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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
5-1-1917 Volume 35, Number 05 (May 1917) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 35, Number 05 (May 1917)." , (1917). https://digitalcommons.gardner-webb.edu/etude/635
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. SYMPHONY NUMBER THE ETUDE PRESSERS MUSICAL MAGAZINE MAY, 1917
FIRST PERFORMANCE IN AMERICA OF GUSTAV MAHLER’S EIGHTH SYMPHONY PHILADELPHIA ORCHESTRA _
PRICE 15 CENTS $1.50 AYEAR THE ETUDE Page 2S9 MAY 1917
Men at the Heights in Almost Evervj Life Vocation Have Climbed There on Home Made Ladders of Opportunity
Music boasts its WAGNER, statecraft its LINCOLN, invention its EDISON, literature its SHAKESPEARE, art its MICHAELANGELO, finance and manufacture its ROCKEFELLERS, CARNEGIES, SCHWABS—all supermen wbo owe tbeir greatness not to colleges and universities, but to books and life.
Rich and poor, young and old, worker and dreamer, The college merely starts a man. everybody can find help in these wonderful books, because The conservatory merely starts a woman. they were not made for the so-called highbrows only, but for Everyman and all the members of his family, The Books and work do the rest. You may even do without the college or the conservatory as did Wagner, Lincoln, Encyclopaedia Britannica Edison, Michaelangelo, and Rockefeller, but you cant do helps the children in their school work, answers the domestic without (Booh, Books- questions that come up in mother’s affairs every day, helps Whether you are destined to be a superman or not, may solve father’s business and economic problems, brings new matter little to you. But if you want to take the first steps life and broader interests into the home. away from mediocrity you must have at hand the books that the foremost men of our times consider indispensable, “The Music, like all other departments of human learning, is Encyclopaedia Britamiica,” the home library of universal amply, “abundantly,” treated in The Encyclopaedia Britannica education. by authorities of as high rank in music as all the other 1,300 and more contributors who have prepared and supervised The parents’ greatest debt to the child is the preparation every little detail in this monumental work. for future efficiency and happiness. That is the reason why most parents lay out from $400.00 to $ 1,000.00 for a Hundreds of articles on every phase of music—harmony, piano, why millions are spent every year for college and melody, rhythm, accompaniment, aria, band, cadence, conservatory education. concerto, biography, opera, notation, sonata, oratorio, song, symphony—everything you really need to know—may be The Encyclopaedia Britamiica cost a small fraction of what found in this “Supreme Court of the World’s Knowledge." a good piano costs and yet its 30,000 pages have within By JAMES FRANCIS COOKE, Editor of The Etude them the materials from which the superman is made.
You can learn where you can buy the new Encyclopaedia Britan¬ nica, to which Mr. Coolie, the Editor of The Etude, refers in the above article, by turning to page294of this same issue of The Etude. MAY n THE ETUDE Page t91 Page 290 THE ETUDE MAY 1917 The Great Grove Dictionary What Shall I Teach in the First Grade? Progressive Teachers Everywhere Have Adopted The Keystone of Every Musical Library A SERIAL ADVERTISEMENT These Modern Teaching Publications WATCH FOR NEXT MONTH’S INSTALLMENT T’HF best doctor is the one who knows the most remedies and knows precisely which one to give in each case. Die Grove’s T best music teacher is the one who is acquainted with the widest range of teaching material and knows precisely wha BATCHELL0R MUSICAL to give each pupil. Many teachers content themselves with a humdrum round of a few pieces, studies and exercises. Then they wonder why teaching becomes tiresome—why their pupils don’t get ahead. PRIMER OF KINDERGARTEN METHOD STANDARD GRADED COURSE OF Here is a Graded List of material selected by experts, many of them famous teachers. During the coming months FACTS ABOUT MUSIC By D. BATCHELLOR and C. LANDON Dictionary this hst ^lf cover the Second Grade, the Third Grade and so on. But the name, of piece, don t mean anythmg. By M. G. EVANS Price, 50 Cents STUDIES FOR THE PIANOFORTE y Price, $1.50 You have to see the music itself—have it in your own home for careful perusal. Certain works ought to be owned by Thit little work is more than a primer; it is Compiled by W. S. B. MATHEWS A concise, practical manual, a logical exposi¬ the teachers just as a doctor must own his surgical instruments or a lawyer his law books. a compact musical encyclopaedia, the