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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
8-1-1923 Volume 41, Number 08 (August 1923) James Francis Cooke
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Theo. Presser Co.. Publishers, Philadelphia, Pa. PRESSER’S MUSICAL MAGAZINE
NEWMAN ALBUM BRAHMS ALBUM OF OF CLASSICAL DANCES PIANOFORTE COMPOSITIONS fourteen beautiful dances with music Edited by Louis Oesterle Price, $2.50 By Albert W. Newman Pr,C*’. * • A superb compilation of all the most ;fm«ently An attractive volume of terpsichorean novelties for played piano compositions of this master comPoser' dancers and teachers seeking new material to enrich This album has been edited by the well-known author¬ their repertoire. It is also of considerable value to ity, Louis Oesterle, with a view to study use as well those desiring material of this kind for use in Play-* as for the library of the virtuos9 pianist grounds Schools, May D'ay Festivals, Carnivals, Particular attention has been given to the rhythmic grouping, articulating and phrasing, all dynamic FFuli descriptions of each dance are given by illus¬ markings and tempo indications being given care trations of all the movements, diagrams of all the fully. An excellent portrait and a short biographical figures and foot positions. Compositions by noted sketch of the composer add to the albums attractive- composers have been used, the music given complete for each dance, keyed with the description by num¬ bers indicating where each change is made. EXHIBITION PIECES The World of Music FOR THE PIANOFORTE Price, 75 cents Annihilation in the United FIVE FIRST POSITION PIECES e Melba. Is said to be seriously The t " , was -'resolved” by the General Federa- Modern compositions and several delightful tea0' FOR VIOLIN AND PIANO Mozart’s “Magic Flute” was presented Dame N. n of Women’s Clubs, at their biennial con scriptions of the classics in Grades 7 to 10 are here By Arthur Hartmann Price, 75 cents # May/^af?e?'an‘absence^o^on?1 hundred 'and t& nextTner“al 'election, collected in a convenient and reasonably priced al¬ one 12. Delegates’ from 40,000 clubs v seven years from this^ historic stage. Bo tiled its application for incorporation finder Junemembership of 2,000,000 joined *- “ * — bum. These pieces afford splendid training in style Mr. Hartmann, who is noted for his splendid tran¬ ,’^by Gustav Holtz, “he laws of New York wjth °. G^f ■ ■ and finish, containing both scale and chord technic scriptions for violin of music masterpieces, gives us s85ticanyd and every number is especially valuable for the con¬ in this new book five original compositions strictly cert or recital program. Every good player is at within the first position. . times called upon for pieces which tend to display While not beginners’ pieces they are not difficult powers of execution, of velocity, of endurance and to play and they are useful in giving the student an even of bravura, and all such pieces will be found insight into the possibilities of the true violin style. herein. No pianist’s library is complete without this In these pieces Mr. Hartmann has written good music excellent album. as well as attractive music. They will make splendid numbers for the student’-s first recital appearance. CHURCH SOLOIST FIRST PIANO LESSONS A COLLECTION OF SACRED SONGS CHURCH AND CONCERT AT HOME High Voice Low Voice FOR THE VERY YOUNG CHILDREN Price, $1.00 each CHORUSES By Anna H. Hamilton ORATORIO CHORUSES, LARGER ANTHEMS AND These two volumes include a- generous number of SECULAR CONCERT NUMBERS Piano Book 1 Price, 75 cents excellent sacred songs by the best composers, most Price, 75 cents Writing Book 1 Price, 25 cents of which have never hitherto appeared in any pub- A 148-page book containing the best standard and When it is not convenient to arrange for profes¬ lished collecillection. A collection of this kind will prove sional instruction a musical mother or elder sister, inience and an economymy forfc the singer who is modern choruses for mixed voices, enabling the with well adapted material, can instruct the little trained choir or choral organization to add to the Sunday beginner successfully. First Piano Lessons at Home repertoire a number of sacred choruses and choice has been written for just this purpose. “One step at concert numbers at very little expense. By Babylon’s a time’’ is the watchword. Nearly every page intro¬ Wave, Gounod; Hallelujah Chorus from the Mes¬ duces some new element, but so gradual is the ad¬ siah; and Unfold, Ye Portals, Gounod, are among vancement that no tedious repetition or practice is the generous lot of sacred numbers, and Gipsy Life, necessary. The Writing Book goes hand in hand THE SONG HOUR Schumann; Night, Tschaikowsky, and With Sheathed with the instructor and should be used with it to Swords, Costa, are a few of the secular choruses. •obtain satisfactory results. Music teachers will like this book for very young pupils. ORPHEUS COLLECTION GOLDEN MEMORIES PART SONGS FOR MIXED VOICES Price, 75 cents By Mrs. H. B. Hudson Price, 90 cents otic songs ; The unique series of little books for tiny tots, by has complete piano or organ accompaniments, none A well contrasted program may be made up from Mrs. Hudson, which began with the very successful of them difficult. The student’s edition has words this superb collection to provide an evening of song A. B. C. of Piano Music, here introduces a new de¬ and melody only. Where phonograph records of the that will afford entertainment fcur any audience and parture. Not only are these familiar melodies given songs are obtainable the record number is given. at the same time test the ability of the average body in the author’s method of using capital letters of of amateur singers. Choir leaders whose organiza¬ the alphabet, but they are also given in the regular tions occasionally give secular concerts, and all musical notation, thus bridging the gap between the choral club directors will welcome this comprehensive two systems. A Tiff Open to Everyone Interested and varied compilation. All V/II Cl in these New Publications IN THE FOREST In order that our patrons may be afforded a better opportunity to ascertain the genuine LET’S GO TRAVELING value of the books listed on this page, we will AN OPERETTA FOR CHILDREN By Homer Grunn Price, 75 cents By Cynthia Dodge Price, 60 cents This most interesting little booklet can be made to cheerfully send any of them for examination. serve a variety of purposes. The numbers mav be Catalogs of any classification in music, piano, A dandy little thirty-minute operetta for boys and girls. Not a flower or fairy story, but a modern, used as juvenile songs, as piano solos for pupils in vocal, violin, etc., sent gratis upon request. the second grade of study, as recitations with piano up-to-date plot, full of fun for the participants and accompaniments, as little studies in rhythm or as a sure to prove a charming entertainment for the short play in costume with woodland scenery. The audience. The music is real children’s music, easy attractive cover design makes an instant appeal to to sing. This vocal score contains all dialogue, stage the little ones. directions and pen drawings of the principals in cos-
INTERMEDIATE STUDY PIECES THE0. PRESSER CO. THIRTY-ONE PIANO COMPOSITIONS Price, 75 cents 1883—Fortieth Anniversary Year—1923 THE GOLDEN WHISTLE Teachers frequently have difficulty in getting pupils A JUVENILE OPERETTA of the third and, fourth grades to practice the exer¬ By Mrs. R. R. Forman Price, 60 cents cises for technical development, the plea of the pupil MUSIC PUBLISHERS AND DEALERS Text by Gertrude Knox Willis being that they are too “dry.” To all teachers this book A new operetta for children by these successful is heartily recommended, as the pieces it contains 1710-1712-1714 Chestnut St. writers with a very clever plot and tuneful music. were carefully selected, not alone for their technical It may be given at any time, daytime or evening, i value, but because they are interesting musically. PHILADELPHIA, PA. doors or outdoors. The staging is easy and ine Every progressive teacher will be delighted with this pensive. AH directions fc- -• splendid album. the operetta are included it mm THE ETUD1 AUGUST 1923 Page 507 Page 506 AUGUST 1923 THE ETUDE
Schools and Colleges AMERICAN CONSERVATORY CHICAGO AND MIDDLE WEST—Pages 506,507 and 508—other Announcements on PaBeS 571,572' 5*' **• CHICAGO'S FOREMOST SCHOOL OF MUSIC Chicago Musical College 38th SESSION COMMENCES SEPTEMBER 10, 1923 FELIX BOROWSKI, President CARL D. KINSEY, Manager positions.* Many special features, recitals, concerts with full orchestra, lectures, etc. The Leading and Largest Conservatory of Music and Dramatic Art in America FALL TERM OPENS SEPT. 10 EXCELLENT DORMITORIES OFFER ACCOMMODATIONS AT MODERATE RATES Faculty of More than 100 Teachers including the following noted artists: (Alphabetically Arranged) UNSURPASSED FACULTY OF ONE HUNDRED ARTIST-INSTRUCTORS PIANO VOCAL BELLE FORBES CUTTER MAURICE ARONSON Among these might be mentioned MOISSAYE BOGUSLAWSKI EDOUARD DUFRESNE ROSE LUTIGER GANNON RAY HUNTINGTON PUBLIC SCHOOL MUSIC—O. E. Robinson. EDWARD COLLINS MABEL SHARP HERDIEN RUDOLPH REINERS ORGAN — William Middelshulte, Frank Van HARRY DETWEILER LEON SAMETINI PIANO—Heniot Levy, Allen Spencer, Victor Gar¬ harp—Enrico Tramonti, Clara L. Thurston. DR. FERY LULEK wood, Silvio Scionti, Louise Robyn, Kurt MAX KRAMM EDOARDO SACERDOTE PIPE ORGAN SCHOOL OF ACTING AND EXPRESSION ALEXANDER RAAB BURTON THATCHER Wanieck, Earl Blair, May Doelling. MUSICAL THEORY, COMPOSITION - CLARENCE EDDY Adolf Weidig, Arthur O. Andersen, John —A. Louise Suess, Luise K. Willhour LOUIS VICTOR SAAR HOWARD NEUMILLER VOICE— Karleton Hackett, E. Warren K. Howe, Stage Training, Public Reading, Dancing. C. GORDON WEDERTZ MOTION PICTURE ORGAN HELEN W. ROSS Palmer, Leo Sowerby. C. GORDON WEDERTZ Charles La Berge, Elaine De Sellem. CHARLES H. DEMOREST VIOLONCELLO — Robert Ambrosius. THEATRE ORGAN SCHOOL— Frank Van Dusen HARMONY, COMPOSITION, COUNTERPOINT, CANON AND FUGUE VIOLIN—Jacques Gordon, Herbert Butler, Adolf and many others. FELIX BOROWSKI LOUIS VICTOR SAAR HAROLD B. MARYOTT LAURA D. HARRIS PAULINE HOUCK Weidig, Ramon Girvin, Hans Muenzer. :ri, George H. Gartlan TEACHERS’ NORMAL COURSES GUEST INSTRUC RS, 1923—Josef Lhevinne, William S. Brady, Delia V: JULIA LOIS CARUTHERS (Piano) REPERTOIRE—INTERPRETATION CLASSES MAURICE ARONSON (Piano) HAROLD B. MARYOTT (Vocal) MAX FISCHEL (Violin) Free Advantages: WALTON PYRE (Expression and Dramatic Art) BURTON THATCHER (Vocal) LEON SAMETINI (Violin) (Examinations from Sept. 4 to Sept. 7. Apply for examination blank.) A Musical Bureau for securing positio . PUBLIC SCHOOL MUSIC SCHOOL OF OPERA HAROLD B. MARYOTT EDOARDO SACERDOTE LYCEUM AND CHAUTAUQUA ENGAGEMENTS SECURED CONCERT, CHAUTAUQUA AND LYCEUM DRAMATIC ART AND EXPRESSION ELENA DEMARCO WALTON PYRE Examinations Free Catalog mailed free on application Moderate Tuition Rates .11 Orchestral Taught AMERICAN CONSERVATORY, 571 Kimball Hall, Wabash Avenue and Jackson Blvd., Chicago OF THE TOTAL VALUE FREE SCHOLARSHIPS OF $20,000 JOHN J. IIATTSTAEDT, President—Karleton Hackett, Adolf IVeidig, Heniot Levy, Associate Directors d for competition in the cs by the Cable Piano ,.ie Vocal Department, rick Stock. Conductor.
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THE KATHARINE BURROWES TEACHING APPLIANCES Delightful aids m music teaching. Make teachers’ work lighter and pupils Special Public School Music Department d-SETK? l r“k' “■ h'S”"'*' more thorough. Helpful and time-saving. Send for price list. Musical Puzzle Stories. Musical Note Gatherers. Meter Fractions. Forty Reading Studies for the effis JteLdsasr'fcA wsci*t- Piano. Sheet Music. Theory Course for Teachers. Faculty of 70 distinguished Artists KATHARINE BURROWES, D 243 Highland Ave., H. P., Detroit, Mich.
. °.c ober 1923 Issue of THE ETUDE Music Magazine will be an unusually fine issue editorially and in music contents. This will be an advantageous issue for Announce- FALL SESSION BEGINS SEPTEMBER 10th, 1923 DORMITORY ACCOMMODATIONS ment as it will have a large circulation and the majority of the copies will be saved and Front View Conservatory Bldo. used for a number of years making it inevitable that thousands of friends of ETUDE Write Dept. E for free 1923-4 Catalog rard Ave., Box 7—Detroit, Mich. readers also will have the opportunity of seeing announcements appearing in this issue. As space will be lumted in this issue we advise that space be reserved immediately. Please mention THE ETUDE when addressing our advertisers. Pleas ntion THE ETUDE when addressing our advertisers. -ANNUAL SUBSCRIPTION, $2.00—
afford to pay the regular""”'! tion. These scholarships will Viol." mt,heTPian°- V°iCe’ SCHOOL OP'’ ment'T^com JyF~ Voi., 2=isS?«= THE ETUDE only. & hoW,k^ Voi, AUGUST, 1923 Single Copies 25 Cents VOL. X
notified when to appear for Dressin’ Up VIOLIN The Singing Welsh -'(““cu 10 present a letter We wish that we might borrow the pen of Lamb, or Tllfrtairr. ^fUSICCLARE OSEORNE REED, Director DEPARTMENT The greatest calumny ever put upon a race was done by from a pastor of a church or a Addison, or Hawthorne, or Shaw, for half an hour, to write representative citizen certifying: 1 Honor & 1,01,,.^ . Mother Goose. If there ever was a decent, respectable, respon¬ to their character and that he TWENTY-THIRD SEASONor,AO™ nvrmOPENS SEPTEMBER 10TH1 elude Violin. ( this editorial; for the subject is one which would have excited is familiar enough with their cir- Registration week September 4th sible people, it is the Welsh. Yet every child learns, before lie A School for the Serious Study of Music-Faculty of Eminent Artists and Teachers A-W.F.lwemi.U.0^ the imagination of any one of these worthies. Dressin Up is an is able to read, “Taffy was a Welshman, Taffy was a thief,’ and PTTRT m THEORY - VOICE - VIOLIN instinct as primitive and elemental almost as the instinct for U INTERpr£™^VSIC ~ TEACHERS’ NORMAL TRAINING immediately associates these words in a way that often takes self-preservation. It is found in the most savage beginnings of Winner to tuition for one school INTERPRETATION FOR PROFESSIONAL MUSICIANS years to blot out. When he discovers that the Welsh, of all man. Because it is particularly strong in children we are calling M*r- rilept *3u*J*ic School _ VIOLONCELLO — dramatic EXPRESSION Music Department) but may be degrees by authority people, are hard-working, God-fearing men and women of the attention of music teachers in this way to a factor which can revoked by the Director if the Accredited student fail, to work dil gently. unusual intelligence, talent and high aspirations, he feels misled be employed to help them prodigiously in class work with music Scholarships will notbeawarded m. . Tochers’ Normal Training two hundred children receiving instruction in Ear Training, Sight Reading, Preliminary Harmonr. Technic and abused by the otherwise delightful gospel of childhood. pupils. S&JTE? and Dalcroze Eurythmics, under the direction of a ?ii«i aL$L_The pay8B00dr faculty teacher. Each Normal student is required t. How much singing has to do with the splendid character Children just love to dress up. They love to fashion them¬ o?£ s& ■Mend these classes every Saturday morning through normal TRAINING the School year. of Welsh folk, no one can tell; but because they do sing as few selves in the garb of pirates, fairies, cowboys, Indians, kings, , Public School Music other people ever have sung is proof of their native high-mind¬ queens, celebrities of any kind. There are all sorts of games ^-hing and Advan,ced pPedll„“l The course requires two years, but in msnyy instanceslunar and playlets in which the instinct for dressin’ up, accompanied ed Pedagogy by meanhof ■SkSr bf credited by sufficient teseblng ej edness. m ~n Psychology and SCHOLARSHIPS ching as win COUrse °f students’ fg0 or Univer»ity work, and Some one has said the Welsh are born singing. However by music, may make educational pastimes which the child nevei, TO BE on teaching both children’s work. true that may be, in after life, they certainly make music their never, never forgets. If your class is lagging behind, if you AWARDED ry of Mins . Daleroze and feel that you are getting stale yourself in your work with little PIANO DEPARTMENT o of t main joy. Perhaps you have heard the war-time yarn of the tree School. In this school aiTmore than cnenuea , tots, try “dressin’ up.” Give a little costume party and have c^Honor Scholarships to in- ^gftsSsj&Sa&vis: y, Sight Reading and Ear Training. eight Britons who were found in a dug-out, after a twelve-hour Interpretation Clans f„v p r S * ‘Bg and Kar the little folks come as notes, clefs, famous songs (Annie Laurie, Cou,Y^i,^.trUAn^SP,aEn: PUBLIC SCHOOL bombardment. The two Irishmen were fighting still, the two semble. Orchestra Conducting, Old Black Joe, Poor Butterfly, etc) or as characters in little and History of Music. ilf iB MUSIC Scotchmen were holding a debate, the two Englishmen had not playlets or operettas. Start them at the beginning of the year only17"* Scho,ar8hiP»- Piano ring of criticism on a mo yet been introduced, but the two Welshmen were getting up an C,ra'ldJnterP,'ctation in a so that each child will have something to do. It may make a Partial Scholarships. Piano oratorio society. ^0 BU” 6rS’ 8nd ‘he ““Pctmon fpr entrance makes a^ZTanse'a m„eeh ra ?ee,d’s direction are difference in your whole season.. Never forget that you are w _ Year Book Free „„ » “Cch“ QeS,re
also become possible in the future to invent some apparatus to T^10 traSic noglect of tlie church and of the home leaves Leaves From a Virtuoso s Note Book the day school as the only place in which millions and millions pick up sounds emitted years ago. Why might d not b< po». By the Famous Russian Pianist, Conductor and Teacher ot Amencan children must be trained in character. Forsake sible to pick up the voice of Jenny Lind, the playing of 1 aganini, of Chopin or Mozart. Why might we not hear the voices of is, and America is doomed as surely as Nineveh and Babylon. ALEXANDER SI LOTI Lincoln, Washington, Shakespeare, Dante, Cicero? Of course °C fC, ° ?ur Serious birthright unless some positive and this may seem like a wild flight of the imagination, but then who Practical Study Ideas from Personal Contact with Liszt and Rubinstein i U P° 3C^ ls usfablished to meet the present social crisis seventy-five years ago would have imagined the radio of to-day, and the greater crisis which must come. (Secured expressly for The Etude by Harriette Brower) with our city roofs veritable forests of poles and trailin' i E™“ Pr°P°sed a remedy which already has been vitality; they should also develop a great music, Already men of wisdom and standing are asserting their Lorenzo di Medici, .in the Church of San Lorenzo, “Some of the happiest, although some of the most the old world all depends on tradition; the people are ^ • m P,UbI,‘C Sch0ols‘ Ifc is simP}y a plan for regu- in Florence. It will be remembered that he sits, beliefs in telepathy. Luther Burbank, in a recent issue of the strenuous, days of my student life were spent with the bound and held back by it. They speak, act and feel Hou,. » d.S dUrmg, th.e cblld’s sch°o1 week, known as the “Golden American Magazine, contends that certain people have minds master, Franz Liszt, in Weimar. I was but a lad of their parents, their grandparents, their great grand¬ recumbent figures at his feet. The work is termed tarkn *hr°Ugh a care*% Prepared, non-sec- so in tune that telepathic messages arc not uncommon. He cites nineteen and had just finished my course of study at parents felt and acted. They are held back by barriers the Conservatory in Moscow. After this I had some “Meditation/’ and is one of the great marbles of the and obstacles of custom. Young America meets the nobilitv of ^ 6 PnnclP*es °f patriotism, honesty, fairaess, world of art. So with Liszt’s Sposolicio, an embodiment, the case of his mother and himself, giving many instances of the lessons with Anton Rubinstein, who subsequently felt obstacle fairly, gives it a blow, pushes it aside, and £eTU'neSS’ indUSt^ and °f Se Golden interchange of messages. Then there is the historic instance of that the greatest thing for me would be to be accepted in tones, of Raphael’s masterpiece of the Madonna. One rushes on. Because their ancestors, in the old country, regular ! JaUfht th the same care and attention given to has----. only to turn to the pieces ^ich, Liszt thas"’“ given ™ Emanuel Swedenborg, who among other things, instantly as a pupil by Liszt. heated their houses Very inadequately and froze in titles, to realize the poetical significance ot the com¬ Sen W SUbjecfe- Thc Part that music plays in the reported a conflagration in a distant city long before the intro¬ “A little later it was made possible for me to go cold weather, their descendants do the same. America positions. I carry photographs of these masterpieces with is more progressive and aggressive; the present genera¬ elevates Tsic,inspires’ intensifies and duction of the telegraph or the radio. : abroad for further study. A couple of friends went with me, and we arrived in Leipsic in time for the me as reminders of the master’s intentions. tion will not .follow in the steps of its forbears, but “In my long life I have met many interesting and instruction is far more n TT ^ where such ethical One Etude reader in Alberta reports that he recently took Mus;c Festival, in which Liszt himself was taking part. believes in progress. I love this freedom to progress, remarkable personalities, but never have I seen any up a copy of The Etude for last April, just after the arrival I met him and he asked me to come to Weimar and to constantly climb higher, and I feel this spirit will Gota H„„r „uM be ,ik: nu‘ic tl,c one as impressive as Liszt. One felt the instant of of the paper. He opened the volume and turned to Abiih With study with him. As ' soon as the Festival was over, animate the art-life of the nation. my friends went with me to Weimar and engaged a coming in touch with him, that there was something “Yes, I practice slowly. Doubtless fast practice is for « ** Me, in the new version arranged by Homer Samuels and sung P"b,i0 SCh°o1 ■ room for me there. By this time I was horribly majestic, god-like in him; one felt that here was an all- the bane of many a young student. Slow practice and by Mine. Galli-Curci. His father, in a different part of the room homesick, for I knew not a word of German; but after embracing spirit. He impressed people that way and medium power, not full power. I do not practice he played music in that spirit—the spirit of a conqueror. immediately commenced singing Abide With Me. IH u , •„ my first lesson with the master this feeling left me scales and finger exercises, but rather passages from and I threw myself into my studies with the greatest pieces—difficult places from the whole piano literature, know whether this was musical telepathy. I The Music of Bach least many psychologists we know) would say that it « Ill>t. ardor. For three years I had the infinite privilege of or perhaps I should say, from my repertoire. Take BoZttt,"! f““£S ?? ‘ coming into close contact both as pupil and friend, “How Liszt loved the music of Bach, and taught us the C-sharp major Prelude from Bach’s ‘Well Tempered a detective of national note, imZ in Z n Z *g6nCy’ and they would contend that it was merely a coil with this wonderful man, who showed me many marks all to love it with him! I am still a student of this Clavichord;’ that makes a fine finger study. Then parts he has seen miracles ncrfr.