West 16th Street deavoring to give of his best to his ous? The tenor of our minds has ’ Beethoven.” Fletcher Music Method START TO FINISH NEW YORK audience, is entitled to the right of a measurably more to do with what we id in the first year’s study. Price, Composer (delightedly)—“You think SIMPLEX AND KINDERGARTEN respectful and courteous hearing— get out of things than we usually give so? What are they?” which always means a quiet hearing. it credit for having. If we attend a Publisher—“The pauses, the notes and criticism of the Fletcher Method, Harvey Worthington Loomis Crane Normal Institute of Music Even a whisper travels a long way, a_|||.concert in _a critical spirit, sitting the sharps and flats.” writes: How any music teacher could ever allow young pupils to struggle COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN rTraining schoo^fo^^superv^ion^^of^^mu^c. ORLANDO A. MANSFIELD, Mus. Doc. HKIDGEPORT, CONN. very long way indeed, and although by throughout the program keenly UL z,.an8deld is one of England’s fore- on in the old stultifying grind after seeing your ingenious invention is be¬ Z : fte°riJsts- , His work is well adapted the time it reaches a performer it may Watch for every defect in a player’s tech- tor self-study, thoroughly practical. Each “What do you think of Miss Calihope’s yond my comprehension. You are indeed the Froebel of music. The have lost its meaning in words, its ef- nic or interpretation, or singer’s voice, Important positions in colleges, city and normal mt e contains exercises to be worked voice ?” whispered the tall girl with the importance of your educational work cannot be overestimated.” feet can be felt. tbe cbances are tbat we will come away “ V Asides numerous auestions. We to iy recommend the work. Bound mountainous pompadour. POTSDAM, N. Y. There are many concert-goers who, having received only in accordance with “She sings like a pirate,” growled the The Music Courier, Dec. 28, 1908, says: “The Fletcher Method has LSHarmony, pricepnee,’ S175-25 cents.- Key to Students’ while they would be mildly' horrified at what our minds were seeking and in rude man in the starry vest. permeated the musical world, and the various methods for beginners have, the idea of conversing upon general readiness for. Cultivate a kindly fed- “Like a pirate! Gracious! And what after all, all taken root in her example.” J. WARREN ANDREWS “Memory Schools Exposed” topics of conversation during a musical ing. Be as ready to praise as to find Counterpoint and Canon is the resemblance?” . . , E. E. AYRES Special short Courses in ORGAN STliDY, in Forn and Booklet Free number, would have no hesitancy what- fault. Look for good points in every Applications for the first class of 1910 are now being received. >f Lectures and Illustrations. Specially preparet sivp°r,Pna ?orlt—brief and comprehen- “She’s rough on the high C’s.”—Chicago uid adapted to the needs of those who can speni “HOW TO READ MUSIC AT SIGHT” ever in making remarks which bore performance and do not let the pres- SciIe o‘?fmp“tance!lin simpt confer6 Daily News. directly upon the music to which they ence of imperfections blind you to c?non I omitted. The lessons Mrs. Evelyn Fletcher-Copp were listening. Perhaps there is some- praiseworthy and helpful features. aritHrito T 0nly the slightest famili- “Now,” said the brown-eyed woman, Memory Library, 14 Park Place, New York tS ‘he terms of Harmony are 31 York Terrace : j Brookline, Mass. “I will always know how to talk when I *1.00, to dSlted at the outset’ Prlce’ or P. O. Box 1336 : : : Boston, Mass. THE MEANING OF “VOICE” IN hear a symphony or grand opera, I never ©f tbe cits Music Teachers, Students and could make what seemed to me to be INSTRUMENTAL MUSIC. [ nstttute of /ll'msical Hvt of mew HJorft Music Levers The Embellishments of Music suitable comment, hut coming out of the ffranlt ©amroscb, Director The study of composition in. to The book win ^FHUE RUSSELL Philharmonic concert the other night two tE’o6 II Advanced school for talented students in all branches of Music titled— y OEHMLER, eu- earlier stages is usually carried - a referencA ma?1 f great want> either as high-brows walking next to me gave me -so-o «-r-g... .rav... e.a.nn.T arweem - if for voices, and throughout BU1S1C“ students. No aSHSLS* xa®xa text-book for ** CLEOPATRA” a tip. composition of all kinds the ides o “‘Well,’ said he, with a long drawn \k !: ssssssf52^.1 making the parts, or “voices," run» sigh, ‘Beethoven is always Beethoven.’ MUSICAL KINDERGARTEN METHOD Pronounced by eminent critics “the most smoothly as possible is maintained ® ll.oo,8 comPrehen8ive esoluHon.riSeprYce, AMERICAN INSTITUTE OF APPLIED MUSIC original suite issued since the advent of Prrr “‘Yes,’ she responded, soulfully, ‘Bee¬ For the Nursery and the Class Room far as can be done. In piano music, o thoven is always Beethoven.’ EDGAR O. SILVER, Present (»wrnOTOMTAN 212 W. 59th St., Neu> York City ag^performer*)' (Can b. melodic line. British Bandsman. Please mention THE ETUDE when CASH DEDUCTIONS VALUABLE PREMIUMS RATES FOR CLUBS One Subscription, no deduction. Not Musical Two Subscriptions.ea PREMIUMS Three “ 4 the etude Five “ “ Gifts of Value Easily Earned by Seven “ “ )St Card Album. Ten “ “ ) Visiting Cards and Plate. Fifteen “ “ Securing Subscribers to THE ETUDE I Cards and Plate and Card Twenty “ “ With cash deductions no other premium is {Iren. THE ETUDE is of positive worth to musical people. A sample Sherwood’s copy is, therefore, the best solicitor; the best arqument to use. H. Samples are FREE. MUSICAL PREMIUMS ench Opera Glasses. William FOR ONE SUBSCRIPTION The most lucrative field is among music teachers, music students Pearl. We will send, postpaid, any one of the and musical homes (those owning pianos). Leaving a sample over x Film Camer night often obtains a subscription without other discussion. ^k.E ONEWsubscPrripriotTnot°their Sown ;sendmg m Let us send you our premium pamphlet which gives talking points Mi New March. Albvm. for solicit* setting forth plainly the merits of the paper. Piimer of Faets, by M. G. Evans. Album of Favorite Compositions. Engel- DIRECTIONS : Mission Clock. lal Piano Lessons Send subscriptions as you get them; premiums may be claimed at 8 Day. H :• Album for the Young. Robt. Schumann Freight.) Norm any time. All combinations of premiums are allowable. Morris Chair, C. Oaerny. Op. 299, School of Velocity. Mahog- Ciiven_Kxr Mail f'oin tiv fin too Pivct T...I...-..- AH goods are sent prepaid by us, unless “by express" or “by freight" any Finish. With Veioui Cush- oy is mentioned ; receiver in such cases pays the transportation. ion. (By Freight.) - -- -- Mahog¬ Cash must accompany all orders. Use Post or Express Money any Veneered. (By Freight.) for the Piano, Orders, Bank Draft or Registered Mail in sending remittances. o Study. Presser. T Subscription Price, $1.50 per year; Canada, $1.75; Foreign, $2.22. LEATHER GOODS A Proved Success lost popular method. subject matter of the iesson is thoroughiy AAAl^|d£d£)d p^itted tc?ask Handel Album for the Piano. Lighter Compositions for Piano F ChoDin. Loeschhoin Studies, Op. 65 or Op. 66. MacDowell, Six Poems. FOR FOUR SUBSCRIPTIONS March Album. Four Hands. Master Pieces for the Piano. ,F°r FOUR subscriptions, with $6.00, i Pocketbook—Seal Leather; Black iJSSKSlSd toIn^“S“ pwM— th,t .A. in your ... Mather’ Slandard Giaded Course. (Any Mathews’ Standard Graded Course in Ten will send any one of the following, postpai or Brown, Ladies’. Grades. (Any five grades.) Ladies Hand Bag—8-inch Size; le Piano. Modern Drawing Room Pieces for the Piano. mimMa'ny°hundr.d, of SMSl „t§a1S —Great l ' ' " ’ ' the Piano. (100 p. Cloth. Mendels- of ti Sebum i Albun bourse is designed to the neeas musical careers, and teachers in leading Cpnservatones, Sisters teaming ^ ^ asyoung teachers f-lssohn, Schumann, who^re^nxious tci'bnish'up^id adopt the very latest methods of teaching. lected Czerny Studi i?.°t SK,toSSSVwto -a»g "«*. in c“” “ (Any Hone book.) FOR FIVE SUBSCRIPTIONS well as those in the smaller communities. lected Studies from A. • ~-c ortd wonder of the Greatest Musicians; postpaid:'^ SUbscri‘>«ions- wi» hide Leather, Lin Standard Third d Fourth Grade Pieces the Muficifprffs'the Leading Educational Institutions, as well as the Maeizel Metronome. (By express ) Pocket, Russet or : Standard Graded Course. W S B Math- ors. (By Express.) Kers who am taking the Course, attest the great success with which Medium Grade Oollec EK*SSi”l«C“iS'?»