subject 10 Grades 10 Volumes $1.00 Each Volume tion of the art of teaching music to the young If vou can't order more than a few pieces or studies at a time you can at least make a beginning. Let us send you matter being presented not alphabetically but in a pleasing and attractive manner. A complete course of the best studies selected for every purpose. The of Music and our "Special Grade I on Sale" selection. Look the music over thoroughly, learn all about it. make notes of what you progressively, beginning with the rudiments of This method uses various devices to awaken need, buy what you require (either for your pupils or for yourself) and return the balance to be credited. Thousands do music and ending with a tabulated summary Graded Course idea is original with the Presser house, but imitated more and to hold the interest of the little child. The this and in their own words “wouldn’t know how to teach without it.” of Musical History, each subject being ex¬ than any other system or work ever published. This Course is being 1 aim is to develop the subject in conformity with proved constantly. It combines the best elements of all schools, the Success comes from knowing how. All it costs to make a start is a penny postal with the line "Please send me plained through the medium of a series of prac¬ the natural bent of the child’s mind, largely in Musicians greatest variety from the best composers. It is simple and practical; tical questions and answers covering the the spirit of play. There are a number of rote Special Grade I on Sale” and your address. Elements of Music, Notation, Time, Scales, easy to teach, always interesting. We invite comparison. songs ; also music for marching, drills, etc. Five Large Volumes Bound in Red Intervals, Chords, etc. MORE THAN A MILLION COPIES SOLD ONLY COMPLETE MUSICAL KINDERGARTEN METHOD Cloth and Gold. Price, $25.00 QUESTIONS AND ANSWERS ON ELEMENTS OF MUSIC See these splendid musical MASTERING THE TOUCH AND TECHNIC books in your own home. What BEGINNER’S BOOK SCALES AND ARPEGGIOS the Encyclopedia Britannica is By DR. WM. MASON to General Information the SCHOOL OF THE PIANOFORTE By JAMES FRANCIS COOKE Price, $1.25 In Four Books Price of Each, $1.00 Grove Dictionary is to Music. By THEODORE PRESSER Price, 75 cents This work contains all the necessary prac¬ There is no better Musical Refer¬ tice material fully written out, carefully is Rhythmically Trei ool of Bril- A book for the veriest beginner planned along modern liar ence Library at any price in any lines, proceeding logically, step by step, making everything graded and explained, also very extensive PART III—Arpeggios Rhythmically Treated (Passage School). plain to the youngest student. All the material is fresh and new and original material, making it the PART IV—School of Octave and Bravura Playing. language. Unabridged in any attractive and full of interest. An extra large note is used. strongest, clearest work of its kind for the An original system for the development of a complete way. 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The In Three Books Price, 90 Cents Each books are liberally illustrated New and Distinctive A noteworthy addition to the technical literature of the pianoforte. In instruction on the pianoforte. The exercises Admirable for Self-Help practically every volume of Czerny’s works will be found some gem. progress by easy stages through the keys. with cuts, half-tones and notation Mr. Liebling’s selection and editorial work are masterly. All the popular Pedaling is treated in a clear and exhaustive examples. Thousands of subjects manner. There are no dry exercises or studies. Opus numbers and many less known are represented, compiled in an at¬ are discussed: Biography, His¬ Genuine musicianship is developed from the tractive and convenient form for general use. These are the studies that tory, Musical Science, Theory, contributed to the making of all the world’s great pianists. very beginning and a foundation is laid for THE INDISPENSABLE STUDIES practical church playing. 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All difficult words “self-pronounced.” lections of Music. has embodied in his new work the experience < the books. The early editions 150 excellent illustrations, map of musical Eu¬ The Presser “System of Dealing’ s thoroughly explained in all of a lifetime. Practical exercises a feature of th cost $25.00. rope, 400 test questions, 250 pages. Strongly our general catalogs. work. It contains also numerous cuts mac bound in maroon cloth, gilt stamped. Any Special suggestions and advice are freely given by private corres¬ from photographs taken especially for th teacher may use it without previous experience. pondence by the best authorities on the subject. This greatly enlarged PERMANENTLY ADOPTED BY FOREMOST TEACHERS work. These illustrations make the work ( the pupil much more simple and secure. latest edition costs Accounts Are Solicited Headquarters for Everything ■ only $15.00 part of the trade of every teacher and school is solicited. and Rolls, Musical Pictures and Post Cards, Blank PapeS°SBTaKto