^ ,i l ’ . * Boston Herald, that there is a law of averages which brings about such coil of his kindly interest and affectionate regard. great music, for I do not know all of it by any of the Chopin Etudes, octaves from Tschaikowsky, or every so often. Burbank would certainly call it music,.! i, “I am asked sometimes what were the distinguishing means. I am only beginning to realize and feel its anything that exercises the various muscles, or bits that th. most hortai oriZridZr ” ‘he "J 0f refomi”S characteristics of Liszt’s playing and why was it so deep, inner meaning. I was over forty years old before need constant repetition. One must always practice; he has interviewed Zll W°men’ Hc cIaims that pathy We are beginning to feel (we don’t say that remarkable. I find the question somewhat difficult to I arrived at an understanding of the true greatness an artist can never get away from that! have declared that music has bZ^Z ^reT ^ tha there is a kind of very highly developed „en answer. His piano tone was not so big; some of the of the master and learned to, play his music more m sible for leading' them to « K0+f ’ t g t measure> respon- rest of us had as much; but it excelled in a marvellously the way it should be played. Young pianists nowadays Adapt the Work to the Hand fhint vert T nen 1,"USU'al folk which «*"» to h id are fond of placing some of these big works on their Dutch Mr- Von dcr Wall, a ng very much hke what is Donnlnrlv t...»..i.. searching, poignant quality, the like of which I have “As it may have been noticed from my recital pro¬ programs. Well and good; if they play the notes work in New York prisons for i been conducting similar never heard from any one else. In fact it could not grams, I have edited and revised many compositions, with clearness and precision and give a general idea be said that he merely played the piano; he played adapting them in various ways to the needs of the He is said to have quelled somTof Z’ Z marked access, of the form of the compositions. When I see these music. The two terms are widely different. He would modern pianist. I have a large hand with a wide span through group singing. the most unruly groups And Still They Come programs I say—if the player is young—no, he has sit at the very same piano which we students used to and do not need to resort to the necessities of small not lived, he has not the life experience to play such thump with our playing, a very mediocre, unreliable hands in playing. For instance, take the little Gigue things. When one is twenty one cannot fathom the instrument; yet he could produce music from it such in B-flat by Bach. It will be remembered that this wonderful results ^but why ^mploTThi^ Cnminals’ ma^ produce mysteries of Bach. Neither at thirty. At forty one as we none of us, had dreamed of. Apropos of Rubin¬ short piece requires constant crossing of left hand over unfortunate has reached the lower levels?'^? th® human begins to understand; at forty-five, yes, at forty-five, stein,’Liszt once told me a story of a banquet given the right, in order to bring out the melody. This effort form is long before the child t,a i, j ' ™be P^ce tor “re- cne should have arrived at years of experience—of to Rubinstein in Vienna, at the close of his historical is really not necessary if one has a hand capable of ZiZttZ life. But, lest these words should discourage young That is the reason why to err. concerts there, Liszt himself being present. One of reaching the Intervals. I have altered the manner of students and players who like to play Bach’s music, some such plan as the Gold® Hourf ff that that his song will make a fortune^" ^ U"<,er th° deI" "* the committee gave ‘Rubinstein,’ as the first toast. performing the notes between the two hands, so there I hasten to say that I encourage them to study much Rubinstein became very restless during the speech, is seldom any crossing of hands necessary. It is quite maintaining high standards of living in Axlel Z ValUe in and deeply into the works of this great master, for this Police and acres of prisons g America than armies of bunco-steerer. The^ctfm^u^6 V1Ct‘m °'f ^ g<’ld 1 k and as soon as the speaker finished he sprang .to his simple in this way, and there is no change whatever feet, exclaiming, ‘How can you drink to my health, or study will hear rich fruit one day, when experience has nothing; and when he opens hi' • "'i'" ** ’ "8 in the notes themselves. In fact the theme sings honor me as a pianist, when Liszt is sitting at the same prepared the soil and fertilized it. itself more connectedly by this manner of playing. money and finds sawdustPhe • Packa^e "f supposedly i d “I feel, when I come to America, this great young table? Compared to him we are all corporals and hc Many compositions gain in ease of delivery by fore¬ —"Sr stxt" —- country, that its people are strong, full of fire and pends not upon the law courts nor upon th 7 3ndlviduaI de- The song-poem .. is the one and only Field Marshal. thought in making them more pianistic or one quiet, firm vital thing we shonl 1 6 P° -1C000,000 Poverty and ign^cTr^Z Hi. you heard a fine artist, a great artist. the hand. character; and the backbone Vl 7 ^ That thi^ is swindler. These thieves make ntt ^ victil I studied with him and know whereof “Young would-be pianists do not the education of the conscience hara.ct.®r 18 conscience. Neglect straits. make Particular prey of widows in dire 1 speak. Compared with the rest of us, work half hard enough and then won¬ he towered far higher. We were pig¬ a farce. ^science and civil government will befome der why they do not achieve great mies and he the stalwart man. But things. I sometimes think of the first when one speaks of Liszt, then Rubin¬ receive every dTyThe'Sed ^ CXP°Sing fraud, we lesson I had with Anton Rubinstein. I stein sinks into insignificance. He is swindlers. They averag^ from sNTT °7he WOrk these was told to prepare Schumann’s Kreis- forus\than tbis- then the pigmy and Liszt the giant. As a higher opportunity to represent to tiT h glVe the worker value them at anything from ^wo h A i ^ Tbcir owners much difference between them as be¬ Icriana, of eight pieces, Beethoven’s thus employed is at once one of The C°mmunit.y that music They are not worth ^ ^.hundred to a thousand dollars, tween black and white. While Rubin¬ Concerto in E-flat, and Sonata in A, liuman scheme of pr„,pei%> in °”r that amount may be. y ^ lf ean imagine what stein had a fine tone quality, which he Opus 101, also Chopin’s Sonata in B diligently cultivated, Liszt’s tone was minor. All these were then new to me memorable. I can never forget how lie and I had but six weeks to learn them. “• SV*i.•« « identify a pieee of intoned the theme of the first movement That was a task! By slaving seven or Sound Infinite neve, even °pe, the Z.“ “ ™rtUm, ,rL, S aTa baeket. If anj rea(,er PP«- « goes at „„„ tw „,tc of Beethoven’s Moonlight Sonata. Those eight hours daily I mastered the notes tones will remain with me for life; fairly well; but of the inner meaning sound never end. WherapfbbkiTd^^011^ “ g3Ven musicaI ■ong-poem who h„ it m“e heam of ,„lv<)n0 „ I can hear them now and always try of these wonderful works a lad in his centric circles extend to theboZdZZZ !" Water the con- to reproduce them when I play the teens could hardly gain an insight water whether that water is °f basin holding the dZ „ ’ M‘er ,dviK him* to t° P r"2' ™C "f swindlers work. through such a system of crowding. Ocean. The circles become faints . or 1,1 the Atlantic “It is the fashion to play Liszt’s That the desire to learn was not killed music, and many treat it very super¬ go on until some wave or tide into Z f“nter; but still they in me was due to my happy disposition ficially, as though it were merely meant and real love for art. All the lessons Musical sound is ** ^ entertain t‘he Z '’** ^ for the salon. But there is usually a with Anton Rubinstein were on the deeper meaning than appears on the sound goes in all directions At a Zll • dlfference 18 that same order; I cramming for them and surface. The master had some special to be inaudible; but by acoustical an Z dlstance lt may seem he hearing me go through my pieces maj be boosted a W *,PIf ™‘US ** ”»7 >* Im«rH. It thought or experience, which influenced or compelled him to compose as he did. and afterwards playing them for me, the radio. S " el“‘nc,ty via the telephone or hut without correcting me or showing n ntZZfhl^“pZpTieetotLT addi"S >»' a And the interpreter of his music should do so til he ^ginning of tv,? he first bi» of eact bring to it a many-sided experience of me how to do them. The work I did life in order to fathom its depths. Take with him was after I had graduated inventaZTvemide it' p.ZfwT ‘° ^ Y ^ ">«*™ magnifj them. for instance that short composition of from the Conservatory, and was per¬ his, II Pcnseroso. To many pianists il haps the stepping stone to the period I means little or nothing; just a ‘harmony spent with my revered master, Liszt. of sweet sounds.’ When he wrote it, “I have very definite ideas as to how Liszt had in mind that masterpiece music should be taught. Let me tell of Michael Angelo, the statue of AUGUST 1928 Page 518 Page 512 AUGUST 1928 THE ETUfifi THE ETUDE than its artistic ideals to find the cause of its artistic The First Use of the Damper Pedal thTreh°W WC d° !t ‘n RuSSia’ th* grCat Conservatories standing and success. The crux of the matter rea y By Lorene Martin The Secret of Caruso’s Glorious Voice “Everything goes by system. There are two classes that the big European music schools are not run lor of students, the Lower and the Higher; there are also pecuniary profit; they do not exist to make money. What Mato the Voice ot the O.caUtt ot Tenor, So WonOerM and PowerMS How often is otherwise good piano playing marr(. wo classes of instructors. Those for the earlier grades There is always a deficit at the end of the year. 11 by careless pedaling! Quite invariably such delinquJ: must understand the foundation very thoroughly • and the school- is subsidized, the Government- attends to. the By HENRY T. FINCK carry the student from the first beginnings up to a is caused by too little attention having been given to tk deficit; if not, wealthy individuals or a Committee nose between thumb and finger and then speaking or certain point when he is ready to enter the higher early use of the pedal. The student was left to ton* in charge of school affairs looks after it. It is art Important Etude Articles singing. As a matter of fact, when you do this you classes. The Lower Class instructor may or may not be his own inclinations, with only the admonition to “chan ' 'fiosx musicians and music lovers believe'that the first with us in Russia, not to see how much money can - Just twenty years ago, there appeared in The Etude do not use thc nose at all; why then should these sounds a player; he can cover the elementary work without the pedal with every change of harmony.” ge secret of Caruso’s glorious voice lay in his vocal cords. a series of articles that were really epoch-making. be called nasal? It’s idiotic! By nasal we should ever having come before the public as a pianist. His be made out. of teachers’ labor or out of students' fees. Although the ear is the true guide to good pedai;n(r But when he was twenty years old a famous Italian Had they received all the attention they deserved (they always mean a sound which is made richer, louder, office is that of a teacher. “The case is different in America, is it not? There the untrained instinct can seldom be relied upon to nrf laryngologist, Professor Massei of Naples, after ex¬ were subsequently published in book form) they would rounder and more beautiful by thc resonance of the nose. “The Upper Class master is called a Professor. He may he a few endowed music schools with you. But duce the best results; and since "the pedal is the sou) of amining him, shook his head and said: ‘Take up some¬ have'created a revolution in the world of singing, lhe In the unfavorable meaning of the word, Nasal must lie a concert artist, either actively before the public the general run of conservatories follow the plan of the pianoforte,” we cannot be too careful about brings thing else, you have not the throat for singing. _ writer of these articles was for twenty-one years pro¬ tones are produced, in the words of Dr Fillebrown, or one who has done concert work at one time in his building upon a financial standard—in other words, of our pupils into an understanding of its use. 8 Dr P Mario Marafioti, another eminent laryngologist, fessor of mouth surgery at Harvard University. Thomas “not because the vibrations pass through the nasal pas¬ careej-. He builds up the student on the foundation laid making it pay. who took care of Caruso’s throat during his triumphant As soon as the text requires the use of the damper Fillebrown is his name and the title of his book is sage, but because they are obstructed in their passage by the assistant teacher and aims to turn him out an “I have conferred with some of the heads of flourish¬ career in New York,, also informs us that it was not pedal, usually near the end of the sec..ml grade, everv Resonance in Singing and Speaking through them.” If you can learn how to avoid these artistic player and good musician. The Professor trains ing music schools in this country, and they all tell' me his vocal cords that made him preeminent: ‘Singers pupil should be given a concise explanan ,n of what the Now Dr. Fillebrown was not the first to recognize obstructions and make the hounds seem to come not him in advanced repertoire, forms his taste, and sliould endowed with the same ,and even better vocal organs, the same thing. They say: ‘Our school is on a firm pedal is, what it is for, and how it is to lie used. the mistake of attaching too much importance to the from the throat, but from the nose and the other head oe able to act as an interpretative model worthy of on the whole, than Caruso’s, are not scarce. imitation. financial basis; it brings in large sums each year; we First- of all, open the piano and let the pupfl SK vocal cords and too little to resonance He cites Dr. cavities, you are on the royal road to becoming a first- never have a deficit.’ And I say to them it is not what happens inside. Point out the long w of dampers The truth is, he goes on to say, that Caruso had Lennox Browne, who wrote that “valuable as has been There is also system in studying repertoire. Take class singer or teacher. possible to run a school on the highest ideals, which lying at rest against the strings. Play i,.w notes and ho'hing exceptional in his laryngeal apparatus, and the the laryngoscope in a physiological, as undoubtedly it the Lower Class, for instance. It has several divisions. larger size of his vocal cords or other peculiarities which will do justice to its professors, its teachers and students show how one of these little dampers f>ack when¬ is in a medical sense, it has been the means of making Resonant Cavities For each of these a certain number of compositions must have been mentioned about his vocal organs were cer- and yet make money. The money you make comes out ever a key is pressed, permitting the -• g, which the all theories of voice production too dependent on the What are these other resonant cavities? They are the be studied, such as are suitable for that degree of tamly not the decisive elements in his phenomenal sing¬ cf the teachers who must slave day in and day out, in hammer has struck to vibrate freely so tong as the key vocal cords, and thus‘the importance of the ^other part" pharynx, mouth, lips, upper head cavities, and the advancement. Small programs, for each division, can ing On the contrary, there were shortcomings in his be made from these earlier lists. As the student (Jrder that the institution may take half the fee he is down, but checking them instantly u : the key is of the vocal apparatus has been overlooked. largest of them all, the chest. You can learn about throat which were so evident that if he had had to them in the books of Lehmann, Marafioti, and h tUe- advances his repertoire grows with his progress. He earns from the student, and thus make mbney for it. released. Then play a few notes with pedal• ■ down.- The result has been that ninety-nine of every hundred rely on his vocal organs alone for his career, he would brown. The last-named gives very helpful exercises must study, for two years before he attempts anything I say to them frankly, I cannot teach ih any institution All of the dampers will now be seen to ! persons, if asked what produces tone in the human multaneous- perhaps never have beccme a singer at all.” . voice would answer “The vibrations of the vocal cords, (on ng sounds) for development of vocal resonance. of Chopin.. As for Beethoven—with the exception of under those conditions. Not that I wish to make ly, not only leaving the strings that arc 1 k to vibrate Have you ever read anything seemingly more paraaoxi- and stop there as if that were all; whereas in Dr. One more word about the nose. Its all-importance in the little Sonatmes and small pieces—a full-fledged large sums for myself; I am satisfied to earn enough unchecked but also causing other stnn 1 vibrate in cal and amazing than these assertions of two famous Fillebrown’s words, printed in big fat type. It ts the speech as well as in singing is forcibly illustrated by Sonata ,s not to be thought of for a number of years. for daily needs. sympathy with them. This glimpse n- ' in ' mechan- laryngologists, the second of whom knows more about vibrations of the air in the resonance chambers of the what Dr. Fillebrown says: “The elder Booth (Junius And so it is with all the big works of the pianist’s "It is the same with orchestras everywhere. They ism, by revealing the reason for saying ni’cr” rather Caruso’s throat than anybody else m the world. human instrument, together with the induced vibrations Brutus), about 1838, suffered from a broken nose, which repertoire. Thus the student is carefully grounded, cannot be run with profit; there must always be sound than "loud" pedal, will tend to make t! '"dent more of thc instrument, itself, which give tone its sonority, defaced his handsome visage and spoiled his splendid grows slowly but surely and advances gradually into financial backing. An illustration from my own experi¬ careful in its use. Immense Cavities the stature of a well-rounded musician. Next, explain that while the pedal its reach, its. color.” . voice. His disability was so great that afterward he ence might be apropos. I was arranging a performance 1 ill of the Wherein, then, did Caruso’s secret lie? In other words, “The principal vibrations are above seldcm played. That the cause of this impairment of “Perhaps you may think this sounds too slow and delicate effects which it is capable ni icing may It lay far above all other things, in the fact that, of a large work by Ducasse for chorus and orchestra. ■ the vocal cords, in the chambers of resonance:’ Booth’s voice was due to the contraction and more pedantic for rapidly-moving America. It may be some- well Ire the study of a life-time, the i probably more than any tenor that ever lived, he had In order to secure the musicians and ensure the neces¬ ides under- To rub it in once more, the little vocal cords, instead or less complete obstruction of the nasal passages is what stow but it is thorough; and it forms sound lying its use arc simple and may n-adib cavities in his head and body which acted as an immense sary rehearsals, it brought the expenses—including hall understood. of being the principal cause of tone, “are in themselves too evident to call for comment.” musicianship and produces capable artists. Russia is The primary use of the pedal is to ■ resonating case for' his tones. To cite Dr. Marafioti s and advertising-to 11,000 rubles. The tickets, all of hr or bind The close connection between the speaking and the not alone >n desiring thoroughness; for these methods together tones or chords which we <. insignificant as sound producers.” which were sold, brought in 5,500 rubles, exactly one bold with own words: . Yet it is to these unimportant cords that ninety- singing voice illustrated by Booth’s misfortune affords are followed m other European schools. The result the fingers. This is accomplished in tu “The massive volume and the rare quality of his half the outlay; the other half came out of my own ays, spoken nine of every hundred teachers of singing give most of additional proof of the correctness of Dr. Marafioti s of this artistic completeness is that Americans, in many of as direct pedaling and syncopated or v0ice—its exceptional characteristics—were due to the pocket.