■»li~i» «*» “? the Lessons are meeting. Fifth or Sixth Grade!'*1 Dr. Wm. Mason. In ThrksTcTan^dley'^entTce^^aix jt weekly examination is given upon each lesson, in which the grede. volumes. (The six volumes ) Leather Straps. (By The Duet Hour. (Easy ] “Mty of Music and Musicians. Rei- markable musical activity, devoted to the best interests of American The Little Preludes. Barli The Musi Great Artists Approve music,sic, and American musicians. . . FOR SIX SUBSCRIPTIONS PADEREWSKI says that these lessons ••coniiuiuw.uu.“constitute one of the most The Musician says: “Mr. Sherwood has been laying be or mer- Theory Explained to Piano Students. Clark. Three months’ Subscription to “The Etude.” FOR THREE SUBSCRIPTIONS Pifreight°)°l Hardwood. any finish. (By -amumf adS to the pedagogical literature on pianoforte playing Tunes and Rhymes for Children. Vocal or For THREE subscriptions, with $4.50. Bonbon Dish. 5-inch. * the *edag0giCal literatUre °n Pian0f0rte fying “f 53S3T mVstrlted Inst. Geo. L. Spaulding. FOR SEVEN SUBSCRIPTIONS Vase. 8 inches High. pubhs e y f h Dresden Conservatory, says that the lessons j. it d to the fewfbut everyone can avail himself of these lessons. It valuable works°on mL^o/literltme?**"* Il'sAUER, of the Dresden Conservatory, says that the lessor ^typS ^u erb £ I. in Nine Colors. FOR EIGHT SUBSCRIPTIONS 6 “ Cefery Dish—Tl -inch Size. Cam/VER°MA%np0C/IELIUS^of th^Bolton Conservatory, of Music, says: itar. Mahogany, highly polished, orani 6 Berry Bowl—8-inch size. the patriotic idea that Americans can do just as well in music as Euro¬ FOR TWO SUBSCRIPTIONS All cut glass articles are sent by express. “Each subiect is so lucidly given and each thought so vividly expressed peans, and that the notion that it is necesssary to go to Europe to study od fin b d souna do that after a few of the lessons are carefully studied, the student is made is false. Mr. Sherwood stands for the highest principles in music not .e|tionT^f^ro,TediwfilUsS,T’WO ndolin. Rosewood, l^rib^whi PLATED SILVERWARE to feel as if Mr. Sherwood were really present. merely for the chosen few, but for the many; and the new work that he edge,dge inlaid celluloid guard plat AibS'1kJSH*if Piano RC os,paid:. Subscriptions. Musical Press Commends is doing in putting his principles of Piano study into the form of corres¬ Ed. Grieg ood finger-board. (By express. 2 for Sugar Shell. pondence lessons with questions and answers, is opening up to the music Lesehetizky Method for the Piano. °, St?“J- , Hardwood, patent 3 “ Berry Spoon. Musical America says: “Mr. Sherwood is perhaps the first musical ilhum—either Popular Masters and their Music. W. S. B. Mi at. (By freight.) teachers of the country, opportunities for getting Normal instruction Mathews’ Standard Graded Couree oi authority to adapt the University Extension Method to the teaching ot FOR NINE SUBSCRIPTIONS i the Piano. In preparing the course of lessons, simplicity and clearness from a real musical pedagogue such as they have never had before. ies. (Any seven grades.) 10 M Table Spoons (Doz). Mtmical^ Kindergarten Method, by Lai Complete Piano Works. Frederic Chopin. have been the watchwords. His principles taught in the text are Ulus Public Libraries Seek Them SOLID SILVERWARE trated by photographs of Mr. Sherwood at the Piano, showing the cor¬ These lessons are coming to be recognized as of such great moment A Text-Book. Dr. H.' A Organ Repertoire. FOR TEN SUBSCRIPTIONS rect position of the hands, arms, wrist, and fingers. The pupil is brought School of Technic, by Philipp. to musical people generally, that the great public libraries of America, aluabie and liberal prer Reed Organ Method. Chas. W. Land Piano Bench. XVI century style. Polished into close personal relation with his teacher by means of weekly examin¬ £,!°'vland 2; ««!•« ations. This work of Mr. Sherwood’s is thoroughly in line with the such as the Carnegie Library of Pittsburg, and the Public Library of San Shfkh. S(By Heght.)7 inChe8' 2°* Francisco, are seeking sets of lessons for use in their reference departments. ngements can be made with trend of his whole career, and constitutes a fitting climax to a life of re- ic dcsirir either