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The significance of the symphony as an “orchestrated sonata,” masters have focussed the highest genius upon their symphonies. compared with the sonata itself, is that a work demanding the coop¬ Wagner, Chopin, Grieg and others are the exceptions that prove eration of so many persons, so much preparation, may be epic in its the rule. One surprising fact the careful reader may learn by perusing dimensions, may by its possibilities for tone masses of kaleidoscopic the Concise Dictionary of Writers of Orchestral Works in tins issue colors and tremendous force affect the human emotions so powerfully is that in numerous cases the composers were “largely self-taught.” that it reaches to the very utmost heights of tonal susceptibility. Genius in writing for the orchestra seems to depend largely upon It is human for the average man to reserve his greatest thoughts the quickness of the individual in mastering a vast number of facts for the more pretentious works. The great symphonies have been pertaining to the successful employment of the instruments. It is in almost every case the result of either long and profound musical one of those things which may be taught hut which at the same philosophical preparation, or have been inspired by emotional condi¬ time demands such an immense amount of study that, unless the tions of volcanic character. Such was the case with the Eroica Sym¬ student himself does nearly all the work of research and experiment, phony. Beethoven, with his great impassioned soul, was first of all little may be expected. When Richard Wagner was nineteen he an altruist and a democrat. He did not write for the mere sake of wrote a very creditable symphony in four movements, although lie making money or fame but almost always at the call of his art foi had had fewer actual lessons from teachers at that time than three- the good of mankind. Yet Beethoven was human. When Maelzel quarters of the music students in the United States at the present induced him to write a clap-trap symphonic work The Battle of moment have had. "Vittoria, Beethoven succumbed. On the other hand, consider the case In preparing a Symphony issue of The Etude we have hern of the Eroica Symphony, the third of Beethoven’s great nine. The particularly anxious to secure material that would prove of practical master, surrounded and nurtured by aristocracy, was nevertheless a value to teachers, club leaders and students in all parts of the United States. This issue is not merely representative of the so-called “cfetc bitter enemy of imperialism. The centuries of despotism which pro¬ East,” but reaches from coast to coast. One of the most interesting duced the French Revolution brought with it Napoleon Bonaparte, articles is that of Mrs. Engberg, in the far northwest corner of our the liberator of the common people. Beethoven saw in him the great country. Mr. John Phillip Sousa’s article is one of the rare informa¬ hero of democracy. Accordingly he dedicated his great work, in¬ tive articles which come only every now and then from men who have spired by the most momentous years of the eighteenth century, to spent a lifetime in finding out “how.” The articles by Mr. Finck, Mr. the little Corsican. Just as Beethoven was about to send the sym¬ Elson and Mr. Goepp cover other phases of the subject, all of which phony to Paris his pupil Reis arrived and declared that Napoleon tend to make this issue of permanent value in American home and had made himself Emperor. Beethoven, in intense anger, ripped oft public musical libraries. It is interesting to note that I HR Etude the dedication page from the Er.oica, the “hero” symphony, shout¬ special issues of the past are in many instances so rare that «<• have ing, “The man will become a tyrant and will trample all human rights under foot. He is no more than an ordinary man.” Nevertheless, the Eroica remains as the musical epic of human liberty. Probably the highest ambition of every composer who dreams of occupying a permanent place in his art is to write a great symphony or a great symphonic poem. It follows that unless one is like Haydn, and can tick off two symphdnies for every year of