Page 520 AUGUST 1023 the etude Ten Powers for the Pianist’s Left Hand How Long Has Your Brain Practiced ? The Cult of Nonsense in Music A Mid-Summer Fantasy of Musical Humor By Felian Garzia By W. L. Clark Leaving out left hand notes Is like reading and omitfe “Practice makes perfect.” Yes, but only perfect prac¬ Bv PROFESSOR F: CORDER 1— Make the left hand do its own share of work. Do words because of our lack of skill in pronunciation. Professor of Composition at the Royal Academy of Mustc of London tice. And how many piano students can be sure that not let the left hand remain dormant, so to speak, wn 6— Stress practice on piano pieces written for the left I find the substitution of “1” for “o” here hardly they are practicing in a way which will bring out the the right hand is carrying the melody brave y. 1 . hand alone. Both agility and accuracy come front fl* suffices to maintain the interest. But there were many best there is in them. Hours are spent at the piano on always at its besta soberTact Tmoment’s 2— Train the left hand to carry a melody. Tt is curious what a fascination nonsense has torevery- other elaborations of familiar nonsense refrains. The endless repetitions of difficult passages, and yet so often practice of these selections. of various selections are written with the rtel°°y. bodv even for those models of starched propriety who old song of Giles Scroggin’s Ghost has the result is that when the student is called upon to play 7— Keep the left hand in proper position over the the left hand. Practice these portions diligently, theory b° y’ . despise it The infant has probably never ex in public, he is seized with a panicky feeling, a terrible keyboard. Many mediocre players keep their right hand “Giles Scroggins courted Molly Brown will not give the left hand agility; it must have practice. StfLt did not love to have nonsensical rhymes spoken fear and uncertainty of how it will go. in proper position, whereas their left hand falls into any Fol de riddle lol, fol de riddle lido Try occasionally to play with the left hand melodies tsted t mother of every nation, barbarous The pieces which went so easily at home among position it sees fit. This applies especially to students M 1. * <° o, lis the second line sandwiching the entire poem Sometimes, written for the right one. At first this is unduly aw or'cultured^ has hushed her baby to sleep with “Lullaby, familiar surroundings here seem bristling with difficul¬ who practice a great deal alone—who do not have a good or cunuic , French. “ninna-nanna, it Italian, but less frequently, you had this kind of thing. ward, but the practice is beneficial. teacher to guide them through the critical parts of ties. Nervousness makes one lose control of his fingers. !.fo roS”SH Portuguese! and some equally meaningless “O’Darby he courted Kitty O’Whack, 3— Give the left hand ample scale practice. As a habit formation in playing. Some one must have put soap on the keys. It is impos¬ f • i t if Chinese or Esquimo. When the chdd ge A sweet little maid to be sure, sible to play as one wants' to. The fear of forgetting rule the right hand has very little difficulty in performing 8— Students who have weak muscles in the left hand equivalent, if Chinese delighted with “Hey diddle right. „ T . old enough to understand, it is delighted » 3. ^ LA, LA, LA! makes one rely upon one’s finger memory The fingers its work in scale activity; but often the left hand needs have improved them by some violin training. The violin and after every four lines came a great deal of practice to overcome inaccurate playing I went to the Opera yesterday night. left to themselves increase the speed at every bar. A fingering in the left hand not only strengthens the muscles diddle” ard, atalk°k loves to memorize ridiculous rhymes “With a ditheroo duddrio la, old enough to talle it loves lu that frantic appeal is made to the brain to check that breath¬ of scales. but also aids in obtaining accuracy in . cation. Fillaloo maviro crack _ less, racing pace, but the brain is powerless It does not 4— Try for gradual improvement in speed in left hand f— Play selections that have octaves written in the With a smililoo smihloo la. Td rit t 1STS iSinatLf tmnsAfrL the. dull For the chorus sang Da, la, la! seem to know that piece any more. Well, the truth is playing. Take simple selections stressing left hand ac¬ left hand; then play those selections t’ . include both mm!? vemes h is bidden to memorize and hangs with Singing-huzza for Kitty O’Whack. the brain never did know it, for where was the brain tivity ; then try more difficult compositions where greater octaves and “runs.” The Faust sang in German Mephisto bijrench But this seems rather poor wit. You may rememberthe while the fingers were repeating and repeating mechan¬ speed both in sight reading and execution are required. 10—Notice some of the best piano i vers that you delight ; of deeds The Marguerite was some Hungarian specimen quoted by Charles Dickens in Great Expecta- ically those difficult passages? Was it not thinking of 5— Do not let two or three fingers of the left hand do have the opportunity of hearing. O! rve how they Whose English put all of my nerves on the wrench, a thousand and one different things? Is like a garden full of seeds, all the playing that should be distributed among all the employ the left hand to interpret the mty of many But the chorus sang La, la, ia. tWHS' When I came up to London town, sirs, If one will recall honestly the practice hours, he will And when the seeds begin to grow five. There is a tendency for some players to let their selections. There is no clumsy fumbb of the keys. Tooral looral, tooral looral, be obliged to admit that, while the fingers were “wrig¬ It’s like a valley full of snow; The Siebel was Spanish, the Valentine Dutch; left hand take on a sort of lethargy while the right hand Each note by the left hand expresses part of the Wasn’t I done very brown sirsf gling” over the keyboard for an hour, thev brain did not And when the snow begins to py What nation the band were does not matter much, is doing faithful work. Such playing defeats the pur¬ whole composition just as effectively .i does any one Tooral looral, tooral looral. spend more than five minutes in real study. Result? It’s like an eagle in the sky; But their boss was Italian and acted such pose for which the composer of the selection wrote. by the right hand. While the fingers may have practiced that piece for a And when the sky begins to pour While the chorus sang La, la, lai Pip remarks plaintively, “I found the amount. ofHooral It’s like a lion at your door; looral rather in excess of the poetry. But it « m these whole month, the total brain study spent on it amounted Yes, whether as soldiers, as angels, or mob. to three or four days at the most. Of course, under such On Selecting New Pieces And when the door begins to crack, points that artistry, or the lack of it, is shown. One^can It’s like a stick about your back; And whether they had to acclaim, l^h’°rJthrob have too much of even nonsense, as you may see m conditions one has to trust the fingers and never dare The audience’s pulse they contrived to make throb And when your back begins to smart Lewis Carroll’s Hunting of the Snark, where Mua. say to himself, while playing in public,—“I wonder what By Mabel Madison Watson By the mere sound of La, la, ia. comes next?” For, if the brain fails us, we are only It’s like a dagger tn your heart, £ is elaborated to boredom. Or, to return to The inviting catastrophe. The brain should be the real leader And when your heart begins to bleed „ They sat there, that audicncd, in circle and stall, Universal Songster, the song of Timothy Snook em, Few persons realize that the same fundamental laws study. These must be absolutely within t pupil’s ability, in playing and have perfect control over the fingers, as You’re dead, and dead, and dead indeed. A “crib" or translation in front of them all. that operate in establishing and maintaining a plain busi¬ both musically and technically. Cadger has the refrain: an orchestra leader has perfect control over his 'musi¬ To furnish the sense of each bellow and squall, ness enterprise govern equally the conduct of a profes¬ With a young child a five-note piece ru deal exercise “Such Precious Nonsense” Cadgcty, cadgety, cadgety hum, cians. Then, and then only, can one begin to play the When the chorus sung La, la >ia. sional or artistic career. is quite ambitious enough for a first r< h . „ the iady in Patience says, Priggity, jiggity primo, way he wishes and not the way the fingers feel. A simple A teacher with the ability to select the right material Meanwhile the poor soloists strove with each word, Fidgety, didgity, pridgity mum, No instrument is more sensitive to the different moods piece beautifully played creates a better i :.cession and is at the right time possesses one essential qualification for Maltreating the text in a fashion absurd’ , I sioallow the victuals and, rhino. of the player than is a good piano. Unfortunately, the more effective than a more difficult one 1 well rendered. success. Mistakes along this line lose us more pupils No atom more meaning or sense could be heard, way it is usually practiced brings out of it more of an Unless a piece is labeled “Easy" or " ■ Beginners” I find these words difficult to memorize but a mere than perhaps we suspect. Only good judgment for Than if they sang La, la, la. insipid, lifeless noise than the wonderfully harmonious neither parents nor pupils will have any i a of its com- trifle compared with The Song of Punch, by Charles individual cases will avail, but a few broad, general rules r n».rs« S£«, rich tones and really expressive phrases of which a good parative simplicity. If one thing you ha\ ■ Acted seems crazy verses spoken or sung gen y^ ^ whom thg Dibdin, who really ought to have known better than to may help to save the situation. What joy if our artists for ever renounced instrument is possible. hard for a child to master, do not lie a f 1 to give him have written; First, know your repertoire! Study graded lists and Sst w^rs?ltable Cf°auTSis l commence proceedings? That polyglot jargon of tongues Mechanical, thoughtless practice can only develop something easier next time Any chi enjoys doing That babel of opera which critics have trounced. catalogs. Select whatever promises to meet your needs. Can’t you sec by my hunch, sir, mechanical, senseless playing. Yet, - what a fascination what he knows he can do well. “Horkum, borkum In favor of La, la, la. Order “on sale,” if some good music store where you can Faddeldy, daddlcdy, dino, it is to be able to render a composition without strain or Do not hurry from one grade to anot The secret Kewery corkum go over the stock at the counter is not available. Study I am master Punch, sir, stiffness. Just to have the sensation that music is really of avoiding impatience for harder pie is to assign EtUcum, bellicum, bony bus. Blest onomatopean sounds! Might ye fall, carefully all that appeals to you, not only for immediate Riberi, biberi, bino. flowing from your finger tips, free from that painful numbers contrasting in style. You thus lay a Stick, stack stone stead! From every lip, understand^ of all! use, but also for future needs; and keep your own note Fiddlcdy, diddledy, faddlcdy, daddledy. labor which very often simply awakens the pity of your broader foundation for a varied reper and at the No Volapilk then to our aid we need call. book for reference lists and comments. These will need listeners! Even in the loudest, most powerful passages, same time allow yourself time for ad c technical O-U-T spells out, If they would but smg La, l®> tal Robbery, bobbery, riberi, biberi, constant revision, in the light of your growing experience. the ear should always be flattered and not rattled. preparation for the next grade. If the pr e time cur- with A long brown snout. Faddledy, daddledy, dino, No stereotyped list of graded material will avail; for ’Tis American, French and Italian in one; It is indeed a wonderful thing to know how to prac¬ tails essential technics, try to find pieces . .odying the Lift up The latch and walk right out. Riberi, biberi, bino. work suited to one pupil would be inappropriate for Familiar to all and a puzzle to none. tice so as to gain to its fullest extent that entire freedom needed problems. That merry fellow another with equal ability, at the same stage of advance¬ These and many of a similar character once '™pr^e ’Twill express every sentiment under the sun. of technic which makes the hardest passages relatively Avoid giving the same piece to pupil 10 are likely Punchincllc, ment. Whenever possible, consult your pupil’s tastes in Be content then with La, la, la! easy to play. The relaxation which produces beautiful to come in touch with each other. For :e thing, this assigning new pieces. Play him several suitable numbers - * rf Dancing here you see, sir. tones and makes it possible to bring out the exquisite would limit your resources for recital grams; and So no more shall we foreign opera repel. (not too many at one time) and let him choose the one he Whose mirth not hell phrasing one admires so much in the interpretation of again it is apt to create too much opport unity for criti¬ But truly cosmopolite with us twill dwell likes the best. Interest and the desire to learn a coveted Itself can quell, performers is thus acquired. Then playing ceases to be cism and rivalry through comparison in interpretation And all hearts shall beat and rejoice in the spell piece are wonderful incentives to diligent practice. He’s ever in such glee, sir. work and becomes a truly fascinating means of ex¬ and progress. It is easier for a teacher t.. keep up fresh Of the blessed words La, la, ia. Niddlcty, noddlety, niddlety, noddlety, pression. Your own taste, prejudice, or ambitions for a pup’l may not be your first consideration, for unless both par¬ interest if it is not necessary to listen to tin same thing There is a vast collection of the words of old songs Niddlety, noddlety, nino. r! Etc., etc., for pages. ents and children are pleased and satisfied with the work called “The Universal Songster." Published about 1830 The best- results will come from work in several grades Writing It Out you are giving, you will not hold them long enough to y°“L she went into the garden to cut a cabbage^eaf^to with crude woodcut illustrations by the CrmkshanK This kind of thing makes you angrily shut the book and —m_lta„eoualy. Some difficult pieces, slightly iieyond the develop the musical appreciation, the love of really good make an apple p»e. And at the same^ ^ gexclaimcd brothers, it contains about four thousand lyrics dating posTtively long for a little sense, if only for a change. By L. Gackstetter things and the understanding and ability to perform pupi s present ability, should lie given to spur his enthusi¬ from the 16th to the 19th century. Here you will find P It has been seriously affirmed by certain antiquaries asm and make him realize his limitations: Init these must “wUlno soap?’ So he Sed, and she very imprudently The success of a summer class of beginners seemed to them which is your ultimate objective. such a farrago of nonsense as Bedlam ltself that most of our children’s nonsense rhymes are uncon¬ not be impossibly hard to conquer, and must always be married the^arber. And there were present at the wed¬ dreamed of. Looking through this collection you become be due largely to the varied routine of their work. Inquire carefully what parents think they want their scious perversions of real words imperfectly heard or children to accomplish; but do not take them too seriously something that appeals to his taste so that he will very ding the Garalilies and the Jobal.l.es ^ *e ^andPa aware that certain types of refrains were Pecu 'ar remembered. This is to deny in others the precious g t At every lesson each pupil was given a certain amount must want tb be able to plav them. Another class of of written work to be done at home; for example, four if they say they want “all-’round musicianship, a thor¬ jandrum himself with the little roun , catch- certain types of song. Thus, if a comic song of pkbeian of imagination lacking in themselves Is there a family measures of music using half-notes for the right hand ough knowledge and appreciation of the best music!” In wim !K en°URh for him to learn Quick!y and play And they all fell to P'aying^f heefs oMheir courtship had a refrain of “Tol de rol de ndo you where the children have not invented words wffich are lie nonfidence, should lie given in greater number to and quarter-notes for the left; or simple little things ninety-nine cases out of a hundred they want their chil¬ can, till the gun powder ran out ol tne neeis mie-ht be sure you were in for something rather broad, their own private property? No; music is responsible relating to the lesson which were brought to class for dren to play. And they are right, as far as they go' rearfinf ■ rCpertoire- Then there should lie his sight- if not worse. But the refrain of “Whack fol de rol for the refrains I have quoted above and for' thousands correction. But, unless they are willing to cooperate in planning and , T R p!e,c?s or duets, possibly several grades below The Children’s Games t , ,, or “Whack row de dow” was peculiar to Irish songs of of similar ones, and the phenomenon occurs m every me rest of his work. The children’s games specially design^ to es . A liberal amount of written work was done during enforcing adequate practice, the only course open to a a mildly humorous type. This was a recognized rule in memory, such as “A gaping, w.de-mouthed, wadd mg laneuage of the world. class hours. Time, and the value of the different notes, conscientious but practical teacher is to get results and difficulties^ a.ndL S,y,C of music has its own peculiar the early 19th century, as witness the lines Horn one lyric. But now what about nonsense in music apart from frog” or “Good morning, genteel lady! entirely fail 1 explained in this manner, were easily understood and to use every means that ingenuity can devise to lay a tions ft ’ a"( t0 ^ ab,c to Play certain advanced selec- “Let first rate singers stretch their throats words? Does it exist? Well, the whole structure of serviceable foundation while so doing. their proposed purpose, because in fact nonsense is much proved more interesting because progress was faster. If intermJ^!*n0t necessari'y guarantee the ability to play In fine falsetto squeaking, music is artificial and conventional, so that one may a difficult measure was encountered during the lesson, From the earliest possible moment encourage the pupil When mi 6 0r. ,evcn elementary pieces of another type, easier to remember than sense. With new and strange unnatural notes assert that it is all “nonsense” in a manner of speaking. Does not this fact supply a clue to the reason why there the pupil wrote it out. Writing demands concentration, to play for his parents and friends. Have class plav have passapesnS'fCrS ^ the larRer compositions usually Applause from fashion seeking. But the building of it up into phrases sentences and ing or informal recitals as often as you can. Teachers has always been such a tendency in music to introduce a which is so often lacking, and it also develops a habit it is ohvi 8 i ° varymg styles covering several grades, The blockhead connoisseurs among. periods, punctuated by cadences, assimilates it to poetry, who “do not believe in having their pupils perform in refrain, or burden which shall be entirely devoid of mean¬ of thoroughness. E’en let them trill and squall, sirs with which art it has gone hand in hand forrthe lust five public are always under the suspicion of inability to ing? Going back to the very earliest lyrics known we With the second lesson the scales were begun. There 1 o summarize •_ Give me, my boy, a jolly song centuries; so that it is only when the well-understood are no better exercises to accustom little fingers to the prepare them to do so. “Playing for people” should be find this idea already firmly in favor. Know your repertoire. That ends with “tol de rol lol,” sirs. poetical conventions are departed from that music ap¬ keys. These, too, were written out and then copied in as much a matter of course as practice or leskons and Whether in The Three Ravens (1550) with the r This feature could be (and often was) over done. Select pieces that please; pears nonsensical to the listener. During the nineteenth their notebooks with other work of the pupils. should inspire no dread or unwholesome excitement “Down a down, hey down” or “It was a lover and his There is one song which tells, in no less than sixteen P ,„rv twe was an ever-increasing tendency to sub¬ Learning to play, without the ability and willingness to Pieces that can be played' Once each month the whole class assembled for review lass with a hey, with a ho, with a hey, nonny no (1600). verses, the ancient story of how a traveller bested a. stitute ’arbitrary association of ideas for .ar^ectura use one’s music to give pleasure to others, would be as or the thousand and one medieval Madrigals with their work and a story hour. At the end of the summer an highwayman, each verse having the elaborate burden of. form. This has been derided by Murger in his Bohe¬ purposeless and unfortunate as a fresh water stream or SomeSSrcaSsting in S?,e and ,,ot to° ,0"R; invariable refrain of “Fa-la-la”-from. whmh they were examination was held. Part of the test was a composi¬ bers. ' ’ S me rn°dern, a few good popular num- Sing til de ril dll de rtl dll, mians of Paris, where Schonard talks about his grand spring with obstructed outlet. often designated as “Fa-las”-we find that all writers tion, written, named and played by each pupil. To be Sing til de ril dil de ril dido symphony “sur l’influence du bleu dans les arts (on the Of first importance is the selection of pieces for per of lyrical airs loved to use the nonsense refrain, and not sure, there was not a great deal of art about them, but Nevc/trJ ,hanfd °n the 1>ulse of each pupil and parent Sing til de ril dil de nl dil, influence of blue in art), and by an American writer formance. Choose numbers that can be memorized and only to use it, but to make it the most attractive part o the work was there, just the same. want. y '° f°rCe on any°ne something he does not Sing til de ril dil de ril dido correctly played without too long or arduous preparatory the song. Clearly, then, musical inspiration was and is Study to lead pupils to want the best. AUGUST 1923 Page 523 THE ETUDE THE ETUDE Page 522 AUGUST 1923 whose hero writes a piece describing how his Aunt Eight Novel Lessons That Put New Life XHE public schools and music education Tabitha emigrated to New Orleans in the year 1859 and Into Your Teaching that few ,c 0I1 ^ died of the yellow fever in St. Louis two years later. . missed for each pupil young or old. was interested This program seems at least as possible a subject for By Dora F. Nye music as the Sonata I have lately seen which attempts to SJi* «- “ '7'» Mv chief idea was to create an all-round n,teres," picture the writings of Emerson, Hawthorne, Thoreau The Crying Need in Public School Music There are many ways of varying Pia"of^ )^! and the Alcotts by seventy pages of absolutely cacophonic Jn thc great art. Once, a teacher said to me, No won- so that the pupils will always be intar _ j. (o]d the By T. P GIDDINQS arrays of notes which no one could either play or com¬ 3 r you like to teach, for you have so mum talented mg plan robbed the work of a 1 ™onot°^' t kind. l-is” To my mind, there is much ability in students Supervisor of Music of Minneapolis, Minnesota prehend. class that every fifth lesson would be a different The latest phase of musical art appears to be to write H s never developed, owing to teachers of no vision down musical notes at random and take your chance of Practice Lesson 1 Iho arc not overfond of work. We must “Do our what may happen. Of course, nothing ever does or The'practice lesson affords much amuscnrcntasthe best and leave the rest" to the Divine Artist to develop, "The Etude” has long been conscious of the growing imPortance could happen; but, since the malefactor has discovered that the borderline between musical sense and nonsense the best-known Music Supervisors of America, is undiscernible to all hut the few, he boldly writes abso¬ For instance, in the case of a child who accents too rnuch. lute trash, secure in the conviction that be cannot be I nlav all her pieces with a very pronounced accent. well as it possibly can, and to teach pupils from the A Musical History Intelligence Test intonation in the early grades means that there can be punished for his offense. During the preceding four lessons, I have been watching very beginning to *play by ear,” in a sensible way. little part-singing worthy of the name m the upper Third consider orchestral and band instruments. Here each pupil and learning how they practice at home, i TH^Jre|1ond\te0prNatettutor°U)'the'publ|c
the etude T do not express myself perfectly clearly th t 1 erever Page 521> AUGUST 1923 a whenever European music made a great impression The Teachers’ Round Table Rabindranath Tagore on European ""In nie I said: “This music is romantic t 1 ange rule of the orchestra that Jazz should receive no upon me, q{ )jfe ;nto music. Conducted by PROF. CLARENCE C. HAMILTON M. A. attention from them. Individual members either with¬ Music , drew from dance orchestras that played Jazz or saw I wfll nit say that our Indian music would be able to • ; tn “How to Teach," “ What to Teach, ' etc., and not technical that better dance music was substituted. (Translated from Die Musik by Rudolf Thom ) 1 Ibis sometimes also; but it happens seldom and To sum up: What shall we do about it ? becomes much less prevalent. Our melodies lead to the Before we become a musical people, able to enjoy and [The following impression of iean(J judia, comm!, becomes t0 the VOice of a first dawn. They trusted with the music ol the urm ^pusopher, 1'oet t of all the woes, hidden in the darkness from the willing to support music in its highest forms, there must from the yen of,th®, interesting. The music be a vital change in the teaching of music. We must Tl Id covering all the sky with it- dark sorrows, When fwhoR ?HyyitU toaVsomeone0dfrim memory stop emphasizing merely rhythm and melody. We must thefspeak of the silent and wonderful delight of spring Right and Wrong Teaching neari/every day,’if stop merely talking about harmony; we. must teach it in anaifa8 with a peach. They are bo^e Oriental passing through the woods. cellent pedagogical books and mag well.prepared a practical manner. Pupils do not learn harmony by paring a y°U bUfatTeU o^fcensciousness. Lremem- ■ly different is developing s or Ml a pupil just li spelling and naming chords. They learn it by making e’ played, and lie comes harmony and listening to it and this must be done from in a J surpnsh.g A Remedy for Stiffness that Boys everything just as before the very beginning in some such way as suggested above. Buggers t «. -* »» .r.cy oj With this as a foundation, pupils will be prepared to study music iaS t3oUSber