The Teachers Themselves Speak C« . S. Switzer, of the Switzer Women’s Ilian Dillabaugh, of Fresno. Cal. says: \ = clas.e«-the finest editions -are Conservatory,^Ite,sca,^Tra^,^says: “^Yc se has been Invaluable to me. During 8 of, wrist *nd3 fingers *h tnswers o j^^our of‘forty vac. ICAL WORKS AT COST t'nin'the'ETUDE. t°F.»"i.™ s opportunity6 offered f" from 'the best C t' of Frecdo could find In our western cities. San dps in t civint POPULAR PARLOR ALBUM MASTERPIECES FOR THE PIANO Not a dull number in the whole b THE MASTERS AND THEIR MUSIC For recreation and pleasure. . A collection of 25 of the host enm™ llnnM,!Siy^aI1”iehave^SenTplano^SclSr^or jHpful secro^J,f ^ “e “asters in one volime. ^ FOUR HAND PARI,OR PIECES private1 study;°by W^.P.^MattlT “4 Bright, entertaining piano duets popuRlarALBUM’ classical or Sui DESCRIPTIVE ANALYSES OF PIANO moderate difficulty. Two of the best collections of miscella¬ ini' rtS'l am taWng H up as a study.'a.nd 1 ran to^he%oun':1>U'achcrs ldca^'lLat 1’H.V .fll' STANDARD COMPOSITIONS FOR 1 WORKS who composed my class. They were all very much in wrist action and fc neous compositions published. sssaf”" pleased and benefited. Please send my diploma phrasing lacked life and erly. of Rturcta. Mich.. PIANO, 1st, 2d, 3d, 4th, 6th or FIRST STEPS IN PIANO STUDY By Edward Baxter Perry. A poetic,' Immediately.” with too much legato £ ..uch better than I could betel* dramatic and historical analysis and h Mathews’ £|ouCkm„°fdeLnacS trend ‘at4 description of some of the greatest com- ry of Jesus, of Our Ladies’ _ upanew £orid!n 8tren«thcncd a -dies or any Sc to® Graded Coi Jes rau'VthSt ^ have helped me in my lex l splendid at OF MUSICAL TERMS CLRESId ORGANM0DERN GEMS F0R FIRST STUDIES IN MUSIC BIOGRAPHY my own thought and ideas method. tStthere™assomething1ne^eSIVut^ever knew 1 exIHX,ltxl ” ^FACTS For Church and Home use A History of Music for chidren, by Thomas Tapper. ’ 7 "anyone What 11 WaB 1111111 1 UK>k your courso of lessons.” ^ Ml*» Ruby^ I-a.«olle^ ALBUM OT FAVORITE COMPOSITIONS SACRED SONGS OFFER NO. 2 Vols. 1 and 2; either vol. THE ORGAN PLAYER r 20c and we will send, postpaid, Hy P. W. Orem. A pipe organ collec¬ ^explana^ lta?S d°oVpSwrn ? Jy one of the following: OFFER NO. 3 OFFER NO. 4 tion of unusual value, of medium difficulty, for church and recital use. iRST PARLOR PIECES Add 35c and we will send, postpaid, a;fv one°ota,Hd f?,*11,1 send> Postpaid .. 'n first and second grade. any one of the following; «Pee I if. * ,,he following works oi Mu choof addiSonaf ci •esting and pleasing. steal Literature, bound in cloth and gilt >DERN DANCEJCE ALBUM M WOM5SSSOHNS S0NGS WITHOUT ANBEyCDW°Tr°f GR?AT MUSICIANS ies. Every dance A carefully p ■epared___ volume, including a ook ^ates- 300 anecdotes about ORGAN REPERTOIRE and biography. Mr. Sherwood Says graphy. HandfomV’bXr’ Play6rS and «*** SCHOOL OF TECHNIC teach a large percentage of the things necessary for a student and teacher to know Harmony, Counterpoint and Composition Lessons SETfi£«?5£ ,,. rsy f nuipp, ami understand and practice m order to become a thorough musician and pianist tl’on. S' Counterpoint, Thoroughbass, Analysis, Canon. Fugue. Compos* Only ONE offer can be taken advantage of through these lessons; and that there are some things that can be done more * ’ 1 “r,u- < >1. I" -Hali.,n, eh-., l.y A.luiph 1;.~,. k.-r Ilani. l Pr-llu-roC. with EACH subscription or with EACH club. perfectly in this way—not only in theoretical and mechanical instruction, but in emotional and artistic side of m no idea that^m^mn^i DA-MItOSCH says of these lessons in Harmony that he "had fashion” anflt“,"w“d kn°Yledgo o{ *“»sic could be imparted in this novd asmon. and that. „nr Harmony lessons “serve their purpose ifievery particular.” TUC C"TMtr\er 4-*** W “ *°script've book cata,oguB »» or ^ „ft0ve rn and introduced. There ax i is advertisement at once may rei TH£ ETUDEf 1712 Chestnut St., Philadelphia, Pa italog containing a Synopsis of th an tee that the complete cc Siegel-Myers School of isoomonon block -^^IWAUbfL CHICAGO - - ILLINOIS ■

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