one’s working I symphony stowed away in their pile of Let us suppose that it never may be performed. The life, the composer is going to hoard his thoughts and put his grand¬ r ideal is a credit to the man and to American musical art. With est conceptions into the larger orchestral work. Beethoven wrote amazing increase in the number of orchestras in America the 38 sonatas, 16 string quartets, but only nine symphonies; Schumann i will come when these unheard symphonies may he heard. I.H wrote 30 pieces of chamber music, a large amount of piano music ,er, however, that in producing « and numerous songs, but only 4 symphonies; in the vast amount of ; work, they must ascend to the very peak of Par- delightful music which came from the brain of Mendelssohn there are with those of the great minds were but 4 symphonies; Brahms was well along in life before he of the past. But let them remember that a beautiful piece of ballet essayed the first of his 4 symphonies; Verdi wanted above all things music like The Dance of the Hour* from La Giacomda is worth a to write an immortal symphony. So great was his genius for the stage and so long were the years that he devoted to opera, that when he came to write a string quartet (which after all is a kind of baby symphony in that it follows the sonata form with fewer instru¬ ments) Verdi produced a work which even his friends were forced to admit was weak and inconsequential. Obviously most of the great MAY 1917 THE ETUDE Fagc 297 ■ ■■ =a
The Teachers’ Round Table Symphony Orchestras in the United States Conducted by N. J. COREY , and not technical problems pertaining to musical By LOUIS C. ELSON This department is designed to help the teacher upon questions pertaining to “How to Teach,” “What to 1 e and address must accompany all inquiries. theory, history, etc., all of which properly belong to the Musical Questions Answered department. Mr. Louis C. Elson, author of “The History of American Music” and other works, is doubtless the foremost Searching for Enthusiasm American authority upon this subject Supplying What Nature Left Out black keys. In the right hand the thumb all white “How can 1 infuse new life and Interest in an keys except C and F, and in left all but B and E. advanced piano pupil who has been with me four "I have charge four afternoons a week of concerts the conductor made himself noticed by actions normal girl who Is physically fourteen, but mentally 4. The giving of the old hymns would have a very vears and has mastered difficult works of Bach, In the last part of the eighteenth century there was ence of the New York Philharmonic Society’s orchestra only five years old. She has had training In artic- Beethoven Chopin and modern classics ? She is a can scarcely be over-estimated in the history of which might have made De Pachmann himself envious. limited use in learning to play the piano. In the early good worker but lacks enthusiasm, although she Is and oboe-player in a Hanoverian regiment, in Germany, ulalion and reading, but none In music, and as “bo America’s orchestral advance. His appearance was strange enough, with flowing has no memory I am at stages they might prove useful in learning chord a young teacher and ambitious. She has not a named Gottlieb Graupner. He was decidedly a “rolling should pursue. thorough understanding of what she does. Can To those who attend fashionable symphony concerts black hair and exuberant moustache; his white vest touches, but a very few of them would be all that was stone” and gathered very little moss during his early _je the child can never do a great deal it you suggest some Interesting work for her?”—C. H. in these modern days the difficulties in the path of and heavily embroidered shirt, his extravagant gest¬ music, but the idea is to try and develop whai necessary. So far as instructive purposes are con¬ erratic career. In 1791 Haydn engaged him for his __mentalityty si_she has. Would_ you think it advisable tc The most serious sentence in your letter is the next the pioneers will seem incredible. The public in those ures, all these were part of the attraction. When lie use labels’ on the keyss with the— names__ - .printed oi cerned they would be very monotonous, simply repeat¬ large London orchestra, and he was again engaged in • them, and letter the music so that she could 1<— to the last. You say she has been with you four years 1794, therefore we may judge him to have been a early days then cared more for patriotic tunes, for conducted Beethoven he would have a lackey bring him ing the same ideas ad nauseam. Pupils of average to play by associating the letters of the printed and does not thoroughly understand what she does. Is player of some merit. In 1797 Graupner left Europe, quicksteps, for bugle fanfares, than for anything deeper. an especial jewelled baton on a salver. When he had page and piano keys? Could you suggest any books ability should acquire the skill to play them at sight. completed the work he would sink as if utterly ex¬ on music for the feebleminded?"