_11 • * 1 SONG WITHOUT WORDS /Tv it JOSEF HOFMANN From Mr. Hofmann’s set of pieces entitled Mignonettes. Grade 3
p , m m. t_JV ** t t —i r L#-1- '■ J ■ - 1 ■ ■ I- 1 - 1—-id
British Copyright secured Copyright 1923 by Theo. Presser Co. AUGUST 1923 Page 531
^ ltJIIlJH/ ut * M.tf.r 54 Andante in. —^ 5 q b—— -. 5 —~~~ ~ . r4J
T~ rail. twi ^p rets iJn? ^ f 1 * f ♦ i - . »,— tfV *FF W 5E
t5E 3S IS PB
* Tm Hf-f j^ff rit. t ** TFF a tempo w * FF w *FF ml .[ -=FF
^ From here go back to and play to A, then go to B AUGUST 1923 Page 533 THE ETUDE THE ETUDE Page 532 AUGUST 1923 THE COUNTRY BAND THE COUNTRY BAND CHARACTERISTIC MARCH CHARACTERISTIC MARCH , , Plnv In a humorous manner with exaggerated dynamics. Verv successful as a solo. Arranged for four hands in response to numerous demands, vi y SECONDO J WALLACE A. JOHNSON
Allegretto M.M.J=126 ^atempo
D.S.%
Copyright 1923 byTheo. Presser Co. British Copyright secured AUGUST 1923 Edge 535 THE etude MAZURKA POMPOSO
5 >,—. fv. iL^ £ m.'AL » kf ?j ^4 j^p be | Mp-, mj c
# Ffom here go back to the beginning and play to Fine- then play Trio. Copyright 1923 by Theo. Presser Co. Iritish Copyright secured AUGUST 1923 Page 537 THE ETUl)£ THE ETUDE Page 536 AUGUST 1923 HARLEQUIN TRICKS
In lively march rhythm. Grade 2i WILLIAM BAINES
I Katydids, your voicestellus Night is coming! Night is coming! Of the sleeping bird s and flowers A study inthe singing touch Katydids begin their song, As we listen to your music I In the passing twilight hours. WILLIAM BAINES Andante moderato m.m. J-72
British Copyright secure^ Copyright 1923 by Theo.Presser Co. AUGUST 1933 Page 539 THE ETUDE the etuds Page 538 AUGUST 1923 SIX INTERESTING NEW PIANO The Most Popular of all Modern COMPOSITIONS PLAY OP THE DRAGONFLIESRICH. KRENTZLIN, Op. 75 libellenspiel Instruction Works for the Pianoforte with automatic precision. Grade 3. A fine practice or recital piece introducing two-finger work and the “up scale. Play CHARLES’HUERTER Allegretto M. M. J. = 72 School for the Pianoforte Among those already using them with great success is By THEO. PRESSER PHILLIP GORDON Well-known Concert Pianist
PHILLIP GORDON Catalog No. 18664 Allege® con
march burlesque VALSE BURLESQUE Catalog No. 18662 Price, 30 Cents talog No. 18664 Price, 60 Cents
ROMANCE POETIQUE A NIGHTMARE log No. 18663 Price, 40 Cents talog No. 18660 Price, 40 Cents VOLUME ONE nere is some delightful arpeggio work in melodious romance in modern style. Gr. 5 Beginner’s Book VOLUME THREE Player’s Book SHEPHERD’S SONG Catalog No. 18661 Price, 30 Cents BEGINNER’S BOOK R THE PIANOFORTE—VOL. ONE
The simplicity of this work has enabled many teachers to
Large Size Music Writing Books r^rscd among the studies, and the wntmg exerctses to cover notation needs also hold the pupil. 10%, inches by 13% inches ‘Beginner’s Book” make* a 1 Excellent Introduction to any Course or SIXTY-FOUR PAGES Beginner’s Book” is the Instruction Bool Sy.item of Piano Study. ‘ ,ith the Red Cover that is F amiliar to Thousands of Pupil* and Teachers. No. 7. PIANO.12 Staves Price $1.00
No. 8. VOCAL.12 Staves
No. 9. VIOLIN and PIANO 12 Staves STUDENT’S BOOK SCHOOL FOR THE PIANOFORTE—VOL. TWO PRICE, 75 CENTS, EACH A Work that Aids the Pupil to Progress becauge it Presents Interesting Material that the Teacher can Use Successfully Excellent for the Musician’s Permanent Takes up the subject just where the'‘Beginner’s Book kavesoff, Manuscript Record and is. of course, intended to supplement that «x“Ue“‘ m * dong The best music writing PaP*r'i:? j, used in these but it can be used very successfully for any student the work of the first grade, up to, bu?^‘^ime^imemulcal tSe pupil is well grounded technically and at the same t m j fs developed A complete treatment of the major scales upto^nd mcluding^our sharps and four flats orms the center Grace notes, broken chords.1 arpeggio, syncopation, hand crossing, etc., are given special attention. A Work of Interest to the Teacher of Tiny Tots Price $1.00 Bilbro’s PLAYER’S BOOK SCHOOL FOR THE PIANOFORTE—VOL. THREE A Sunerb Offering for the Instruction of Progressing Kindergarten Book Young Players i/the Various Phases of Piano Technic Pleasing study material arranged in progressive order. trenting , somewhat in detail trills, octaves, two notes against three, the pedal FOR THE PIANOFORTE tmmmgTreT^cTanyTtTe^S. ‘“pieaS piecesTr^used to supple, By Mathilde Bilbro =5tany other work of this grade. PRICE, 75 CENTS Price $1.00 This is not a theoretica, hook for instruction in music the very ^‘hm.c songs, tahie Teachers may secure any of these volumes for examination. to do from the very carefully arranged in progressive order andthech.d These volumes are sold by leading music dealers everywhere. n^r^'rjron at the keyboard. Every progressive teacher is mvrted examine this excellent work. _ ■— PHILADELPHIA, PA. THEO. PRESSER CO. Philadelphia, Pa. THEO. PRESSER CO. 1710-12-14 Chestnut St. 1710-12-14 Chestnut St Music Publishers and Dealers AUGUST 1988 Page 51,1 THE ETUDE THE etude Page 5JfO AUGUST 1923 Brunswick’s Annual Frivolity Revue The 'World’s Greatest Gance JAIusic Interpretations ISHAM JONES’ ORCHESTRA Adding Gayety to the Summer Season 'The COTTON PICKERS Tantalising Toe Tinglers By America s Most Famous Dance Orchestras, Re' CARL FENTON’S produced As Only Brunswick Records ORCHESTRA Can Interpret Beautiful Music. BENNIE KRUEGER’S Wonderful Pfew Examples of‘Brunswick ORCHESTRA Dance Recordings
ORIOLE ORCHESTRA Hear 'Them at Any 'Brunswick Healer s GENE RODEMICH’S DANCE RECORDS Here it is again, that annual frivolity the world. Gay youth! And youth ORCHESTRA 2438—Swingin’ Down The Lane—Fox Trot revue. A return engagement by prolonged! Dainty slippers and Who’s Sorry Now?—FoxTrpt special request. tingling toes! I sham Jones’ Orchestra Isham Jones, Bennie Krueger, JOSEPH C.SMITH’S Justhearit-Andfeelyour troubles go. 2437—Magic Eyes—FoxTrot plus— ORCHESTRA Beside a Babbling Brook—FoxTrot Continuously during the year Isham Jones, Bennie Krueger, Arnold Oriole Orchestra Brunswick offers wonderful dance Johnson, Carl Fenton, Joseph C. 2436—When Will The Sun Shine For Me?— interpretations. But in one month Smith—leaders of great orchestras of ^ MARION HARRIS Fox Trot particularly—this—indulges the urge the social swirl—all helped us. Then Down By The River—Fox Trot played what we gathered with light¬ | SINGING COMEDIENNE of the light fantastic. Serious affairs, The Cotton Pickers concert and operatic matters, the ness and gayety in every note. 2417—One Little Smile-Waltz New Hall of Fame, are for the mo¬ And the records are clear—marvel¬ f MARGARET YOUNG Mellow Moon—Waltz ously so. The saxophone’s wail, the Carl Fenton’s Orchestra ment set aside. j SINGING COMEDIENNE piano’s thrum, the flute’s soft trills 2445—Yes! We Have No Bananas—Fox Trot All of us think about dance music. are made to live as only a Brunswick Long Lost Mama—Fox Trot We scour the world for new thrills. Record can make them live. Not Bennie Krueger’s Orchestra phonograph music, you’ll agree, but 2398—Without You—FoxTrot Then we gather them into a the ballroom of the Ritz, the Carle- Qene Rodemich’s Orchestra gloriously frivolous, happy-go-lucky ton, Savoy, moved into the moonlight Honolulu Blues—Fox Trot release to provide young hearts with of a June night. Oriole Terrace Orchestra Summer’s joy. Now ready Come now, today, to hear them. VOCAL RECORDS This is our third excursion. And never before one so enticing. Your nearest Brunswick dealer has - x ou said something When You Said Dixie- them waiting. Comedienne with Orchestra New dance music. Intriguing, beguil¬ Louisville Lou—Comedienne with Orchestt ing dance music from four comers cf They play on any phonograph. Margaret Youn 2443—Who’s Sorry Now?— THE BRUNSWICK'BALKE-COLLENDER CO. Comedienne with Orchestra Manufacturers Established 1845 Waitin’ For The Evenin’ Mail- CHICAGO NEW YORK CINCINNATI TORONTO Comedienne with Orchestra Marion Harn
| © B. B. C. Co., 1923
NOTE: THERE IS ALWAYS SOMETHING NEW ON BRUNSWICK RECORDS GO IN ANY DAY-OR EVERY DAY-AND HEAR THE LATEST THE OLD MONTHLY AND “SPECIAL” RELEASES ARE NOW OBSOLETE tiie etude august m3 Page 543 Page 51>2 AUGUST 1923 THE etude A GHOST STORY GROVE’S- FINAL SUMMER COMBINATION A creepy characteristic piece, to be played with exaggerated contrasts and emphasis. Grade 3. W. BERWALD DICTIONARY jyiuucifliuModerato misterioso m.m.J=108 OF MAGAZINE OFFERS * i JPr ETUDE MUSIC MAGAZINE.. $2.00)Remit for sf MUSIC Remit for ETUDE MUSIC MAGAZINE..$2.001 Pictorial Review J-JJJl all AND all Modern Priscilla. 2.001 Christian Herald •• 2-°°f $4.20 Pictorial Review.• l-Wf $4.25 8 Regular Price.$5.50j SAVE $1.30 ■— i.1 ^ SAVE $1.25 \m m3 * MUSICIANS Regular Price.$5.50J ETUDE MUSIC MAGAZINE...$2.00) Remit for Remit for WITH ETUDE MUSIC MAGAZINE. $2.00) Pictorial Review 1-50| all all American Magazine 2.50( Youth’s Companion 2.50, $4.65 New American Woman’s Home Companion 1.50 7 $5.00 Supplement SAVE $1.00 Regular Price $6.00) SAVE $1.35 ETUDE MUSIC MAGAZINE .$2.00| tor ETUDE MUSIC MAGAZINE...$2.00) Re™R for SIX LARGE VOLUMES Modern Priscilla.•• 2.00 ^ ^ BOUND IN RED CLOTH AND Pictorial Review.•••• 1-50. $2 yg STAMPED IN GOLD : : : Regular Price.$4.00) SAVE $0.60 Regular Price.$3.50) SAVE $0.75
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Notwithstanding r thf low made for cash we accept orders s bj'ect w part payments. Write for t AA ETUDE MUSIC MAGAZINE dMliMd glp,y mueie, harmonised in the modern manner, according to the erigencle.oftlie io celled Hungenan eoele^ J P , Idea Z Molto cantabile i 8 ! 8 2 8 * —T « la 1 . 1 a 5 J ' • 8 '6 con Ped. _ 8 - - 3 2® 4 x"-3~^>v 2 ^^ - O ^ riT\ /ijS- fpg SEE /fgY ' if, ^ " T-*- 4 4 ~ 3® 2 * 4 5 L— 8 — 4 '—- , 5_ 4 * ? * 4 i 3 » 8 y. |- * 4 1 2j 4 3j », 11 || espress. -2 jMj] i?4 -Mr-* =^® “ 1 r|s t=8? « 5 U 5 2» Hr m5 26 ^ vivo m.m. j=i: 4 rc > > 6 S 2 3 •*« ^ _ * SlF1 ^ 1 ttazITi \(#tf KXiggY^Afe EE#fc Wsi -1 1 1 ' *^4 6 4 4 2 4 r » * >k_ no >1 5 „_ piiilento-jjTxSf' "g; i 2 Tempo I. *6 2 1 3k-j esPre^^~~^^~ ^—-• s 1^^.' ^- n TJ? ^_/C\ ^ r_V «- Inter nation*! Copyright seeure A Copyright 1920 by Theo. Pre»*er Co. AUGUST 1923 Page 549 THE ETUDz Pag« 548 AUGUST 1923 THE ETUDE HOME, SWEET HOME Transcription for Violin * Piann, nl oW (Oboes', Strings S'&Trem.) ALOHA OE To be played with an earnestness in keeping with the reverential character of the text. ARTHUR HARTMANN y '1! HAWAIIAN NATIONAL HYMN by EI)WIN h.LEMARE 1 Cb. C Soft 8 & 4 Ptd ( Soft 16 > - 1 Citi ^1 '1_f-t—T" ~1-t-V-Mi , 'emraUgato j^s,, j^N, ntempo^ p pleas-ures and pal - a - ces though we may Softly and dreamily -Mid rn ^ i L , 1 | ^ rit. pSlowly (a tempo) n /TS | $ is* roam, Be it ev - er so hum - ble, theres no_place like home, A charm from the skies seemsto hal - low u r£jjA~~tT j—2| V 1 i i , :rzr— ..kl_Ki I p l0 IffJ ■ i J\ j there, Which seek thro* the i world is ne’er met with else wherei -- 1 £ -]► £ /'Ll 9 P slightly faster@ A 11 '' 1 i f Lkfiitj |[i ^ -Or fi " J a, 2 3, t a . 1 2. l 2 ^ ^ ^ 'f \ f tit " fit. fra tempo rit. a tempo ■ The double-stops are optional Copyright 1923 by Theo. Presser Co. rrq ^ (or soft Bourdon 16 with String- British Copyright secured Copyrignt 1923 by Theo. Presser t AUGUST 1923 Page 551 THE ETUDE 0E ETUDE Page 550 AUGUST 4923 WITHOUT YOU! CROSSING THE STILE Lyric and Music by HUBERT FLETCHER MONTAGUE EWING ROB ROY PEERY AUGUST 1923 Page 553 F. LEON PERCIPPE AUGUST 1928 Page 658 the etude the etude Associate Only Pleasant Ideas ""'""this is kymric pastime By E. H. Pierce One need not be a deep student of The fire, fortunately, was extinguished DYDD GWYL Y CYMRY DANIEL PROTHEROE psychology or pedagogics, or any other without much trouble, but whenever, for David Jones D.D. science with a long name, to discover that months after, he attempted to play that t is wise to associate only pleasant ideas piece, on arriving at the measure where Sunburn, tan, freckles with such things as we desire to have re¬ the fire broke out, he was conscious of an main agreeable to us. Many a faithful but unpleasant shock. —do they rob your complexion untactful music teacher has forever But, fortunately, pleasant mental asso¬ of its fresh, wholesome charm? spoiled a pupil’s- pleasure in an otherwise ciations are equally persistent. A young man, who had started mistakenly on a DO you feel a summer-long dread of hot enjoyable piece by some sarcastic or hu¬ sun and dusty wind? Do you avoid career for which he was ill-adapted by- miliating remark which the pupil remem¬ out-of-door sports because your complex¬ bers in connection with the piece long after taste and temperament, had been through ion suffers? There is no need of it. You the occasion is past. Later on, the teacher a lpng and severe inward struggle before can protect your skin from the coarsening wonders at the pupil’s apparent fickleness he could make up his mind to give it up effects of sun and dust if you adopt the of likes and dislikes, when he hears the and start anew in a more congenial call¬ regular use of Ingram’s Milkweed Cream. remark, ‘ I hate that old piece, now.” ing, albeit at considerable loss and with Ingram’s Milkweed Cream, you will find, Advertising men learned this lesson long many misgivings as to the wisdom of the step. At last he arrived at a decision, is more than a face cream. Not only does ago, by dear experience. A certain cereal it protect the skin—it keeps the complex¬ food was put up in metal packages espe¬ although the exact details of his future ion fresh and clear, for it has an exclusive cially for shipment to tropical countries, course were still problematic. Carlyle has therapeutic property that actually “tones- where ants and beetles are apt to bite well said, “No man ever rises so high, as up,” revitalizes the sluggish tissues. through a pasteboard box. The advertise¬ when he knows not whither he is going.” Posed bn Claire Windsor, slat of •‘The Liltle Ch ment contained a spirited picture of ants, In this aroused and exalted state of mind, Ingram’s Milkweed Cream will soon soothe Around Ihe Corner." a Warner Brothers me picture. Miss Windsor, like j h j bugs and worms endeavoring in vain to he happened to hear some one playing the away old traces of redness and roughness, banish slight imperfections. Its continued effect an entrance into one of these im¬ Andante from Beethoven’s Sonata, Op. I4, Milkweed Cream for promoting beauty of cample: No. 2, and it seemed to fall in particularly use will preserve your fair, wholesome From a photograph by Clarke Irvine. proved packages. To the disappointment complexion through the trying heat of of the manufacturers, the trade fell off well with his mood. Send us a dime for Ingram’s Beauty almost to nothing, solely because of the Purse, containing samples of Ingram’s Milkweed Cream, Ingram’s Rouge, unpleasant association of ideas. One could • ™— ’■*-- * an eider- not eat 7.-’s Breakfast-food without H 3 dollar jar contains three times the quantity. down Powder Pa * thinking of bugs and worms! 1. s Just so, in teaching a Beethoven sonata * Frederick F. Ingram Co. or a Chopin nocturne, the teacher should MUSICIANS! Established 1885 . , Milkweed.... , rv on no account annoy the pupil with cor¬ 43 Tenth St. Detroit, Michigan ^bbedinto the'he finger tfjtips will rections of scale-fingering, or with fault¬ In Canada, Windsor, Ont. softcn hardness and toughness finding as to some little mannerism in —will keep for your fingers the position of the hands. These and other such things should be learned in connec¬ Ingttim’s ==£ tion with technical study; really beautiful or noble music should be viewed rather This happened many years ago, and the MilKweed from its musical and emotional aspect. party referred to is now past middle-age; The writer first became vividly aware yet, so he tells the writer, he never hears of this principle in a peculiar way. In the this theme without experiencing anew _Cream something of that fresh, youthful exalta¬ act of trying over a new piece, he was tion of spirit that he enjoyed on the occa¬ suddenly called to help in putting out a fire Prompt, Guaranteed Delivery to All Parts on sion described. which had started from an exploding lamp. VICTOR AND BRUNSWICK RECORDS A large stock of these favorite records always on hand, kept up-to-date with new recor s Beethoven’s Love Affair as soon as they appear. Our service to mail order patrons is unsurpassed. Catalogs ana my brother was dream-gazing whilst I The one recorded romance of Beetho¬ selected lists cheerfully sent on request. n . who understood his song and his expres¬ ven's life affected him profoundly, ac¬ THEODORE PRESSER CO. niEsTiiiV ‘ TiintT PHILADELPHIA, PA. sion felt life come to me in all its full- cording to the account of it given in “Bee¬ thoven.'’ by- Romaine Rolland, the distin¬ As everybody knows, this propitious guished French novelist, critic and publi¬ wooing did not come to its fulfillment, cist, whose musical words are a joy to Unusual Announcement but, Rolland goes on, “Even to the last read. day (she lived till 1861) Theresa von “Beethoven,” he reminds us, “suddenly BEGINNING IN THE FORTIETH ANNIVERSARY ISSUE Brunswick loved Beethoven and Beethoven broke off the C minor Symphony to write was no less faithful. In 1816 he remarked: OCTOBER, 1923 the Fourth Symphony at a single¬ ‘When I think of her my heart teats as sitting without his usual sketches. Hap¬ violently as when I first saw her.’ To this “Basic Principles in Pianoforte Study piness had come to him. In May, year belong the six songs. Opus 98, which 1806, he was betrothed to Theresa von A Series of Lesson Articles from the Famous have so touching and profound a feeling. Brunswick. . She had loved him for a Russian Virtuoso Pianist They are dedicated ‘To the Loved One long time—ever since, as a young girl, far away.’ (An die feme Geliebte). He she had taken piano lessons from him dur¬ wrote in his notes, ‘My heart overflows ing his first stay in Vienna. Beethoven at the thought of her beautiful nature; Josef Lhevinne was a friend of her brother, Count Franz. and yet she is not here; she is not near ifty dollars an hour u the price Mr. In 1806 he stayed with them at Marton- F me1’ Theresa had given her portrait to Lhevinne has been receiving this year for his vasar in Hungary, and it was there they Beethoven, inscribed, ‘To the rare genius, lessons in pianoforte. His services as a pianist are in fell in love. The remembrance of those the great artist, the generous man. T. B. immense demand in concerts in many countries. He packs Carnegie Hall at his New York Recitals. happy days is. kept fresh by some stories Once during the last year of his life a in some of Theresa’s writings. ‘One We do not pretend that our readers will get from these friend surprised Beethoven alone, and valuable articles what they might from personal lessons Sunday evening,’ she says, ‘after dinner, found him holding this portrait and speak¬ but we do know that thousands will be delighted with with the moon shining into the room, Bee¬ ing to himself through his tears: ‘Thou the highly profitable, simple and practical information thoven was seated at the piano. At first wert so lovely, so great, so like an angel! these exceptional articles will contain.^ he laid his hands flat on the keyboard. The friend withdrew, and returning a little Best of all they are not “high-brow” not “over your Franz and I always understood this, for later found him at the. piano, and said, head” but get right down to the simplest possible terms and tell you such things as . it was his usual preparation. Then he ‘To-day, my old friend, there are no black How to Procure a Singing Touch struck some chords in the bass and slowly, looks on your face.’ Beethoven replied, How to Insure a Real Legato with an air of solemnity and mystery, ‘It is because my good angel has visited How to put Spirit in your Playing drifted into a song of Johann Sebastian me.’ The wound was deep. ‘Poor Bee¬ How Master Difficult Passages, etc. Bach: ‘If thou wilt give me thy heart, thoven,’ he said to himself, ‘there is no This series will appear exclusively in the Etude beginning as one happiness for you in this world; only in of many extraordinary features in the October, Fortieth Anniversary Dyma ddydd y Cyinry,rhodder i ni h-vvyl first let it be in secret, that our hearts may Dyma wyl y Cyinry, gwened haul y nen Dyma wyl Cymry, glynwn ar ein hynt the realms of the ideal wiU you find number. Wrth adgofion dewrion ar ein uchel -w yl; commingle and no one divine it.’ My Ar ein iach weriniaeth ac ar Walia Wen; Wrth arferion clodwiw ein hynafiaid gynt> strength to conquer yourself.’” Send your subscription today so that you will not miss Hoff yw gan bob calon arwyddair y Ddraig, Nodwn ein gwroniaid, au gorchestion gant mother and the priest had fallen asleep and Parch wn yr Eisteddfod, noddwn a chan a single issue. Price $2.00 a year. Drosy“Sera’r Rhesi” safwn fei y graig; Hyd nes creu uchelgais ynom ni y plant; Cofiwn ddiwygiadau nerthol Cymru lan, symphonies, oratorios or operas. His mu¬ Ffyddlawnymir newydd, heb untwyll na brad, Goresgynwn rwystrau fel y Tadau fu "There is a tendency to judge a work THE ETUDE MUSIC MAGAZINE, Theo. Presser Co., Publishers Swynol boed y bregeth, a’r ysgolion Sul, sic is poetry set to exquisite sounds. Er yn Caru canmol iaith ein mabol wlad. Doed in rhan anrhydedd mawredd parch a bri. of art by its she. Thus the sculptor who Bendith Duw y tadau, fyddo ar yr hil- Poctrv is an ecstasy of the spirit, and 1710-12-14 Chestnut Street, Philadelphia, Pa. Cytgan Cytgan Cytgan docs an 'heroic figure’ is the man who Dyma Ddydd y Cymry,unwn yn y gan, ecstasies in their very nature are not sus¬ Dyma Ddyddy Cymry,unwn ynyg&n, Dyma Ddydd y Cymry,unwn yn y gan, looms large to the average visitor at the Boed pob bron yn eirias gan -wladgarol dan. tained moods.’’—Elbert Hubbard. Boed pob bron yn eirias gan wladgarol dan. Boed pob bron yn eirias gan wladgarol da dtt-gallery. Chopin wrote no lengthy Please mention THE ETUDE v Copyright 1923 by Theo.Presser Co. British Copyrightsecur AUGUST 192, Page • THE ETUDE the etude Page 556 AUGUST 1923 of effort and is beautiful in quality. The Breathing Time and the °nly difficu,fy is that they hayf„not purpose of voice study is to come as close ® allowed themselves sufficient time. When HE idea of resonance is the most dif¬ MANY One confusing problem for young yQU cotnprehend the correct principle, the T to this perfect freedom in tone production ficult of all the principles of singing singers is to learn the proper places in difficulty disappears. It requires a certain for the young student to grasp. Every be¬ as is possible for the particular individual This means the understanding of natural Music Supervisors which to take breath. There is an un- space of time to take a proper breath ; ginner understands that the tone is pro¬ written law in music which a great many n0t much time, yet a definite space. This duced by the vocal cords and that the breath The Singer’s Etude laws and the adjustment of the individual AND to these laws. of them do not know and which they ought must be provided for, since breath you is the agent which sets them in vibration. to have explained to them. If they grasp must have if you are to sing. After a However misty their notions may be con¬ The young student almost never thinks Edited for August by the Well-known Chicago Music Teachers the principle, it will solve many of their little observation and practice you Will cerning the manner in which this mech¬ of the tone as being produced by a physical difficulties about taking breath. develop a sort of anticipatory sense which anism ought to function, at least they recog- Voice Specialist, KARLETON HACKE'l 1 mechanism having absolute laws which he Have Found This to Be must learn. We in America still have the No matter how well developed the tells you with remarkable accuracy just t nize that it exists and that they must learn the Most Practical Work how to manage it. It is the Ambition of THE ETUDE to Make This Voice Department romantic conception of singing as being a breathing apparatus may be, a certain “ Th^ore 'the' trained singer God-given gift. Of course, one must have But, almost without exception, they have “A Vocalist’s Magazine Complete in Itself” for Successfully Teaching space of time ,s required for a proper ^ stops the ,ast note 0f the a well-constructed vocal organ, natural no place in their vocal theories regarding Harmony in Classes inhalation. Therefore, this required space he ;s finishing just enough short resonance or the functioning of the reso¬ aptitude for singing and instinct for music. Freckles fade must be allowed for, and in some way that q{ .(g £u]j yalue t0 aji6w this necessary while you sleep nating system in the forming of tone. Not This goe3 without saying. But granted all will not disturb the rhythm of the music. breathing space. these gifts, unless the individual has good Kootherbeauty treatment is aseasy and only is this ignorance nearly absolute in all harmony boor In songs there will be phrase after phrase Simple and inevitable when you under- effortless as removing freckles with Still- instruction and the sense to work intelli¬ young students, but the beginnings of res¬ in which the notes are continuous with no stand it. Yet if you do not understand the Resonance in Singing and How to Secure It gently and for a sufficient length of time, mShnpTyeapp!yCitebrfore retiring. While onance are almost invariably unpleasing. FOR BEGINNERS rests between; and yet the singer must ]aw you will be in constant conflict with you sleep the freckles gently fade away, Instead of recognizing the principle of tone produced by the breathing of the from certain great artists whose singing his natural qualifications will be of little bringing back a clear white complexion. By PRESTON WARE OREM somewhere take breath. What is the rule? the rhythm and apt to fear that there is Safe anti sure-in use since 1890. Look for resonance as one of the essentials in tone breath upon the vocal cords depends upon he admires, but he has "Of thesk.lnor avail. You must take vour breathing time from something the matter with your lungs, the purple, and goldl box. On Eale at all making, they dislike the first feeling of it In a misty sort of way most students OHIS Book presents the subject druggists, m 50c and $1 sizes. Write for the sensitiveness of the resonating system the vocal development to make: uch^ in a clear-cut, concise manner. the last note of the phrase you are Learn the fact and remove one more free oooklet, “Beauty Parlor Secrets. The and the sound of it, so that they tend, to vibration and to the skill with which the tone possible Also he cannot to* when know that the throat should be free and ending source of embarrassment and worry. StillmanCo. 27 Rosemary Lane,Aurora,HI. more or less unconsciously, to shrink from , rpcnnatine- be produces the kind of tone which has in the tone produced by a quiet breathing out In the beginning proper stress is concentrated ii it. However, if the voice is to develop , • ..rat. ; it the germ of these qualities. Therefore, of the breath. But that this condition can Do .you comprehend the principle? -In - chambers so that they ar set in vibration. -place himself under the direction placed upon the study of the formation Stillman’s and become an instrument of beauty, they be established by intelligent understand¬ of scales. Intervals, etc., the foundation the rhythm of the music it’makes no n QindPlM tint Freaks must somehow learn to understand the A resonating surface teacher who understands how the ing of certain natural laws, and must be so difference whether you hold the final note Opera lingers nOl rredKi. Of all harmony, and the workprogresses principle of resonance and adjust them¬ resilient material. In the case of the delicate adjustment is made which, in established if good results arc to be ob¬ its full value of not. But if you do not The commonly circulated idea that opera Freckle ■ by degrees tl.i oUghtheDom.7th Chord. selves to it. violin, it is a box made of wood^. No mat- course o£ time, will bring out the tone tained, they do not realize. AN they have attack the next note exactly on the beat singers are abnormalities is resented by Cream ter how exquisitely adjusted and delicately that wilj pur’e| free and rich. practically no conception of be use of The book also contains valuable the rhythmic accent will be destroyed. Miss Cecil Arden, of the Metropolitan Making an Instrument finished, it nevertheless is fashioned of the resonating chambers. It is the concen¬ lessons oo melody writing. It is Now if two phrases are continuous, Opera House, who, in an interview given In simple, understandable terms this wood. The resonating system of the hu- Free Tone tration of the tone in the resonating cham¬ altogether one of the most valuable that is with no interval of rest between, to the New York Telegraph, remarks: principle must be made clear; since, with¬ man voice is formed of bone; all the bones Young students almost invariably think bers which is the final essential in good additions to harmonic literature. The if you hold the last note of the first phrase "Opera singers have long been regarded out thorough comprehension of this depart¬ of the head and chest, but principally the 0f the tone as something • which comes tone production. The elastic use of the lessons are so arranged and explained out to its full length the next note will as varieties of freaks. Not long ago a ment of tone production, it is impossible bone surfaces of the front of the head, straight out of the mouth. When they breath and the free throat i.i ke possible that the uoa can be placed in the be due, and there will be no possibility of charming club woman from up-state paid D. A. CLIPPINGER to gain vocal technic. The beauty of the tone quality comes listen to a fine singer they receive, the im- this concentration of the tom- in the reso¬ getting a proper breath without destroying rae the compliment of engaging me for an The voice is an instrument. Like all ' hands of a beginner for self study with through the concentration of the primary pression that she just drops her jaw and nating chambers. Yet when this happens the the rhythm. Therefore you stop the last important entertainment given by her or- other instruments, its value depends on the amazing results. tone in these resonating chambers of the the beautiful tone flows out of her mouth, young students do not under si and it and note of the phrase you are finishing just ganization. When she told fellow members beauty of the tone quality. If the singer head There are two—the arched roof of It sounds that way; but the fact is quite usually do not like it. PRICE $1.25 early enough to leave time for taking a siie had selected a singer from the Metro- produces a tone of musical beauty, his the mouth, which is the larger, and nasal different. The tone of richness and beauty The fundamental principle of the old Cheerfully Sent for Examination breath so that you are ready to attack poiitan company, they did not hesitate to 617-618 Kimball Hall, Chicago voice will have value because people will Italian school was that “the ! outy of the pharynx, which lies just back of the nos- "hich he hears from the matured Singer the next phrase exactly on the beat. inform her they felt she had made a grave like to listen to him. If his tone is un¬ tone quality is the result of the freedom of trils. Here the bone surfaces are covered ls s° fhcately adjusted and produced with If you know anything about correct mistake. ‘Those opera singers yell so pleasing, it has no value since people will , , . . . , r such freedom that it is all concentrated m the tone production.” This principle is just theo presser CO. by the thin mucous membrane and form ^ resQnating chafflbers and sort of radi. breathing, the space of time required for much,’ was the way the women expressed Wildermere-Petrie Vocal School not care to hear him sing. This. is the as true to-day as it was two centuries ago Music Publishers and Dealers the vibratory system designed by nature a full inflation of the lungs is very small. tbe;r reaction toward their leader’s selec- offer New educational works on approoal plain fact of the matter. through the face as from a great bell. in Italy. It is a physical fact from which bring out the quality of the 1710-12-14 Chestnut St. - Philadelphia, Pa. “One Hundred Vocal Studies” All instruments of music are made up But when his own tone has been suffi¬ there is no escaping. Most young students But no matter how small the actual space tjon. of two principles : the tone-producing prin¬ “Voice placing,’ “The Glorified City” - Christmas Cantata ciently freed from breath restraint and have a vague notion as tn truth, but of time, it is a definite space and must be “Geraldine Farrar—and there “The Cross” - - - - Easter Cantata ciple and the tone-reenforcing principle. extant than to explain the meaning, is so adjusting the throat tension so that it passes normally they do not realize that it is n fact to which provided for in such a way as permits you example of an American WILDERMERE-PETRIE VOCAL SCHOOL Everybody knows that the tone of the to chase away this vocal mechanism that the column of air ;nto the resonating chambers, he does not they must adjust themselves They have to take a good breath without disturbing Miss Farrar—did Pau) Paw, Michigan violin is made by drawing the bow across freak bugaboo than any other single or which makes the tone has a free passage understand nor like the sensation. It seems certain ideals of tone quality and a com¬ SPECIAL NOTICES the rhythmic accent. the string. But what gives to the tone of understand collective element in opera. Her sally into through the throat up into these resonating to him confined somehow, and he desires to plete ignorance as to how tin ideals are Many young singers do HARMONY and COMPOSITION the violin the quality we think of when we AND con- the movies convinced the public a singei chambers. How this may best be accom- free it and send it right out of the mouth, to be made into actualities, i his is why By CORRESPONDENCE remember the playing of a Kreisler or a Concise, practical instruction. Couraeis interesting plished is work for the studio and a com- This is the beginning of the “closed they have to study. Heifetz? Why is a Stradivarius worth as well as practical. From the start you learn to plex study. For the moment, we are tone,’’ which is more misunderstood than ANNOUNCEMENTS compose instead of merely learning a set of dry $25,000? The tone of the violin which taking for granted that the student has any other term in singing. Yet there is a Public Expectations leaves such a vivid impression of beauty The public expects to h from the phrase they are finishing so near to its regardiess of the box office, Further information write learned how to do this well enough so underlying ■ this term which r K. Y. Plank, 561 West 4th Ave. in your ears comes from the reenforcement singer a tone of beautiful q v produced PERSONAL, FOR SALE full value that they H “An American artist who succeeds de¬ that the tone is free of throat constriction understood, not only in theory, but also in selves tune enough to take a breath If ^ & ^ times more credit than a Columbus, O. which the primary tone, produced by the or WANTED and is concentrated these resonating actual practice, if the student is ever to with ease. How this is to done is a drawing of the bow across the string, question for the studio, but it ust be done you give this final note its full vaiu ..... why is it our own people chambers. gain control of his voice so that the beauty >,i conducted for assisting Elude nobody on earth, no matter how expert ^ ^gn artist Why P receives from the vibrations of the violin; of the tone shall develop and his voice be¬ if the singer is to be a such. We have ■ ■pose of -personal musical pos¬ and the great price charged' for a Stradi¬ it, seek or offer posiiio, a breather he might be could possibly "“has a foreign label it A Peck of Trouble come a sensitive and responsive instrument. in this land a great number of naturally WASTED—A good musical town In which take a good breat Ml e re;a. y is inferior. We carry the burden times varius is because of the exquisite sensi¬ , . f • ■- , * The old Italians, who first mastered the fine voices, voices with the p .ssibilities of tiveness of the wooden bodies which came i the student developing into instrument', of beauty. ;'1? ^rs^ierSScatf Write flowing phrase. This a practacjJ numberj and are happy t0 do it. from his expert hands. The skill with V3S LrmakSkbe! S^eSfa^0,^^^ What our young singers fail t > realize, as I? pnrtirnl;,,-: ‘ Prof. D. Earle La Bore, matter which C0“e? .gP { J ^ le Why? Because, if we have the flair, the roadwater, Nebr. _ songs you sing; and it is perfectly simp e ig a quest;on 0f time which these wooden bodies were adjusted cause of his lack of understanding of the the W1 of the hcad » It ji^noTcome ou"t is also mournfully true of th parents and by him gives them a power to reenforce principles of tone production The moment of the mouth bm radiated ~___1 when you understand the principle. ^ compel recognition—until the friends, is that fine singing is a skill de¬ ANNOUNCEMENTS A number of young singers labor under untd ^ P . *wn As Farrar the primary tone which is impossible from he becomes conscious of this sense of face, being enclosed in the head; hence the pending on the mastery of a complex tech¬ | Rate 20c per word_1 ,he impression that there IS something the cannot buy the a less delicately fashioned instrument. vibration towards the front of the face t “Closed tone.” Now this sense of nic. Consequently they will not study Suppose Kreisler, himself, should take the nose, he instinctively shrinks concentratioI1 the head music C'.n.rosED-Wv«rimatter wHh ^eirjungs ^ au^h public.>" earnestly enough nor long enough to pro¬ X full breath in certain places; j the strings from off his favorite instru¬ , because this sensation is new, uniess tbe throat is open and the breath duce the desired results. brings a strange and unexpected quality flowing freel „ theP ment and attach them to an ordinary stick There are physical laws to be learned of wood. Then, with his regular bow and into the tone, and feels curious. He does throat be in any ^.ricLd, and an adjustment to these laws must be at¬ isanu ana urciu'srra arrunguif;. - —.. Helping Pupils to Memorize The new STEGER SONG BOOK— not like it and consequently will not do rannot get pr , the’ resoSg E OF PUBLICATION OFFER all of his skill, what sort of a tone do tained. This requires both time and intel¬ guaranteed instruction in Harmony by mail. i save under the strong mora suasion of chambers; and a tone of J. Rode Jacobsen, 26S8 Milwaukee Ave., containinglll songs—complete with words you imagine he could draw from this ligence. But the rewards are great both and music—has been published to meet instrument? A tone which you could hear, the teacher—which is one of the many t^e resuit v quality is By Lorene W. Martin in fame and the practical benefits which the growing need for a good, reliable and that would be all. There would be no reasons why he has to study. The difficulty for the young student is follow after fame. . Therefore select the ORATORIO SONGS collection of old and new favorite melodies. tone as you think violin tone, since that Despite efforts to render the task less FOUR VOLUMES 1 IS , ° e'’e.ry StUdent an„incom- A®* he gains the impression almost invari- best teacher you can find, and stick. Send 10 cents in stamps and a copy of stick of wood could not reenforce the prchensible thing that he cannot tell accu- ably that the “closed tone” is a somethin* irksome, a pupil found it exceedingly hard We will issue shortly four volumes of ora¬ the book will be mailed to you postpaid. primary tone which he had made by draw¬ rately by his own ear when he is producing artificial, for which nature has not nr COMPOSING AND ARRANGING—Satis to memorize. During one of her lessons torio songs, one for each of the four voices, ing the bow across the string. The Singer’s Senility faction guaranteed. Belle Schrag, 1711 La I happened to recall Josef Hofmann s brief soprano, alto, tenor and bass. They will The 111 Songs include a wide variety. the best quality of tone He may have a vided. Also, he has in the beginning no grange St., Toledo, Ohio. '__ There are many songs of home, patriotic All the warmth and richness of tone explanation of the mental process involved contain the best only and will be edited by sensitive ear and excellent taste when it conception of the concentration of the ccl Battistini, the wonder-baritone of our numbers, folk songs and other worth¬ quality which the great artist draws from comes to judging the tone quality of others, Umn of air in th* t * - time, has some interesting reflections in a WHY NOT LET ITS PI,AY FOR YOU! in committing music to memory, as given a leading authority for each voice. The Roy Johnson’s Unbleached American Ja» volumes will not be large nor expensive, but while melodies. This book should be in the violin comes from the sensitiveness but he has, and can have, no definite the head, which produces the^ctosTd^e0” recent Musical News and Herald, of Lon- Manipulators. Phone Spruce 103S6 or writi in his “Piano Questions”: every home. For schools, clubs, and 413 S. 19th Street, Phila., Pa. will include a number of arias that have of the violin-box to vibration. For gen¬ standard by which to judge of Ins own The only part of the mechanism which he don. . When wc flay without notes there are never yet appeared in similar volumes. The community organizations the Steger Song erations now the keenest minds have been tone. The reason is because he cannot knows or has any practical control of is “Can you tell me,” he asks, “why almost FOR SAGE—To close estate, Collection four distinct memories at work. late David Bispham was to have been the of OLD VIOLINS: low- prices, Apply for Book is ideal. striving their whole lives to find the se¬ get away from himself and listen in a h.s throat. Therefore he closes the onIv every London critic insists above all on the I. The visual, which retains the picture editor, but we will now have a special editor list. O. M. Tansch, 2220 Blake Si Berkeley, Send for your copy today crets of the old Italian violin makers, so dispassionate frame of mind to the tone thing he can think'of, which is th. eh, . fact that I am sixty, sixty-five, seventy, or California. of the printed page. for each volume. Every singer should pos¬ that they could make instruments of equal he actually produces. He always has to This is destructive throat even (in one case) seventy-nine years II The tonal, the memory of pitch, time, sess one of these volumes. They may be STEGER & SONS ordered singly, each 50c postpaid if ordered hear his own tone from the wrong side, In the ideal vocal mechanism u- u old? and all that pertains to the strictly musical. in advance of publication. There is a close analogy between the so to speak, and his attention is necessarily exists in some human throat incr f!** MRS. W. M. SIKES Enul Liebiing III. The muscular, the automatism m us 311 Steger Bldg.. Chi< “What has age to do with art? I am IFormerly May Lipscomb, of Richmond, Va.) Advance of Publication, cash price, 50c. each violin and the human voice. The vocal divided, since while he is listening he is enough to prove that it is a nossiKir?,^" not advertising myself as ‘the old man Member American Guild of Organists which acts through habit. If it’, a STEGER cords perform the same function as the also forming the tone. He may know nature, there being no constraim i '' who can still sing,’ but simply as a bari¬ CONCERT, PIANO, ORGAN, VOICE IV The formal, which is architectural violin strings; the breath sets them in THEODORE PRESSER CO., Philadelphia pretty well what he would like to do; the parts, the tone automatical^ °f tone. I wish to be compared with bari¬ TEACHING, PIANO and VOICE in nature and impresses on the mind the Music Publishers and Dealers, 1710-12-14 Chestnut «* vibration as does the drawing of the bow order in which the various thoughts or namely, to send forth a mellow, rich and itself in the resonating chamblrs f°'Tr* tones of all ages and all countries. I 'vi;’h CMJSSES MARGARET^ROTH SIKES across the strings. The beauty of tire vibrant quality. He has heard such tones kind of tone is produced without a ^ my art judged as such, and not under the THET,, SIKES STUDIO MONTREAT, N. C. sections follmv each other. mitigating circumstances of senility.” AUGUST 1923 Page 559 the ETUDE New Records Critically Discussed The Taste of the Public ■tail fed mi Bright, Fresh, New Music Remember that the public is the final By Horace Johnson judge of the worth of your singing. If . fticta.il*-! the tissues or « they like to listen to you then your art S the bote, out of ^ Phy- W th the advent of the hot, sultry days takes little imagination to picture a Juliet PRESENT-DAY BRITISH COMPOSERS is worth something; whereas, if they do sician will at once inform you that this f A eust palm beach suits and hats and balcony, a shining, dark-eyed senorita not care for it, what are you to do about places a serious impediment in the way of of Aug ^ phonograph companies curtail leaning on her elbows and looking down Easy Part Songs for Female Voices correct tone production. If tt be m y the matter? Young singers with high l'°r.se*i nthly productions and release only at the face of her lover who strums a Full of Melody, Rhythm and Harmony ideals frequently lose the right path and the unconscious and involuntary tighten¬ t:Tirt haif the usual new records. guitar and sings in soft accents, “Prin- become quite hopelessly out of touch with ing of the tissues, it is work for the 3 Tlese releases number many interesting cesita!” If the song itself didn’t get a The Cloud the facts. They know that they meant in voice teacher. , , d delightful selections, however, and for flower tossed to his waiting hand, the EDGAR BAINTON all sincerity to do something fine. They Yet when the passages are open and the h nthusiastic music-lover there is much cadenza at the end certainly would corn¬ HAVERGAL BRIAN The Mountain have worked hard and put their hearts tone freely concentrating m the upper et will cool and revivify the tired spirit pel it. JOHN IRELAND Alpine Song into it. Consequently, when they fail, to resonating chambers this sets the ron . , an-ts because of the humidity. There is another song of somewhat MOLYNEAUX PALMER Good-Bye the face in vibration; and since the nose Three Children produce the expected effect, they are apt Tin. Columbia issues just such a record similar thought and musical expression on GEOFFREY SHAW to accuse the public of lack of appreciation. is precisely in the center of the vibrating their current bulletin. It is Harriet the same Victor list. This is Rosa, sung SIR C. V. STANFORD Foreign Lands This is a most convenient alibi, but of svstem, it also feels the sensation At w ’s Boat Song, sung by Louis Gra- by Giuseppe de Luca, of the Metropolitan Merry are the Bells FELIX WHITE what practical avail is it? The singer is once the young student is confused and ■Zl «-ith his most consummate art. The Opera Company. Mr. de Luca sings it in Each, 10 cents 'one and the audience many. It is quite usually fearful. He feels the vibration in w r melody smooth and even in its long English, and excellent English too. Rosa as likely, perhaps far more so, that the his nose which suggests to him that his SL. is supported by an arpeggio ac- has not the same seductive quality which singer misjudged his excellence than that tone must be taking on the forbidden nasal muniment which carries it like a skiff Princcsita possesses, though withal it is BOOKS OF FOLK SONGS it was the fault of the public. The in¬ quality. He must learn with the help of ?rP the cool dark-blue twilight waters meritorious and an accurate and artistic telligent young singer in such circum¬ his teacher to recognize the difference T the lights of a distant shore. The rip- interpretation of the ballads of Italy. _ Voices in Unison between the pure nasal resonance which stances will take the matter under serious .led surface ..f the lake spats the prow The Brunswick offers a number of mter- HADOW—Songs of the British Islands advisement and seek to find the answer. conies when the passages are all open, and 17 the boat in gentle rhythm as it pushes estmg reproductions for August. First of Was his .singing less admirable than which is essential to the production of 01 *ts destination. Mr. Graveurc never importance is a Josef Hofmann record of One hundred national airs and folk he thought, or was the fault really with good tone, from the disagreeable nasal °ofb nil'■ i tic reproduction. • In this Nocturne, his own composition. With fine, songs selected and arranged for schools the audience? Since his success depends quality which comes from some obstruc¬ v-I he Vi beautiful pianissimo tones crisp tone, yet possessing a far truer Vocal Edition, 40 cents postpaid on gaining the goodwill of the audience, tion in the passages and must never be •n leu 1 ->se pianistic quality than most of the needle WHITTAKER—North Country Ballads, he must find a solution for the problem. tolerated. with ski -mu - cQrd has much o{ cut pian0 records, Mr. Hofmann displays A Columb It will do no good for him to adopt an It requires intelligent observation, but tv which characterizes the the great melodic charm of this soothing Songs and Pipe Tunes the same qi antagonistic attitude towards his public. is not difficult to understand when the ,/o„ed is the new violin re- little piece. It is not elaborate not inten- disk just I'.u Fifty-eight numbers for use in home and school. It is easy to say that the public has not student has been given the key to the -de Kerekjarto has made sive in expression; but, modeled much high ideals and- does not appreciate the mystery. production I „f Beethoven’s Moonlight after the style of Chopin, it pleases the ear finer things; but the singer must be very of the Ada, in dignified and simple manner. A If unable to secure from your local dealer, any of the above will sure that what he does is of superior Sonata. 1 11„ most nonular move- counter-melody adds to the interest of the Singing Out of Tune This is pr< be cheerfully sent on approval upon receipt of customary references. excellence, before he indulges in such 7 ' most popular Beethoven listener. There is a wistfnlness and pathos thoughts. If the young student sings out of tune ment from You cannot fight successfully with your because of some defect in his hearing, some Send your name and address for our mailing list to re )e announcements of new publications. audience; but possibly you can improve lack of sensitiveness to music, there is very your singing. If you please and interest little to be done about the matter. Some¬ them, you are worth something. If you times a greater acuteness of hearing can GEORGE H. DOWS do not please them, it will afford you be developed, especially if the pupil he Music Publisher little satisfaction just to call them names. young; but it is problematical. Philadelphia, Pa. Search your own heart; and remember 1701 Chestnut Street Baading^Music at Sight,, Rapid Fingerii^,^Fl< In a great many cases, however, the that the public decides. young student sings out of tune because daily practice, awa^from^the instrument. UtCS NO APPARATUS. STATE IF A TEACHER. of some mechanical difficulty in tone pro¬ St-, ,:':-::es,e.dTp», .-***■ x,ra“ “smsst Write for FREE illustrated book. tefore tvluvl, he pansed There m the *which the uuartet COWLING INSTITUTE duction—too heavy a pressure, which is 500 Fifth Ave., Room 221-B, New York City Pure Nasal Resonance and apt to force the voice sharp; or improper BAND AND ORCHESTRA MUSIC sSfi.