—R. H. this her fault or yours? If it is yours you might find and after a sojourn in Prince Edwards Island, wfc find Even the operatic tunes were somewhat above their As sight-reading exercises they might have a certain comprehension. Theatre orchestras were sometimes hausted, into a chair. Small wonder that while the This is certainly the most singular case ever brought here one cause for her lack of interest. It is the func¬ him in Charlestown, S. C., marrying a soprano singer value. mobbed for not playing down to their audience. Even Germania could not attract its ten-dollar audience to the attention of the Round Table, more so than that tion of the teacher to make everything plain to his or there. Perhaps his marriage steadied him, for he made A Late Beginning the orchestras which attempted the classical path often Jullien was able to increase his forces to ninety-seven of the young man who had had all four fingers cut off her pupils, and see to it that they understand. You give but one change of abode after that, settling finally in at the second joint, and still wished to learn to play the “Wbat would you advise me to teach a man made havoc with the works they attacked. men, the largest orchestra that America had ever about twenty-eight years of age who Is just begin- no clue as to what phase of her work is not under¬ Boston. piano. I am frank to admit that such a case would bigness meant something. ning the study of the piano ? He never intends stood, so it is difficult to give you any special advice In that city he began teacl tax my ingenuity just as it does yours, for I have to make a musician of himself, of course, but wants engraving music, publishing, to learn something about music. I started him in along this line. Her enthusiasm would be greater, A Fine Legacy never had a pupil that was more feeble-minded than etc., and finally succeeded the New Beginners’ Book. Was that best?”—L. F. however, if she understood everything, for to be under¬ the average listless one who takes no interest. I have in obtaining a comfortable But the Germania left a never heard of any books that would cover the case You could not have done better than to use the New taking a thing vaguely is disheartening. It is your and permanent position. fine legacy to America. In you mention. I should make no effort to teach her Beginners? Book. In elementary study there is little business to make her understand, and you should do The teacher in those days the picture of this orches¬ the notes on paper, at least not for a long time. It that can be done aside from regular routine work, un¬ so unless she is lacking in intelligence. With a thorough generally supplied the mu¬ tra, which I append to this seems to me that the best plan at first would be to teach less it be Kindergarten methods with small children. understanding of her work in its every phase will come sical instrument as well as article, there stands at the extreme left a flute-player her by letters only, writing everything out for her. Later various divergences may be made, to suit the a renewed interest, a feeling that she is master of the tuition, and often added of tall and impressive pro¬ Preliminary exercises could then be written C—D—E—D ability and taste of the student. Mature pupils are herself and what she is doing. literary or dancing adjuncts portions. When Carl Bcrg- and so on. The dash would indicate the second count usually something of a problem, because they have It would be a help if she could hear great players. to bis work to eke out his tnann suddenly ended his for each letter. When this pupil becomes very ad¬ outgrown infantile music, and yet have not the finger A short season, even if no more than a couple of livelihood. This Graupner conductorship the hand de¬ vanced, which simply means that she will be playing a control to play anything more difficult. There is only weeks, in one of the great musical centers where she did not do, but he very soon left-hand part that differs from the right, an ac¬ cided that this fltitc-playfr one book that I know of that is specially adapted for could listen to the great artists would doubtless stir founded an orchestra, the companiment could be written to the foregoing series, would look best as their the mature pupil, and even this will