*', wrt -L»of the text follows: the Nasal Quality support, whereby the tone sags down below Moonlight . is what Beethoven “Won’t we look handsome the pitch. It is precisely for this kind of provised that tiling. Classical — Standard — Popular One of the confusing problems for the Won’t we look sweet young singer is in this matter of nasal difficulty that the teacher of singing exists; Mr. Kert-k o has made a disk which ROMPT SATISFACTORY SERVICE rendered by a well equipped Eand When we get to walkin’ P resonance. One of the most disagreeable and, if the student is willing to take pains nas an Lpik-.u tor everyone. His tone is and Orchestra Music Department, All mail orders are given immediate faults that a singer can fall into is produc¬ enough, the trouble can be remedied. Evangelistic warm, full and vibrant, and his phrasing On dat golden street. attention the day they are received. We will have some slippers ing a tone with a nasal quality. Every¬ and bowing can be listened to advan¬ /CONCERT, PUBLIC SCHOOL, SUNDAY SCHOOL, DANCE and JAZZ of R E/U/ ' Jazz)'B25,000eCword8 nnmilaritv espe- free of tension in order to afford the eral with the “Palms” of the Academy. By Henry Gaines Hawn By Mari R. Hofer proper passage for the tone up into the Well-known Authority on the Spoken the rich, luscious harmonies with which j’jj66" foIk of our older genera- Eminent as an author of material adapted for use in physical activities at schools and kindergartens BRUSHES resonating chambers. Any obstruction in Word and Good Diction in Song A brush expert says they are the best Hair he frames his beautiful melodies. c’ally w q{ the C;vil War days the throat reveals itself by producing a Teachers of singing, as well as all singers and FOR SCHOOL ORCHESTRAS Brushes made. They are penetrating.They "Melody has by Beethoven been freed students of singing, should read this treatiseon Tito Schipa sings a fascinating little turns J charm and southern go all through the hair to the roots and “throaty” tone. In the same way any SLUMBER BOAT stimulate growth. They make a beautiful fmnUue influence of fashion and clang- the proper word expression in singing. *ne Spanish song for the Victor. It is entitled and full •. n tue reverse obstruction in the nasal passages makes mg Taste, and raised to an ever - Professional When Autumn Comes Directory Question and Answer Department and students return from vacations to resume their musical studies, classes must be reorganized, or new ones formed, THE EXPERIENCED TEACHER will be ready for a prompt RFECHWOOD gggag satisfactory opening of COMBS Next Teaching Season DUNNING S-ESSc Following the nation-wide wave of pros¬ perity, the season of 1923-24 is fraught with splendid opportunities for attaining success, both artistically and financially. Every progressive teacher should be pre¬ pared to grasp them. HAWTHORNE "“"-“iaar.. KRIENS "“ra-taggr. ORDER TEACHING MATERIAL NOW MOULTON For a number of years it has been the custom with many teachers to order their music sup¬ NEW YORK -as&gasr plies well in advance of the season’s opening, as this affords them an opportunity to examine and classify the material at leisure. For the conven¬ ience of these teachers we have instituted a special service known as the EARLY ORDER PLAN /This plan is to book the annual "On Sale” orders during the early summer months subject to delivery on or before a date specified by the teacher. Orders received up to August First are combined in one ship¬ ment prepaid to central distributing points and from there forwarded at a small expense to the several con¬ signees. The saving in transportation charges is an important item, but of much more consequence is the certainty of having one’s music supplies on hand and ready for use when the pupils arrive for their lessons. Write today Tell us the approximate number of pupils you expect to have during the coming season. Mention the grades you will teach and the styles of pieces and studies you prefer to use. Inform us as to the date when the material should reach you. Stop! Look! Listen! 1 he Advantages of This Unique Servio You will receive the best possible assortment of material sent on our liberal ON SALE terms, all not used being returnable at the end of the teaching season in June, 1924, when settlement is made. You will benefit by having an adequate supply ofmatenal on hand when ready to begin next season's You will save a considerable part of the delivery expense. J THE QUICKEST MAIL ORDER MUSIC SUPPLY HOUSE FOR SCHOOLS, COLLEGES, TEACHERS AND LOVERS OF MUSIC THEO. PRESSER CO. Established 1883 Music Publishers and Dealers 1710-12-14 Chestnut St. ... Philadelphia, Pa. THE ETUDE the ETUDE . AUGUST 1923 Page 565 Page 56h AUGUST 1923 he is “more emotional.” Well, you have most precious quality the artist has— instinct, his freedom of conception, Anyone to make your choice. The finest violin FREE LONG observation of concert-goers has his style—with the dusty precepts are obfuscated by the dictum, “This Can Learn convinced me that a large proportion of playing is certainly emotional, but never handed down from times gone by. sentimental, lachrymose, rude or unfin. Gemunder must be played in such and such a them discover the most soul-melting ex¬ 1816 THE VIOLIN NAME OF FAME 1922 How is a violinist to conceive the Book. to Play pression in the melancholy wailing caused ished. all kinds of violins meaning of an older work which he manner because So-and-So played it Containing complete story of , by the use of the sliding finger on the The Violinist’s Etude While we are considering the playing For all Kinds of Players may be studying if his own musical that way two hundred years ago?” the origin and history of that of bowed instruments, we may give our wonderful instrument—the left hand, a method of heart-breaking HI PERSONAL CSF.” singularly neglected by Kreisler and Hei¬ Edited by ROBERT BRAINE thought for a moment to the perform¬ SAXOPHONE fetz. ance of the best of their combinations, Reforming the Violin Repertoire the string quartette. All that has been This book tells you when touseSax- , The sliding of the fingers in passing It is the Ambition of THE ETUDE to make this Department ophone—singly, in quartettes, in sex- , from one note to another produces a said about tone and intonation applies tettes, or in regular band; how toplay “A Violinist’s Magazine Complete in Itself” -THE VIOLIN WORLD" iastnicMve Violin By Arthur Hartmann from cello parts in orchestra and m am mournful sound much like the crying of with equal force to quartette perform¬ other things you would like to kne.... > a baby, but it destroys the outline of a ance. In the department of intonation The Buescher Saxophone is the easiest, How can the hours of mechanical repeti- not, in any way help strengthen it, and of all wind instruments to play. With melody and usually leads to playing out the requirements are very exacting,' for HUBU5T GEMUNDER S? 50NS tion, of giving one’s best thoughts and as for adding to the musical expressiveness the aid, of the first three lessons, which an absolute agreement among four string¬ are sent without charge, the scale can be of tune. VI°125MWEST 42nd ST., NEW YORK ? nerves be minimized ? A few changes of any passage, the exact opposite is true, mastered in an hour; in a few weeks you can be The violin and other bowed instruments ed instruments is rare, and yet it The Enjoyment of Music which overthrow the conventional ideas of Equally to be condemned are all forcible playing popular music. The Saxophone is the such as the violoncello, differ, radically is essential to true beauty in quartette most popular instrument for Home Entertain- practicing are offered. More people, who efforts to strengthen the third finger, for ment, Church, Lodge or School. orforOrches- from the piano in that the justness of the achievements. Finish of style in the STUDY harmony are totally unqualified, are engaged in the Nature has otherwise decreed. The liga- . Dance Music. . _ , intonation of a melody is dependent on performance of such an organization is and COMPOSITION About Good Violin Playing profession of music teaching, than is the ment which binds the middle finger to the Buescher -Grand the accuracy of the player’s application of another necessity. To attain it the four by MAIL case in any other profession or business, small one definitely fixes the height to TRUMPET the left-hand fingers to the strings. One performers must play together without By W. J. Henderson The great majority of so-called teachers which the third finger may be raised. No Especially easy to bio cannot play out of tune on a piano if he the slightest inexactitude; of attack or w proportions. With the imute (including those pupils who have studied amount of work can make either the third d sweetly that it will not strikes the right keys, unless the instru¬ movement, and every phrase must be de¬ ALFRED WOOLER, Mus. Doe. for three years or so, and who have a or fourth fingers independent, whereas to- ment is out of tune; but on the bowed- ments have their own tones. But a good the bridge gives a thin, nasal tone, often livered with flawless smoothness, purity string instruments it is possible to play performer can extract from an inferior used in orchestral pieces for special effects. of tone, and justness of accent. dozen or two pupils of their own) are but out of tune with almost infinite variety. Playing a little further away increases the I slightly acquainted with the literature of ment’fntereatetHn w^e^leraUngforFree Book. violin the best tone of which it is capable, The subject of interpretation cannot the violin, from the old masters to -the BUESCHER BAND dINSTR£MENTCO.;i The first requirement of good violin or while an incompetent one will draw from power. But as the bow approaches the be discussed. All that can be made obedi¬ Faust School of Tuning 'cello playing is that the instrument shall a Stradivarius only an indifferent quality. finger-board the tone decreases in strength ent to clearly definable law is the technic modern, and certainly have no systematic 3292B°uMcherBlock Elkhart, Ind. be in tune. This includes two elements. Heifetz owes much of his success to the and increases in mellowness. Playing of performance. The rules which apply or progressive way of guiding others. First, as the violin is usually accompanied right over the finger-board causes the tone Programs of pupils’ recitals throughout ravishing beauty of his tone. Would you to it are general; those which might be Piano Tuning, Pipe and by a piano or orchestra, it should play at know something of the secret of the to become veiled and very soft. A dif¬ laid down in regard to interpretation would Reed Organ and Playar the country bear ample evidence in support Piano. Year Book Free precisely the same pitch as the accompani¬ infinite variety of shades at the command ferent variety of soft veiled tone is se¬ surely have to be equally general, but of this statement; for compositions by. ment. Secondly, it should be in tune with of the violinist? Watch the wrist of the cured by the use of the mute, a little 27-29 Gainsboro Street Keler-Bela, the Humoresque, the Medita¬ much fewer. It is difficult to go further BOSTON, MASS. itself, which is to say that, even if it were :ow arm. To be sure the entire arm should wooden contrivance in appearance like a in determining the requirements of inter¬ tion from Thais and Old Refrain, are unaccompanied, as in the case of certain be absolutely without constriction. It small comb, pushed down over the strings pretation titan to say that the style should prime favorites; while Corelli, Nardini, works of Bach every interval must be should not be what the athletes call muscle- at the bridge. be appropriate. Now style is itself a du¬ Viotti, Tartini, and others are conspicuous by their absence. exact. Playing in a pitch foreigh to the bound. But the soul of the bowing is in bious term, for it is open to more than The Vibrato piano or orchestra is infrequent. When it the perfectly flexible wrist. one construction. We are quite ready to It would seem that everything has pro¬ occurs, it is probably because the violin Tone may be large or small. A large All concert-goers who are observant assert that the style appropriate to the gressed in music except violin pedagogics, itself has not had its four strings properly tone is advantageous in playing with an must have seen violin and ’cello players performance of one of Bach s unaccom¬ and that a strict revision of teaching ma¬ tuned before the playing began. But play¬ terial is in order. The situation is, quite orchestra, but it is not essential to beauti¬ causing the fingers of the left hand to panied violin sonatas is not that which ing inaccurate, and therefore discordant, ful performance. Erika Morini has a big quiver when pressed on the strings. This should be applied to the Mendelssohn Con¬ simply: the old masters, who not only intervals is very common and leads to tone, but Erna Rubinstein’s is more produces what is called the vibrato, a certo and that a chamber music organiza¬ laid the technical foundation of the violin, that kind of sound which caused the admired, for it is essential that the tone be swift trembling of the tone, which is be¬ tion could hardly be expected to treat a but whose music also helps to build that famous Mr. Weber (of Weber and Fields) pure, mellow, and sonorous. Purity means lieved to be expressive of feeling. It Beethoven quartette as it would that by cultural background which is so necessary to demand, “Who sang that sour note?” freedom from scratchiness or twanging, might be so were it not that most per¬ Debussy. to the musical mind of students, are dis¬ Unfortunately, bad intonation, as it is from audible scraping of the hairs of the formers use it all the time, so that it gustingly neglected for very mediocre stuff called, seems to escape the ear of the bow on the strings. It should flow becomes a mere mannerism. Leopold Auer, Individuality of Compositions of modern sheet music. Countless pupils general public. Violinists and ’cellists play apparently spontaneously, like- clear water teacher of Heifetz, Elman, Zimbalist, and ARTHUR HARTMANN come playing potpourris and “selections REPAIR ALL INSTRUMENTS But these are obvious generalities. An On His Recent European Tour out of tune, singers sing out of tune, and from a spring. It should always be mel¬ other eminent players, is very severe in up to Sarasate’s Zigeunerweiscn, and ARTHUR HARTMANN low, which means that it should not be his censure of this continual employment actor does not read the lines < i Augustus Kreisler’s Caprice Viennois, yet who are THE VEGA CO. When are We in Tune? Thomas as he would those of Shake¬ squeaky, or dull and opaque, or hard, as of what ought to be introduced occasion¬ totally ignorant of the works of Tartini, quickly ensue that it whole orchestras are out of tune in their if the strings were of metal. Steel strings speare. But when we have a< , pted this Corelli, Nardini, Viotti, not to mention amoiiny ally and for a manifest purpose. “The other would' scarcely leave time for surprise. different choirs without disturbing the are sometimes used, but they should not rather hazy conception of st> !e, we are vibrato,” he says, “is an effect, an embel¬ pieces’ * Mr. Hartmann Tlas arranged for violin Bach, Beethoven,, Mozart, Spohr, and Nature’s warnings in this regard EASY ORCHESTRA MUSIC pleasure of audiences. I have heard sound steel-like. The term “sonority’’’ still confronted with the fact that every lishment; it can lend a touch of divine great masters. ... mild, but they should be heeded at celebrated opera artists sing a whole act composition worthy, of study has its own Catalog No. 13025 J_ Price, 60 cents does not mean loudness, but resonant vi¬ pathos to the climax of a phrase or the The problem then facing the real violin ^ ^ bpycondemned is the pelpernicious without more than two or three-times individuality, and that this individuality Also to be condemned is bration. There is a peculiarly bell-like course of a passage, but only if the play¬ Variations for G String Solo (Prayer from teacher is how to gather the knowledge for the school and class work with orchestra, for ver being on the same pitch as the orchestra quality in a sonorous violin tone, and one demands of the interpreter a special style. Moses in Egypt—Rossini) N. Paganini beginners. This course has^been^used for ov< er has cultivated a delicate sense of pro¬ of the student, and to fill in the huge voids, vibrato is an emotional force, and _ the and yet receive as much applause as if should expect it from every good per¬ Beethoven’s “Emperor” piano concerto Arranged and Edited by Arthur Hartmann portion in the use of it.” the uneven and dispersed bumps of igno¬ oozing away of this nerve power is a they had delivered their music without a former. Excellence in violin or ’cello playing, cannot be played in the same style as his rance. Added to this the pupil’s unwilling- - - . *OTt’sS Beginner’s Orchestra No. 1. is eas flaw. Almost every human being brought G major concerto. The true artist will of ’ ’s better to learn to control and will afford a repertoire for school concer like that in all other musical perform¬ ness to retrace his steps and patiently ^ lg an aadded strength and makes and keep the pupil interested. This book hi up in the conditions surrounding Western Prime Requisites of Violin Playing course endeaver to assimilate the art work been introduced into thousands of schools, coi ance, is dependent upon something be¬ worn:work K)to oufill min the vacuums and to correct.- tone> There is more jn the psychology yepts..and other similar organizations wit life1 is fond of music, but not one in A beautiful tone, perfect intonation, yond technic. There must be purity of and reproduce it as nearly as he can in its basic defects of position, of fingers of ^ ^ and feft hands than a thousand has a musical ear. So perhaps, and free elastic bowing are the prime taste and propriety of style; but such own spirit. But he can never be any ofte bowing and of nr,Aecrude musical comorehen-comprehen¬ ninety out of one hundred teachers under¬ after all, it signifies nothing that a few requisites of good violin playing. Two matters do not readily lend themselves except himself. When he tries to be, he sion. It is a -terrible situation that pupils who hear accurately are annoyed by what smothers himself in, the wet blankets of stand. or three special effects will doubtless to definition. However, the most in¬ scarcely out of the intermediate stage It is better to play loudly than softly, Samples upon request the majority of mankind does not hear. tradition. In regard to violin playing THEODORE PRESSER CO. attract the attention of what is called “the experienced music lover will have no become teachers, and that most “graduates" for loud playing develops strength of E. T. ROOT & SONS Erika Morini’s occasional false intonation there are some very uncomfortable tradi¬ Music Publishers and Dealers 1530 East 55th St. Chicago, 1! average” -hearer, and he may wish to difficulty in perceiving that shallow and in the fiddle know the Mendelssohn, con¬ finger as well as of the bow. Further¬ and Mischa Elman’s tendency to lachry¬ know something about them. Harmonics showy compositions,, such as the con¬ tions which cramp and fetter the genius 1710 - 1712 - 1714 Chestnut Street certo, but not the Beethoven, and often mose utterance are rewarded with abundant PHILADELPHIA :: PENNA. more, a certain amount of benefit is to be are those high, flutelike tones which seem certos of Paganini or Ernst, admit of of young artists. These are the traditions none other. applause. , , . derived from silent practice, and for small to lie beyond the natural range of the more ad captandum playing than the digni¬ about the true school of Tartini, the true No one -is- Since this is a statement of what con¬ !Sri?_”S?trS Mwould he even none M*. VIOLINS and CELLOS instrument. It was long ago found that fied and deeply-felt creations of Bach or school of Bach, and other true schools, than the writer; and' when the revered & ^ Qr luauuulm) J ulc wll„ Sold on Time Payments stitutes good stringed instrument playing, viola or mandolin, for the wire strings by lightly, instead of firmly, touching a the elegant and finished writings of the of which we know very little and in masters have been studied, there should be wouU demand a greater amount of pres- GENUINE ITALIAN STRINGS it was the duty of the writer to declare MAKE YOUR SPARE TIME string with a finger of the left hand a Italian classicists. At the bottom of all some cases nothing at all. Here, again, an equally arduous campaign for all the However> siIent practice on a mute Send for Violin and Cello Catalogue that playing in tune was its fundamental performer could cause an overtone to be truly great musical performance there is it is a pleasure to quote the great teacher A. J. OETTINGER requirement. We may now pass to more PAY DIVIDENDS great violin compositions and artistic tran- mandolin, should be limited to heard while the fundamental tone was a certain indescribable, but none the less Leopold Auer: _-rtUir-U Inavp nppn nnne. since, let * Musicians’ Supply Company subtle matters. The expressive power of scriptions which have b twenty minutes— and i 60 LaCrange Street Boston, Mass. silent. Every musical sound consists of a evident, nobility which always succeeds “Tradition in reality weights down say, the Brahms and Tschaikowsky — wouW be found sufficient. The the violin and its kind rests in the manage¬ fundamental and several overtones. The in making itself known to those who do the living spirit of the present with Every music lover, student and teacher concertos Let us forever relegate to the f offered by the wire ment of the bow. The use of the bow untrained listener can hear some of these not wish to find sensationalism in solo the dead formalism of the past. For in your musical circle of friends and corresponds to the touch of the pianist. bonfires, the Souvenirs de Bade, de Haydn, kcomes detrimental, inasmuch as overtones when a big bell rings. The art. For those who do it is safe to say all these hard and fast ideas regard¬ acquaintances should be an ETUDE the Danclas, Mayseders, Papinis, and oth- ^ towards a hard tone. There is telegraphic directness in the com¬ harmonics of the violin and other bowed that the best violin playing is always un¬ ing the interpretation of the older- ers; and let us have, firstly better music m The on mute violins (especially munications of the musician’s brain to the subscriber, if not already one. Your Violins instruments are overtones, and they can bearably dull. classic works, their tempi, their their places, and secondly equal attention with a high bridge) is not to be induiged strings of his instrument. A pianist has opportunity to add to your income and be produced from all four of the strings, Excitement is what the unthinking con¬ nuances, their expression, have be¬ to overcome the mechanical intervention do those friends a real service is to to the best of modern and living compos- beyond tbe tjme one considers beneficial each giving a different quality and thus cert-goer desires. He would rather ob¬ come formalisms, because the men Dolphin Strad Models of the hammer action, but every shade of secure their subscriptions for ETUDE ers and transcribers. , > for acquiring additional strength. A mus- adding to the number of tonal tints at serve the stormy flights of rash Toscha whose individuality gave them a liv- the violinist’s pressure on the bow is MUSIC MAGAZINE. Send us a So many crudely elemental and vicious cie-bound condition may accrue (though the command of a composer. Seidel up and down the finger-board or ing meaning have disappeared. The reproduced immediately by the strings. things are being practiced, that it might be this possibility is somewhat remote) ; but Reverting to the bow, the listener may the bold attacks of Boris Hambourg on violinists of to-day are rightly just as postal asking for tbe profit plan we to^car! “isccjf by If he stroked them with a gloved hand, permissible to list a few under the caption: more certainly one will lose the ideal of acquire some idea of the elasticity and his ’cello than to be wafted into a celestial individual, each in his own way, as have to reward subscription getters he could not be in more direct command “TO BE CONDEMNED” true tone. freedom of the bow arm from noting dream by the seraphic chanting of some were those of the past. Let them for ETUDE. of their sensitiveness. how the violinist plays staccati—those short Firstly; all exercises which employ the The nasal and neurasthenic tone pro¬ new Sarasate or the organ tones of a play honestly as they feel they roust; extending of the fourth finger. The first duced from a mute violin is peculiarly in¬ Because of this subtle transference of detached notes which seem so astonishing Casals. Technically, almost all violin play¬ let them give us beauty as they—and etude music magazine instance of this is in playing B and C (on gradating; and constantly listening to it the violinist’s thought to the strings every when they are sung. A clear, light, firm ing is now good. It is in the departments we—understand it. Let them express the E string) with the little finger, thus makes a sensitive ear regard the real player’s tone has its own character. This staccato can be obtained only by good of taste and style that we have to seek themselves, and not fetter their play¬ usurping the rights of the second position violin tone as singularly harsh m compari- tone is a reflection of the personality of bowing. The position of the bow on the for supremacy. Many music lovers prefer ing with rules that have lost their the player. It is quite true that instru- strings affects the tone. Playing close to Elman to Heifetz because, as they put it The extension of the fourth finger -does son. meaning. Let them not hamper that AUGUST 1923 Page- 567 tile etude THE ETUDE How I Earned My Musical Education A Series of Personal Experiences from Real Music Workers A Fifteen Billion Dollar Brain not gone as far in study of Harmony like, you now have a chance tp get instruction in Harmony. Every teacher should have a Harmony Class. It is easy to teach the sub¬ ject with our carefully graded les¬ sons. You can get them to use in Music is a universal language and like the language of speech it has it, own grammar. The grammar ot music is Harmony. Our course starts with the rudiments; it takes up Counterpoint, Compo- When the student has completed this course of study, he will be meet the many problems which confront the int ipsician in the matter of intelligent playing and FINAL NOTICE of music, and can harmonize melodies correctly and We shall continue to accept until : adjunct for the August 31st, 1923 35c for three splendid introductory issues ETUDE MUSIC MAGAZINE The Normal F for teachers includes special Lec- of piano teaching. It solves the Treat your musical friends to a delightful surprise. Thousands with in your teaching, practice, and study. It will think nothing of spending dollars for the most trivial thing. g ability, to enlarge your class, Why not give your friends a musical treat by introducing improve your skill in playing, them to the world’s most widely demanded musical magazine? and to give your pupils better, Over 50 excellent pieces—Over 200 inspiring articles , to acquire a FOR ONLY and to become a 35c in fact a leading offer for three issues expires AugustP31st. (Yearly subscription price S2.00.) training has been, whether you are an established teacher ETUDE MUSIC MAGAZINE, 1712-14 Chestnut Street, Philadelphia, Pa. just preparing to teach, you can’t afford to fail to get the The 20th Anniversary is now being celebrated Send the enclosed coupon for sample lessons from any one of the courses named below. We will send full details of the 20th Fer—one which will mean a substantial cash ci AUGUST 1928 Page 569 THE ETUDE the ETUDE Page 568 AUGUST 1923 From My Youth—Twelve Album of Trills Order Teaching Material Now Characteristic Sketches for For the Piano To Start Next Season The Piano for the Cultivation of During the summer months we have fill This volume is well along toward com- 1883-THE ETUDE-1923 Technic, Style and Rhythm in incredibly large number of orders tor letion and will be published before the music supplies to be delivered to teachers By R. Krentzlin, .Op. 85 Laching season begins. We would urge A DEPARTMENT OF INFORMATION at the beginning of the season and manyot Richard Krentzlin is one of the best ln the6 teaching public to follow us in this series of books. This is the first, and REGARDING these orders have already reached their contemporary writers of teaching pieces Our October 1923 Issue will celebrate the destination. . . t for the piano. He may be regarded as the it will he followed by a book on arpeggios, This is an excellent plan in view ot tne legitimate successor of such popular com¬ on scales, octave playing, etc., about 40th Anniversary of the Founding of New Music Works fact that in September there is a tremen¬ posers as Bohm and Gurlitt and others. . Seven volumes, all specializing on dous congestion of orders of this charac His latest Opus is a set of twelve little q£ne subject of pianoforte technic. AND OTHER MATTERS OF INTEREST ter. It is unfortunate that so many piano pieces which will be published com¬ They are not exercises, there is not one teachers postpone sending in their orders plete in one volume. These pieces are technical exercise in the whole volume, but TO MUSIC BUYERS The Etude Music Magazine until they are actually ready to begin chiefly in the second grade advancing Lhev ’are all pieces, which contain these mecial difficulties in piano playing, and work. This causes much delay and incon toward the early third grade. All are and the music publishing business of venienee as it is practically a physical im¬ tuneful and effectively harmonized. Each this is why we recommend them so earn¬ possibility to handle the bulk of such o - piece has some specific purpose, such as, estly to teachers. The pieces are extremely ders received almost simultaneously. 1 When Mother Speaks (clinging legato); interesting. , , they are spread over several months time Childhood Joys (light velocity) ; Youthful This is nothing more than has been car¬ they are cared for much better and m this Marchers (rhythmic accuracy); On the ried out by a great many of our leading Theo. Presser Co. NEW WORKS. Why One Gets Better Service way the teacher has nothing to worry about Playground (legato and staccato); Italian pianists and teachers who developed their By Mail as far as supplies are concerned and is Lance (triplets). This volume is a most technic bv the use of pieces. It is much Advance of Publication Offers When you go into a store and ask for able to begin work with a good package ot desirable one. more pleasing to the average pupil to music ready for the pupils’ use. cultivate the trill, for instance, by play¬ N October, 1883, Mr, Theo. Presser issued the first number of The Etude, as the organ of August, 1923 an article you may get it and you may not. The special introductory price in ad¬ Perhaps what you want is really not in We, therefore, urge all teachers whose vance of publication is 30 cents per copy, ing pieces of their special grade, that are the music teachers of America and a few months later founded the music publishing business Album of Six Hand Pieces, Sartorio. stock or it may be in stock and in its plans are to begin work in September, to postpaid. of a pleasing and musical order, than to Album of Trills for tbe Pianoforte.... proper place. It depends upon the spirit send in their orders for music supplies accomplish this by dull exercises. Try and the mail order music teachers’ supply house, that bears his name Betty and tbe Symphony Orchestra— just as soon as possible, by August I5th this book of trills and you will then have Gest . and intelligence of the salesman whether Organ Score Anthem Book Bobolinks, Cantata—Busch.. the thing wanted is produced and placed at or earlier, the earlier the better. Deliveries an idea of the other books to come in this Church Orchestra Collection—Parts, each will be made just as soon as possible after Volume 1 series. . , , Church Orchestra Collection, Piano. your disposal. As a rule the decision of The Etude for October 1923 Concerto No. 1. Violin and Piano— the person first approached is an index the orders are received by us. _ By Sweney & Kirkpatrick We have made the price exceedingly low, Accolay. to the kind of service you will obtain; if Of course, orders that come m later We have recently come into possession of 30 cents per volume postpaid in advance Earle’s Moder Graded Course—r3 will also receive prompt attention but of publication and we are now taking will be an enlarged Anniversary Number to which many important that person has authority to say “we 'this anthem book. The four parts are Grades, r”- at such a busy time a delay of several orders for the volume of Trills. y Opera Album—Piano Soio. haven’t got it,” then there is little hope written on two staves to save space, so that First Grade Book, Bilbro. and you must go without the article days may easily be anticipated. and valuable features will be added, viz: .the book contains a great deal of valuable First Piano Lessons at Home—Piano wanted or buy elsewhere. We have a large force of trained and Easy Opera Album Book No. 2 and Writing Book No. 2.. experienced people waiting to take care material; in fact there are thirlv anthems Forgotten Trails, Song Cycle—Lien- In the Presser mail order establishment, For the Pianoforte A History of the Music Publishing Business A Chronology no one is allowed to tell a customer that of these Early Orders and the same force in this volume. They are intended for the From My 'Youth—Piano Sketches— such and such a thing cannot be supplied will take care of those received later but .average choir and Mr. Sworn and Mr. One never tires of the good old opera of the U. S. by Wm. Arms Fisher. showing the steady increase in size and Krentzlin Op. 85. unless there is a positive and inescapable for the best and most satisfactory service Kirkpatrick are well known for their wcrk melodies. It is well for young players Gallia, Mixed Voices, Gounod. importance of the journal and the business. King of Kings and Lord of All—Stults. reason for so doing, and usually two or in every respect we urge ordering at the along this line, and for which there is a to beeoine acquainted with these just as An Enlarged Music Section Lemare Organ Transcriptions. more well-informed persons will be re¬ soon as possible. To provide for this, our _ _ita—Bliss great demand. We have sold live book in Easy Opt ra Album is now in preparation. containing no less thatg22 specially selected quired to pass upon the matter before a enormous quantities when they were issued Musical Progress—Finck- In this collection most of the pieces will compositions by the leading American New Album of Marches final answer is made. This rarely happens John Prindle Scott by another publisher. We always ordered The Editor has Planned a Regular Issue New Four-Hand Album in a retail store when the clerks are busy lie in the second or early third grade. Mr. Scott is so very well known that them in lots of fifty copies and have sold composers. New Instruction Book—John M. Williams taking care of customers (who are always These arc not fantasies or potpourris but of the utmost W >.e—with special contri¬ Oratorio Songs—4 Vols. (See Singer’s we feel pleased to announce that his latest over a thousand copies of this one volume, are effective, playable arrangements, in Etude, Page 557) each. in a hurry) and when little opportunity is song. In Canterbury Square, is soon to A Picture Supplement of Great Interest given to hunt up often imperfectly de¬ which is a splendid indication of the de¬ nearly all cases, of separate gems. Selec¬ butions from the leading teachers and come from the press of Theodore Presser mand for this kind of a book The an¬ tions from all the standard operas together to the thousands of our subscribers, patrons Polyphonic Studies for Violin Classes-— scribed or incorrectly named articles. Company. It is to be published in two thems may all be sung by ttie average with some of the newer ones are included. professional music workers of the world. A mail order, on the other hand, may get keys and is a fine example of the artistic and friends of so many years’ standing. . Scene de Ballet—deBeriot.... . attention from a dozen (often more) per¬ choir and the book also contains a few The special introductory price in ad¬ School of Violin Technic, Sevcik Op. . skill we have come to expect from this vance of publication is 35 cents per copy, sons before it is finished, and when it is American composer. “show” anthems, but all of the music Six Piano Pieces—Huerter. finished there is little, if anything, omitted. is very pleasing and interesting. postpaid. The aim of the editor and the publishers is to make of this Over-the-counter-service tends to falter We will send one copy as a sample for October 1923 number such an issue as will be worthy of when a customer wants a variety of things Lemare Album of 35 cents, when the volume is i icd, and New Four-Hand Album of different kinds or classifications, or even Organ Transcriptions Fortieth Anniversary since the plates are all made the work will For the Pianoforte the work and earnest purpose of the founder._ something special not familiar to the sales¬ We take pleasure in announcing that we Issue of The Etude person approached and whose decision is not remain on special offer very long. If Our New Pour Hand Album is nearly have in preparation a new Organ Collec¬ you have a volunteer choir of a\ . ige abil¬ ready. This collection contains a wealth (October) so often final, though it should not be. tion of unique character. It consists But the music buyer who entrusts an order, ity, you will not find anything more ac¬ of miscellaneous material lying chiefly in For forty years The Etude has had one largely of new transcriptions of some the intermediate grades. The book is THE ETUDE MUSIC MAGAZINE main principle and that has been to delight large or small, to a thoroughly equipped famous melodies, old and new. These ceptable than this Organ Sco Anthem Book, Volume I. Do not forget that you printed from the special large plates and the reader. Delight the reader by giving music supply house such as the Presser transcriptions are the work of the famous this gives room for many more pieces in THEO. PRESSER CO., Publishers him material in the way of articles and Company, is certain to get not only prompt, Concert Organist, Mr. Edwin H, Lemare. can get a sample copy now for .35 cents, the volume. Such splendid numbers as pieces that he can not fail to find to his but also intelligent and satisfactory serv¬ As a matter of fact, they are more para¬ postpaid. the Vienna Waltz, by Schytte; Coming Mail Order Music Teachers’ Supply House great and immediate pleasure and ad¬ ice. This service has been built up gradu¬ phrases than transcriptions since while the of the Band, by Engelmann; A Winter vantage. Naturally, we are “bending our¬ ally through forty years of close attention original melodies are adhered to closely, Mon-Dah-Min Frolic, bv Forman; Garden of Roses, by 1710-1712-1714 Chestnut St. Philadelphia, Pa. selves double” to make our Fortieth Anni- to the needs of music teachers and stu¬ the harmonic treatment is more or less in¬ Ojibwa Indian Legend Ritter; Momus, by Geibel; Galop Marzmle, versary Number, which will be published dents. dependent or contrapuntal. Mr. Lemare’s by Marzo, and many others are included. in October, more delightful in this sense Cantata for Treble Voices It covers the entire field of musical ac¬ harmonies are modern and pungent, but The special introductory price in ad¬ than any yet issued. without any roughness. Abundant oppor¬ By Paul Bliss tivities and interests and is known to the vance of publication is 30 cents per copy, Greetings are already coming from all tunity is given for tasteful registration and A delightful short cantata for two- and teacher to pass this by since it is a work Six Pianoforte Pieces profession, as well as the music-loving postpaid. Album of Piano Pieces for Six over the world and we are getting very in nearly all the pieces chime effects are three-part chorus of treble voices. Suit¬ that can be used by any teacher through¬ By Charles Huerter excited in the prospect. Of course we public from coast to coast. introduced. The list includes such num¬ Hands, Composed and Arranged out the entire season. The selections do It is the steady aim of this organization able for schoels or choruses of woman’s Earle’s Modern Graded Course In all his experiments in modern har¬ shall present a history of our progress in bers as, Aloha Oe; Swing Low, Sweet By A. Sartorio not go much beyond the first grade and monies, Mr. Huerter has never lost his The Etude and in the Theodore Presser not only to maintain, but also to perfect Chariot; Anvil Chorus; The Harmonious For the Piano they are of a very original and pleasing Mon-dah-min is the Indian word for There is a, considerable demand for good vein of original melody. Tastes are con¬ Company. That would be expected, but it its position as the leading mail order music Blacksmith; Massa’s In the Cold; Cold We have come into possession of this young growing corn and tbe fanciful six-hand pieces arid it is a great con¬ order. stantly changing and there are fashions will occupy a comparatively small part of supply house in the world. Ground; Evening Star (Wagner); Love's course through the purchase of the plates The plates are already engraved so that legend handed down through the Ojibwa venience to have a judicious selection of in music as well as in everything else. this enlarged issue. There will be new mu¬ Old Sweet Song, and others. A few of of the Brehm Music Company, of Los the work may be taken from the special Just now we are pleased to revel in more sical compositions from many of the. fore¬ Mr. Lemare’s original compositions will be tribe lends itself nicely to music. Angeles, Cal., formerly of Erie, Pa. There these in bbok form under the one cover. It School Music is necessary in six-hand playing to have offer very soon; it will therefore he neces¬ or less dissonant harmonies. In this set most composers of the day. There will be included. The lyrics are from the pen of the are three volumes in the course but the of characteristic pieces for the piano Mr. special articles of great interest to all. Supervisors and Teachers onlv the one copy of this album, since all sary to act quickly in sending in your The _ special introductory price in ad¬ composer and the atmosphere of the text third volume does not take the pupil be¬ Huerter has dished up the elements of Among these will be the beginning of a Teachers of music in Public Schools will three players can'read from the same book. order. The advance price is but 35 cents, vance of publication is 50 cents per copy, is added to by tbe musical treatment in yond. the first half of the third grade of music, melody, rhythm and harmony, in series of printed lessons upon the Basic be interested in our new department of postpaid. postpaid. which certain authentic themes (of Indian Mathews’ Course. The author, Henry Ed¬ Mr Arnoldo Sartorio, who is one of the a very original but satisfying manner. Principles of Pianoforte Study which have Supplementary Music, including Operettas origin) are used. mond Earle, has done his work well and most successful writers of educational These pieces should go well in recitals. been secured exclusively for The Etude and Cantatas as well as short songs for Forgotten Trails, Song Cycle There are no solos and the time re¬ this work shows that he is a practical mu¬ piano music, has been most happy in his The special introductory price in ad¬ from one of the greatest virtuosos of the Unison, two- and three-part treble and King of Kings and Lord of All quired for rendition is about thirty sician and knows the situation in all its various ensemble arrangements. His six- By Thurlow Lieurance vance of publication is 30 cents per copy, time. This master receives $50 an hour soprano, alto and bass with melody in the A Christmas Cantata phases. The grading is particularly well hand numbers are particularly effective. In Mr. Thurlow Lieurance, the composer of for instruction. You can not fail to gain minutes. postpaid. bass. We have many new and splendid By R. M. Stults done, and tire selections are of a very this collection they consist of transcriptions immense value from this series. We shall Our advance of publication offer is one the famous By the Waters of Minnetonka, numbers just off the press and more to The joy of Christmas is carried out all pleasing order. from celebrated works, as well as new and announce the series in full next month. copy only, 35 cents, postpaid. excels in the songs of the great outdoors. New Instruction Book Every Etude friend is asked to co-operate follow. through this new cantata. It is very often advisable, for the sake original numbers. These numbers do not Mr. Lieurance does not always rely upon We call attention to two new cantatas an¬ Part 1 is of the Promised King and of variety, to take new material for the go bevond grade III in difficulty. Indian thematic material. He was a suc¬ For the Piano with " us by informing as many. musical Gallia Motet or Short Cantata people as possible of this issue so that they nounced in these Publisher’s Notes as well Part 2 is of the New-born King. There pupil, and we believe a great many teach¬ The special introductory price in ad¬ cessful composer before he took up the By John M. Williams may begin their subscriptions in time to as the two new operettas. The Ghosts of are various short and pleasing solos and For Mixed Voices ers will welcome a course of this kind in vance of publication is 35 cents per copy, Indian music. The songs in the new vol¬ We are pleased to continue this work take advantage of this great series, as.well Hilo, for young ladies, and Crimson Eye¬ concerted numbers. All the music lies well By Ch. Gounod their regular work. This work may be postpaid. ume, Forgotten Trails are not Indian for beginners by this very successful as securing what will be the best Etude brows, for mixed voices. A feature of within the ability of the average choir Every choir master needs this work to taken up as a first instruction book since songs although there is an occasional teacher, on special offer during the pres¬ ever issued, including in one issue music the Presser service the music supervisors and yet it is advisable to begin early his library. A special musical service is it has a few pages devoted to the elements First Grade Book for Beginners trace of an Indian motif. These songs ent month. He has already on the market worth several times the cost of the annual will find a great help is the examination rehearsals to be assured of a finished ren¬ well rounded out by using this beautiful of music which will suffice for most pupils. By Mathilde Bilbro are full of romance and the spirit of a similar work with another publisher subscription of $2.00. No extra price will which has been very successful and we privilege. Any specially requested num¬ dition. Mr. Stults is at his best in this number. The chorus work is not too Both clefs are taken up at the very start. Teachers will take up Miss Bilbro’s First the great West. The composer sings of be charged for this issue. Those who bers will be sent with this privilege or a new work of his and we recommend it We will offer these volumes at the very mountains and streams, canoes and the are pleased indeed to have the present secure their copies each month from a local difficult for the average volunteer choir to Grade Book as soon as as they aware of selection of material along the lines de¬ to every choir leader. Choristers sending low price of 35 cents, postpaid, for each work for our catalogue. It will retail dealer should give their dealer npw a re¬ render well, and the solo work is entirely the value of the work in this volume. birds of the woodland. sired will be made up and sent. Now is an advance subscription for -a copy of this for $1.00 or $1.25 and will take a pupil quest to reserve a copy for them as the in the one voice, soprano. grade, the retail price being $100 each. This is decidedly one of the most attrac¬ The special introductory price in ad¬ a convenient time to decide on material cantata will receive it in a very short time. These volumes are a bargain at this price on through the second grade. There is October issue will go quickly after it ap¬ Our advance of publication offer lS tive works that we have had from this vance of publication is 40 cents per copy, for next season. Let us send you some since the plates are made already and the (Continued on page 570) pears on the music counters and news¬ Our advance of publication offer is for only 15 cents, postpaid, for this classic- popular composer. We do not want any postpaid. stands throughout the country. recent publications for inspection. one copy only, 30 cents, postpaid? one copy only. publication will follow very soon. AUGUST 1923 Page 571 pee etude Page ~>7<) AUGUST 192-3 Summer Term MR. and MRS. CROSBY ADAMS Six weeks from June 25. Annual Summer Class for Teachers of Piano Daily theory and normal 21st SEASON PlL ASHEVILLE, NORTH CAROLINA mm QjNSEEMOKrySuSIC PHILADELPHIA (39th YEAR OPENS SEPTEMBER 10th) and Day School of unparal A SCHOOL OF INDIVIDUAL INSTRUCTION DORMITORIES FOR WOMEN ZECKWER-HAHN SIX SPACIOUS BUILDINGS Philadelphia A School of Inspiration, Enthusiasm, Loyalty and Success. Musical Academy Illustrated Year Book Free 1617 Spruce Street GILBERT RAYNOLDS COMBS, Director Branches in Administration Building, 1331 So. Broad Street West Philadelphia Tioga Germantown Doylestown Directors: Camille Zeckwer Fred’k Hahn Founded 1878 Theodore Thomas Charlton Murphy First Musical Director Pennsylvania’s Leading School The College is endowed and in¬ corporated. I ts aims are the Higher of Music Education in Music and Dramatic 53rd Season. Classes in All Branches Ar t. Young men and young women Preparatory Classes for Beginners pursue their studies in a genuine musical atmosphere. B u i 1 d i n g s adjcin the magnificent Music Hall where Grand Opera is given and the May Music Festivals are held. BRENAU Piano, Pipe Organ,.Violin, Orchestra, Voice, Theory and Composition, 57th YEAR BEGINS SEPTEMBER 4th Drama, Public School and Church Music Departments. A complete School of Music in every branch of Musical Learning Internationally Famous Faculty_of Artist Teachers. Dormitories. MASTER ARTIST AND NORMAL DEPARTMENTS For Catalog Address Accredited course in Public School Music The College of Music of School of Opera and Ballet with opportunities for practical experience Cincinnati Ideal residential facilities for students from a distance Elm and Grant Sts. Cincinnati, 0. Send for catalogue to BURNET C. TUTHILL. Business Manager BERTHA BAUR, Directress Highland Avenue and Oak Street Cincinnati, Ohio Atlanta Conservatory of Music THE FOREMOS^SCHOOl^OF FINE ARTS DANA’S MUSICAL INSTITUTE WARREN, OHIO Advantages Euual to Those Found Anywhere Students may enter at any lime. Send lot THE SCHOOL OF DAILY INSTRUCTION IN ALL BRANCHES OF MUSIC Catalog. 8E0. P. LINDNER, Director SUMMER SESSION OPENS JUNE 18th Peachtree and Broad Streets, Atlanta, Georgia Our concerts are broadcasted each Wednesday night fromeigjrt to nine. Eastern Standard Time. Address LYNN B. DANA, Prel k E, WARREN, OHIO Pages 506, 507, 508, 572 and 573 S. C. I. and school of music JUNIOR COLLEGE WORK Offers every advantage for a modern Musical Education. Public School ESTABLISHED 1857 Music Course preparing for Supervisor positions. Piano, Organ, Violin, Clarionet,Voice, Harmony and Theory, Expression DP ADAHV CONSERVATORY and Art. Band and Orchestra. Rates most reasonable, pupils from 17 states. Six hours from Harris¬ IJLiAdU V I BALTIMORE, MD. burg or Washington. HAROLD RANDOLPH, Director ADDRESS S. C. I., DAYTON, VA., BOX 93 oZ Of the oldest and most noted Music Schools in Amercea.- THE ETUDE the etude AUGUST 1923 Page 573 Page 572 AVGUST 1928 Ubiquitous “Barbers of Use my version of it; it has stood the test. Seville” I don’t mind if you take it!’ Dall’ Argine’s .o* performed .to IKS in Mjg. Schools and Colleges .3 Schools and Colleges By Guido M. Gatti NEW YORK STATE and NEW ENGLAND NEW YORK CITY The following, from Musical News and Herald of London, is a condensation ot. Most beautiful School of Courses; Music all branches and interesting historical article which “The tenth Barber is due to two Span¬ ish composers, Jimenez and Neto (Madrid, Ithaca Conservatory of Music New York Music and Arts in ideal lo¬ including Public School, recently appeared in that publication. School cation overlooking the Hud¬ Drawing, Painting, Dancing, One is led to a bit of interesting specu¬ son. Real home life for Dramatic Art. lation as to just who will make the Bar¬ residence pupils. New York's of Music advantages under proper bers” an even dozen. ' Celebrated Faculty: Ralfe ‘‘If we go on like this there will soon chaperonage. L. Sterner, voice—Salvatore ficult to say. But it is likely, if not cer- and Arts arise the necessity of forming a League he would^as ito idea^was^ gradually un- mod^ of rtu^' Affiliated Individual instruction. En of Unemployed Barbers of Seville. Every trance at any time. Fre and coach—Arthur Fried- RALFE LEECH STERNER now and then some new ‘Barber’ appears quent opportunities for pub helm, piano—Paul Stoeving, Director and joins-the ranks of his unemployed violin—Frederick Riesberg. brethren.” Thus an Italian journalist Schools piano and many others. Il¬ Teaching the Child to Form 150 Riverside Drive wrote, commenting on the announcement S,deTf'CTpSon a piece of music" As that tifleates. Entertainment bu lustrated catalogue on re¬ of a first performance of a new ‘Barbiere the Scales. N. JY. City reau. quest. in reading poetry we fall into the rhythm, Anyone who has become accustomed to di Seviglia’ by Leopoldo Cassone. still keeping phrases and'"sentences dis- the Streingraber edition of Bach, will be “Apart from the value of this latest tract, so in music, the measure must be ac, quite annoyed if he picks up some other, opera, Cassone can justify his dangerous £. sass; enterprise by quoting his numerous prede¬ AMERICAN INSTITUTE cessors, from Paisiello onward. Amongst INSTITUTE comedies, Beaumarchais’ ‘Barbier de Se¬ OF OF APPLIED MUSIC Metropolitan College of Music ville’ has provided the subject for no fewer THIRTY-SEVENTH YEAR than eleven operas since it was written, jSffS^ffSSSraSt S&f-SK TBJSS MUSICAL ART x Kate S. Chittenden, Dean 150 years ago, without counting the par¬ Piano \ and a ody by Mueller, ‘Der Barbier von Sievar- ing’ performed in 1828 at the Theatre am- SSSSSsS?* ** CITY OF NEW YORK Pedagogy \ FACULTY OF der Wien. taught to examine the structure of a piece, tha" 'withoirt'affi of JraC d P6™j !£■» aay ssa-sa " 120 Claremont Avenue, Cor. 122d St. Courses \ SPECIALISTS “Paisiello opened fire in 1782 at St. Lead to \ teaching Petersburg, where Beaumarchais’ comedy FRANK DAMROSCH, Dir. Certificates and Diplom^L Music in had been applauded the year before. Pai- aag“o0v”n ^natVT own'waj ‘ M“i£V«uS!? Itepwn siello’s ‘Barbiere’ had a great success, not Send for catalogue Summer Session only in Russia, but also in Italy and Paris. “When, thirty-four years later, Rossini 1 2 3 4 5 6 7 8 wrote his immortal masterpiece (in thir¬ CDEF GABC teen days!), he was accused of presump¬ GABC DEFSG MRS. BABCOCK tion, irreverence, and worse. The Italian D E FS G A B C# D /"VFFERS Teaching Positions, Col- public then did not know that before him leges, Conservatories, Schools. four other composers, three Germans and Love Your Pupils; Love Your Work Also Church and Concert Engagements a Frenchman, had been guilty of this ‘pre¬ CARNEGIE HALL, NEW YORK sumption.’ These were the Barbers by Friedrich Ludwig Benda, first performed in Hamburg in 1782 (it is not known if ng of achievement is love, you afe teaching, in the sense in which we before Paisiello’s or after it) ; by Johann VIRGIL SCHOOL OF MUSIC Abraham Schulz (1786, Reinsberg) ; and worth while ever was ac- usually view it. So lose yourself in the F G A Bb out it. Beethoven, Mozart, labor of the moment, in the love of seeing INewfngLmtl Founded by the late A. K. Virgil by Nicolo Isouard, a Maltese of French 23S-". . tnnyson, Raphael, Millet it come to fruition, that your whole mind Originator of the Virgil Method, Inventor of the Virgil Practice Clavier parentage. This opera was performed at Malta in 1796. S^q^foHtl^blSSStoS other motives Inder the*onSdea o^doing “Three months after the enormous suc¬ SPECIAL COURSES EARN^TCSTUDENTS 0^RALI.NGRADES his work so well that he lived for the joy your work so well that in the days that Conservatory cess of Rossini’s Barber (from the second performance onward) we see another of doing it. To each his work became follow you will not have to reflect on it composer—the seventh—produce another Quartet such a joy that even when other influences with regret for its quality, and you need OF MUSIC » would have drawn him from it, he found have no fear of the rewards either from a BOSTON, MASS. Barber. And, indeed, this seventh is a of his first visit to mortal sin wherewith is stained the mem-' ory of Francesco Morlacchi (1784-1841), jjjKTSchools and Colleges then director of the Italian opera at the GENERAL Royal Opera House at Dresden. “A lull of fifty years followed, and no of the sweetest experiences of life. Have of c^vilization for the future generations, further Barber saw the light until Costan- she to Tee TtosTafaTiT^sffirTmpletioT a,ld there wlU be n0 W3y t0 get.3Way .fr°m - «-■ —* - ’ of Improved Music Study tino dall’ Argine (1842-1877), an Italian, took it upon himself to be the father of that you forgot that there was to be a sub- l°yrag y°ur ^ DUNNING SYSTEM for Beginners another, using the same libretto (by Ster- stantial compensation at the end? Then , ’w*. bini) to which Rossini had written his The Demand masterpiece! However, to ease his con¬ science, he first called on Rossini, then in Paris, and assured him of his great ad¬ miration. Rossini received him very kindly, and dall’ Argine after much beating about the bush, confessed that he had found ^tudv great difficulty in composing the melody ~~ Win I 1 right on the beautiful North Shore of Long Island to ‘La calunnia,’ and that he was still dis¬ satisfied with his composition of this aria. - ' -.- ■ ~ Uyn,N.Y. Effa Ellis Perfield New Address 121 Madison Avenue (30th Street) NEW YORK CITY 1 Block off Fifth Avenue DXrT,Ia..S, COURSES IN Music, Musicianship IsobeUL Tone,^469 Grand View S,^“ A”**‘*^ Cat and Pedagogy SUMMER MUSIC SCHOOL August 20th to September 8th ASSOCIATE TEACHERS WANTED Please mention S when addressing our advertisers. AUGUST 1923 Parje 575 THE ETUDE the ETUDE xJUNIORr ETUDE ^ CONDUCTED BY ELIZABETH A GEST Bird Music Alice and the Caterpillar String Quartettes PLAYING WELL consists in getting A ean Hs ™ur- very happy in our school. We have a ».— *T s«s«* How WELL do you play? Can you new building now, and I am so, so glad. olW pussies Junior Etude Contests are discontinued for the summer months. Results of April Contests will be in October issue. New Publications Teachers of Children Little Albums for Child Pianists most of his life at Paris, where he was The Dominant Junior Music Send for our interesting celebrated as a teacher. PIANO AND VOCAL SHEET MUSIC Club Continue their Discussion 1819-1896 Clara Schumann, Leipsic, Recent Additions to the Presser Catalog of Piano Solos, “Catalogue of Juvenile Pearls of Instruction in Captivating Form for Young Pupils Musical Publications” of Great Pianists was one of the most eminent woman Piano Duets, Vocal Solos, Sacred and Secular pianists.' Her astonishing skill and This catalogue has many helpful The very appearance of these charming collections makes them attractive to children and the interpretative insight won her many dis¬ ANY OF THESE NUMBERS MAY BE HAD FOR EXAMINATION works described. ThekjndMjj*^ By Rena L. Carver tinguished friends. Toured Europe with When ordering any of these publication, it U only necessary to mention little musical gems behind the covers are just as delightful. enormous success. (N. B. The first part of this list ap¬ Jongs. Cantatas and Operettas, nau¬ “Could Schubert be called a great pian¬ tical Games. Toy Symphonies, etc. ist?” queried Felice with a troubled frown. peared in Junior Etude, September, 1922.) MARTIN, GEORGE DUDLEY TEACHERS WILL FIND THESE ALBUMS MOST HELPFUL WITH JUVENILES PIANO SOLOS 18838 Just a Smile.3 “He was no virtuoso on the piano, but MARZO, EDUARDO he played exquisite accompaniments, and 18764 Railroad Galop.4 MATTHEY, JUL, KERM. he read well at sight in spite of defective 18707 By the Mill-Pond.3# Pictures From Nature Woodsy Corner Tales and Tunes eyesight,” said Helen Dear Junior Etude : “I’m afraid we cannot put him on the As long as I have taken The Etude I For Little Piano Players list,” decided Harlan. have never seen any letters from Randolph. BEETHOV»VEN, L. van JOYOUS YOt JTH Characteristic First I have taken The Etude for about a year Five Piano Compociti “I’ve been thinking a good deal since and am taking piano lessons. I am in the BERWALD, W.. Grade Pieces for the Pianoforte BY our last meeting, and it seems to me that third grade of music. > Ghost Story, A.. By MAX MEYER-OLBE RSLEBEN BIENE, AUGUSTE van Weber should have been placed upon our. I have a little goat that is about eight 18706 Kept Id. .IH .30 BY months old; its name is Polly. Next sum¬ r Broken Melody, The. 18767 The Bouncing Ball. Helen L. Cramm list,” said Harold seriously. mer I am going to drive it, and I wish some DALLIER, CHARLES ...AH .30 i Lancers Ahorse, The. 18768 Little Romance. ...3 2% “He is regarded as Liszt’s prototype as of the Junior Etude readers were here so I 18769 Holiday March. .... t 2i Mae Aileen Erb Here is an irresistible appeal to little folks. could give them a ride. DELIBES, LEO 18770 Folk Dancing. a piano virtuoso and did much to develop From your friend. r Passepied, from ”Le Rci a’amuce".. Real pearls of instruction marking distinct EGGELING, GEORG the technic of the left hand.” Helen Thayer (Age 12), Pictures From Nature is just the sort of advances in elementary piano technic are to Vermont. i Brook Trout, The, Op. 152. book to follow or to supplement any instruc¬ be found in these pieces, yet they are melodi¬ After much discussion Weber’s name r Hare Bells. tion book. Miss Erb has the rare faculty of ous and the interesting little stories and was written down on the . blackboard. ! Mazurka Brillant, Op. 208, No. 1 Dear Junior Etude i Waves at Play, Op. 207. THE OLD TIME CIRCUS composing teaching pieces that interest verse to each piece captivate the youthful This was followed by a heated talk about EILENBERG, RICHARD fancy. There are twelve stories and twelve I At Sundown, Op. 334. Fire Descriptive Compositions for • the Pianoforte young students and these pieces excel in Mendelssohn. ^ ELLIS, JOSEPH ^ Grade 2 this respect. The verses are bright and add pieces. Teachers may gain eyen additional _ _ music from it. interest by having the child color with “There is one thing certain. Schumann lany children in this part of By ROB ROY PI ■ERY to the charm of the melodious pieces. This will not go down on this list because while t I would just love to have offering of eleven numbers is bound to paints or crayon the fanciful design within have been taking lessons on 18864 The Parade. .30 become a great favorite with teachers. which each story is boxed. training with Wieck to become a virtuoso .... „_,im going to take the violin. 18865 The Jolly Clown. .25 FROM A PICTURE GALLERY 18866 The Lion .30 pianist, he had the misfortune to injure My parents and brothers and sisters > 188S7 The Dancing Pcn; .30 going to England_t n summer and going Four Characteristic Pieces for the Pianoforte PRICE, 60 CENTS PRICE, 75 CENTS his fourth finger; so he resolved to devote „„ „„ „..t The Etude there. _ >ant to 18868 The Chariot Race .40 himself to composition,” commented Har- o the Musical Buildings in London. Grade 3 riette. By MONTAGUE EWING 18833 In The Moonlight... PRESTON, M. L. “It is a perfect joy to talk of Chopin’s m Gold...10 8725 Auto Race, The.... Children’s Rhymes From A to Z Sunny Day Songs playing. He was the pre-eminent poet of 18835 Pierrott Dance.40 8818 Evening Lullaby.Lull; .. 18836 Phrynette.60 In the Old Bi_ the piano,” exclaimed Elaine. Dear Junior Etude : Pigmie’a Parade, The. I thought you would like to hear from me. ROLFE, WALTER “Liszt was the greatest pianist the world About four months ago my music teacher Twenty-Six Progressive Piano Pieces Vocal or Instrumental ' advised me to take The Etude and with Johnny on the Spot. has yet seen, to whose influence all piano mother’s consent I did, and I now think it Setting Sun, The . playing since has been obliged to acknow¬ is a pity that there are yet many music Valse Artistic. BY BY students who know nothing about the wonder¬ 18774 Sounds From the Alps. ROUBIER, H. ledge its indebtedness,” said Elwood in- a ful and marvelous Etude. I hope many boys 18860 Spring in the Heart. Marche Dei Troubadours. voice full of wonder. and girls shall make known to all their 18778 Through the Forest. ROWE, DANIEL M. Greenwald Helen L. Cramm friends the existence of The Etude. FRIML, RUDOLF 8760 Where Blue Belli Grow. “Let us put him down now,” enthusias¬ 18742 Fairy Ballet. SARTORIO, A. We have organized a music club which is 18741 Harlequinade. 7 Balletella. A really delightful book for the little tically remarked Maynard. made up of many boys and girls who are in pianist or singer. It contains a dozen and earnest to make headway in their music. It 18740 Water Lilies. 9 Happy Stroll, A, Op. 1268 They continued the meeting until they consists of President and Vice-President and GEIBEL, ADAM 8 Scherzetto. one sweet little melodies with words, written 18897 Woodland Rhapsody, A.. SHMEIDLER. CARL in the excellent manner that has brought so brought the list past Liszt’s contempor¬ all the officers necessary in such a club. The HAUSER, MISKA 0 Wedding Featival. March. members consist of violin, piano and voice. much success to Miss Cramm’s numbers for aries. They called this a Chronogical List ‘ ‘ ' e but a few months younger 18848 Cradle Song, Op. 11, No. 2.... SCHUBERT. F. —, -- i- +i.0 Junior contests HEWITT, H. D. D Melody. “The Wanderer". little musicians. These pieces will aid the of Piano Virtuosi who flourished in the It really is 18813 Friendly Chat, A. SIMON, WALTER C. young beginner to read the staves in both Middle of the 19th Century. 18795 Spring Round, A. clefs and develop most pleasingly at the I sincerely hope I may see this in print 18814 Young Cavaliers, March. SPENSEJI,D GEORGE 1786-1826 Carl Maria Fredrick Ernst in the Junior Etude. JOHNSON, WALLACE, A. 7 Elizabeth flntro. The Futur keyboard without study becoming irksome. From your friend. 18720 Dansette Rococo. Von Weber, Eutin, first great musician of Margaret Wynn (Age 15), STOUGHTON, R. S. PRICE, 75 CENTS aristocratic birth, went on concert tours 6 Jacqueline. VAAS, A. J. frequently.. A pianist with an immense TONE DIVERSIONS I St. Paul Waltz. command of technic, original in style and Dear Junior Etude : I have, been getting Six Characteristic Pieces for the Pianoforte eloquent in expression1. the Etude for about two years and do not see Grade 2H Tiny Tunes for Tiny Tots how I could ever give it up. I read every PIANO FOUR HANDS Birthday Jewels 1809- 1847 Felix Mendelssohn Bar- letter in the Junior Etude and enter the con¬ By CARL WILHELM KERN Old Rhymes with New Tunes tests, but |iever win anything. However, my ANTHONY, BERT R. tholdy, Berlin. A remarkable pianist of 8820 On Quiet Waters, Barca'”H» « 18898 Sparkling Eyes . Vocal or Instrumental Characteristic Pieces for the motto is “try, try again.” Say this to yourself 8821 The Wicked Wiich ... BECHTER, KARL Six Pianoforte an unaffected-type, not a virtuoso, yet his when practicing scales and you will find they, 8822 The Magician. 18810 Bicycle Galop. Pianoforte interpretations were full of vigor, charm are not so hard. Scales really are not so bad 8823 Catch Me!. BRAHMS, J. Compositions after all, but I heard so much about them 8825 Running Rivulet, Capric 18909 Hungarian Dance No. 5. . BY and a thoroughly musical spirit. His im¬ from mv friends that I dreaded getting them, 8825 Country Life, Walla . .. but if they had told me that they were easy I 18583 Waltz, Op. 39. No. IS. provisations were remarkable. am sure that I would not have dreaded them EGGELING, G“"”’ A. Louis Scarmolin 1810- 1849 Frederic Chopin, Warsaw, so much nor disliked them so much at first. I Summer Morn, From your friend, KOPYLOW, A. POLDINI, ED. Geo. L. Spaulding The five little numbers in this was a pianist of extraordinary distinction. Ruth Ethel Hoaksbnna. (Age 14) 18908 Lively Study, A, Op. 52, No. 14. 3 18886 Gipsies, Op. 86, Ne. 3. Geo. F. Hamer book differ quite a little from the New Jersey. 18906 On the Greensward, Op. 52, No. 4 3 SPAULDING, GEO. L. Although he possessed great brilliancy, 18907 Paul in Church, Op. 52, No. 7. . . 3 18862 Climbing Morning-Glories. As the title indicates, there is a ElaSr'ffilfflS the most prominent trait in his playing KLEINPAUL, ALFRED little piece for each month of the year 18641 Maaurka in C Sharp Minor... 4 and with each piece ^there^a verse was its all-pervading and inexhaustible KRENTZLIN, RICH. VOCAL _ _ devices usually fund of poetry. found in more advanced pieces. BAINES, WILLIAM that*5 always pleases in a collation The title of each piece has been 1811- 1886 Franz Liszt, Raiding, Hun¬ 8582 Saviour Divine (E flat-F!. BARRELL, ALDEN opportunity to achieve results because which the composer has devel¬ gary, the greatest virtuoso of the century, I An Hour (d-F). of the attractiveness of these melo¬ oped along polyphonic lines, but giving an unparalleled series of recitals BERTRAND-BROWN dious numbers to students. Child in a very simple manner, giving throughout the length and breadth of 1 Rose is Born, The (F-g optional b Hi students completing second grade the young player some idea of GOUNOD, CHARLES work should have these pieces. counterpoint. Europe, which were a series of triumphs such as no artist had ever before exper¬ PRICE, 60 CENTS PRICE, 75 CENTS PRICE. 60 CENTS ienced. Created “orchestral style” of pi¬ RACHMANINOFF, S. ano playing. In Silent Night (d-a). RHYS-HERBERT, W. 1811- 1885 Ferdinand Hiller, Frankfort, 8871 Wonderful Story, The, Sacred (b flat-D).. Juvenile Tone Stories georgehamer pupil of Hummel, and a follower of Men¬ hild’s Play george'tompkins THEODORE PRESSER CO. delssohn. Love Dream, The (c-E flat). Characteristic Piano Pieces Price, 60 Cents Franz Schubert STULTS, R. M. 1812- 1871 Sigismund Thalberg, Paris, Miniatures■es for the Pianoforte Price- 75 Cent^ Born, Lichtenthal 1797. Died, Vienna, 1828 8853 Open My Evea, 0 Lord, Sacred (d-E fl:t . Music Publishers and Dealers A half-dozen little characteristic piano pieces just about was the greatest pianist before Liszt, whom WARD, HERBERT RALPH reaching grade two in difficulty. Each has accompanying verse An inexhaustible melodist. The most spontane- 8730 My Castle of Dreams (c-F). he rivalled in Paris. He excelled in which may be sung if desired, but which in reality is intended to give character to each piece. The pieces are very tuneful left-hand technic, octave playing and sing¬ German Lied. Wrote 603 solo songs with piano accompaniment. His Symphony in C and Un¬ and of a decidedly picturesque quality. ing tone. finished Symphony equal the best since Beethoven. THEO. PRESSER CO. 1814- 1889 Adolph Henselt, Berlin, an¬ Property of Music Publishers and Dealers Established 1883 other Hummel pupil, who spent most of 1710-1712-1714 Philadelphia, Pa. his life as court pianist at St. Petersburg. Etude Portrait Series Chestnut St. 1815- 1888 Stephen Heller, Pestli, spent \V£\cV've Albums Collections of a Character that Pianists, Singers, Organists and Violinists Can Use to Advantage Celebrated Compositions From the Southland Album of Transcriptions For the Pianoforte Six Pianoforte Sketches For the Pipe Organ By Famous Composers Price, $1.00 By H. Burleigh Price, $1.00 By Dr. H. J. Stewart Price, $2.00 A SUPERB compilation of those compositions THESE beautiful and characteristic piano TWENTY-ONE masterly transcriptions for ** that every good pianist should know. They * sketches are typical of Southern scenes, the pipe organ that have been used with are celebrated numbers in which all lovers of croons, etc. Each is preceded by an appropriate such great success by Dr. Stewart in concert piano music delight. Altogether there are verse. This is an artistic offering. work.- A new original organ sonata in four thirty-three numbers in this album. movements concludes the volume. Old Hungarian Melodies Russian Album Fifty-One Folk Melodies for Piano Organist’s Offering By Arthur Hartmann Price, $1.25 For Church, Recital and Motion Picture Playing For the Pianoforte A UNIQUE compilation of some of the most Compiled by Preston Ware Orem Price $1.50 Compositions by Russian Composers Price, $1.00 attractive .Hungarian folk melodies ar¬ A HANDSOME volume containing a fine se¬ ranged in a practical style for piano. The edit¬ lection of popular recent pipe organ num¬ AN interesting album, not only as a collec- ing has been done so well by Mr. Hartmann ** tion of piano solos by Russian composers bers. The contents are well diversified and that the proper interpretation can be given suitable for many needs of organists. but as a group of some of the best moderr easily. The facts, etc., given about each of compositions. The great favor with whicl these melodies prove interesting. this album has been received is entirely due tc Wedding and Funeral Music the excellence of the twenty-two compositions For the Pipe Organ Sunday Piano Music Edited by E. A. Kraft Price, $2.00 Price, $1.00 AXIHILE these numbers are suitable for the Brahms’ Album THOSE who play the piano in church, Sun- v” specific purposes indicated by the title' 1 day-school, Lodges or anywhere that pieces Of Pianoforte Compositions they are also of great value in other ways to of a high type, dignified and devotional, are de¬ organists. Edited by Louis Oesterle Price, $2.00 sired, will be delighted with this collection. THIS volume has been pronounced by many Some of the most exalted musical inspirations Secular Duets | as the best recent volume for the pianist’s have been included. library. It gives one hundred and sixty-seven For All Voices Price, $1.25 pages of the best selection of compositions for Tranquil Hours VER one hundred pages of excellent vocal the pianoforte by Johannes Brahms, together Piano Solos of Sacred Character Price, $1.25 duets. They are pleasing to audiences and with a short biography and portrait of this singers. Practically all combinations of two great composer. A NOTHER album of piano solos of a worthy . type for Sabbath-day playing. This collec¬ voices are cared for and with this album at tion has long been a favorite one for such pur- hand the singer will always be prepared when duet singing is suggested for concert or vocal Rachmaninoff Album recreation. Pianoforte Compositions Price, 75 cents Album of Descriptive Pieces Sacred Duets 'THERE is an unusual appeal to pianists in For the Pianoforte Price, $1.25 For All Voices Price, $1.25 * Rachmaninoff’s compositions and this album TWENTY-NINE novel piano solos portray- MINETEEN sacred duets for general use. was prepared with the idea of presenting in a 1 ing various moods, pictures, scenes and oc¬ * ’ Every church singer and choirmaster will convenient form his most popular numbers. All currences. They form a change from the con¬ find this volume a valuable possession. proficient pianists should possess this album. ventional forms of composition because of the characteristic - type. Celebrated Recital Songs Master Pieces Original Four Hand Pieces Compiled and Edited by David Bispham, Price, $2.00 For the Pianoforte For the Pianoforte Price, $1.25 A NOTABLE collection of songs, ancient and By Great Composers Price, $1.50 vT ™?d<:rn' 0ne of the last contributions of CPLENDID material for recital and concert Mr. Bispham to the vocal world was the com¬ T T would be difficult to prepare a better col- use or for recreation or practice in en¬ piling and editing of this volume of forty-four 1 lection presenting a varied selection of piano semble playing. Contains no arrangements, master songs. Mr. Bispham’s years of experi¬ pieces by such composers as Beethoven, Schu¬ every number being an original duet writing ence in opera, concert and teaching gave him mann, Chopin, Bach, etc., and a few of the by such composers as Brahms, Moszkowski, an immense repertoire from which to select. more modern masters. MacDowell, Chaminade, Hummel, Schubert and others. Eight Songs from Green Timber Standard Concert Etudes Lyrics by Chas. O. Roos Four Hand Exhibition Pieces Music by Thurlow Lieurance Price, $1.50 For the Pianoforte For the Pianoforte Price, $1.25 OfFTED poet and an inspired musician Difficult Etudes and Pieces Price, $1.50 EXCELLENT material for recital or concert A . » Presented in these songs the heart- A VOLUME containing the pick of the dif- , Plano duet work is supplied by the contents ** ficult studies and concert pieces out of all r ffreaf outdoors, the enchanted valley of this very fine four-hand album. Good ot the St. Croix River known as the Green the celebrated compositions used for concert players can gain much enjoyment with these work. _ These numbers are excellent for study Timber Country. They are decided novelties numbers. tor the concert program. of a virtuoso degree. Concert Duets Four-Hand Piano Pieces Price, $1.25 Album of Transcriptions Modern Drawing Room Pieces A LARGE volume of both popular and class- R . , T°r Violin and Piano For the Pianoforte Price, $1.25 VV lcal four-hand pieces of various degrees of By Arthur Hartmann Price, $1.00 P XCLUSIVELY a collection of brilliant and difficulty and style by standard composers rJ' WENTY-TWO violin numbers that are V attractive drawing-room compositions of a tree transcriptions for violin and piano of high order, being melodious and showy in the These Works May be Secured from any favorite master compositions and songs. The hands of the average player and appreciated by Leading Music Dealer or from the p~r*ls ch,efly la the first and third posi- the average listener. Publishers S, MUSIC PUBLISHERS AND DEALERS THEO PRESSFR fO MAIL ORDER MUSIC SUPPLY HOUSE ^ rump BOOKS 111 1710-1712-1714 CHESTNUT STREET CHr°^S.c»^s publications Established 1883 ORchestrA MUSIC PHILADELPHIA, PA. talking machines and records