serve your pur¬ her up a good deal. Set this before her as an ultimate Philo Harmonic, which he thus, C, G, F, G, E, G, F, G, «h. G coming where the conductor, ami thus was pose better after some little practice in the book you trained in music and of dash is. These letters could also be pasted on the goal, and the planning for it for some future occasion Carl Zerrahn launched have chosen. But Suggestive Studies for Music Lovers, which he was for many keys, as you suggest, at the beginning. You will- find will help to renew her interest. You are a long dis¬ upon his conductorship. a by Caroline I. Norcross, will be most admirable for you. years the leader. This or¬ many preliminary things in the ' “New Beginner’s tance from the music centers, but in your own State career which left an indel¬ It is designed for pupils of intellectual maturity who chestra contained less than Book,” Plaidy exercises, etc., etc., that you can write. there are occasional musical festivals in the larger a dozen performances, but ible mark upon American In this manner your pupil will have only one thing at had no musical instruction when young and have out¬ cities. Aim to attend one of these some time in the music. Mr. Zerrahn was grown childhood methods. You .will find it a most it was the first “symphonic” a time to fix what little mind she has upon. Each near future, and you will find a brightening up of the orchestra of this country. not comparable with the hand mus. come separately to begin with. When the excellent work to take up at once, after the few weeks intellect from the first thought of it. Is there a State great conductors of the of elementary drill that he has now had. They played the symphonies time comes that she car. learn to read notes, the letters Music Teachers’ Association? Get her in touch with of Gyrowetz and, for the present, in America, but he can be written against them as you suggest, but I Loose Joints that, and induce her to become active in it. She needs acme of difficulty, sometime was the ideal leader for his would delay this as long as possible. Her progress will “What exercises would prevent a pupu s second to broaden out her horizon if she is intending to be a attempted a symphony by epoch. His subsequent con¬ be enormously slow, unless she has the kind of natural or fourth fingers denting In at the first joint? I member of the profession. Haydn, who was Graupner’s ducting of the Peace Jubi¬ ability that Blind Tom had. I am under the impres¬ have a couple of fairly advanced students who have lee Orchestras, the second contracted this habit, and are unable to control the You seem to have made her familiar with good idol. The Philo Harmonic sion that the patience that Job is reputed to have been fault for any length of time. music. Do not keep her study too stilted, however. orchestra began its career one having two thousand obliged to exercise must have been a dizzy whirl of ex¬ “What Is the correct way to hold the hands in musicians, will always re¬ playing arpeggios ?"—M. I. Select some things from the modern composers. Pieces a little before 1810, and was citement as compared with that which you will have to that are brilliant and striking, and you may arouse in existence for more than main memorable. Such apply with this girl. To begin with be certain that the finger nail is not more interest. Then in order to arouse enthusiasm you a dozen years, for its last work as the last-named overlong. This fault is very often caused by nails so Bergmann, who Is seated in the centre of the above picture. On the exl will always seem inartistic Ranging from the Broom to Old Hymns must convey enthusiasm yourself. It is very con¬ concert >yas given Novem¬ Oarf Zerrahn, who later became a celebrated leader. The names of the and Jumbo-like. One can •'1. 1 wish to do advanced study but housework long that the fleshy portion of the finger tip cannot tagious, and by showing it in genuine fashion you may ber 24, 1824. G. Koppltz, F. Thiede, W. Meisel, W. Blake, W. Buchheister, C. Bartels, Interferes with my finger dexterity. Will this pre¬ M. Moritz. Second Line. C. Zerrahn, J. Schulz, H. Luhde, W. Schultze C. Bergmann, leader; C. ? wholesale flour, or dry vent tny reaching a virtuoso stage? strike the key unless the nail be projected outward a carry her with you. Before this, however C. Placemann, H. Ahner, H. Kiistenmaeher. “2. I am now completing dementi’s Oradus ad little, when, of course, the joint gives away. Having Concentration (April 24, 1821), the Mu¬ goods, but not orchestral Pnmamum, Radi's Writ Tempered Clavichord, and year of 1848 was a very troublesome one for Art in music, but in the attendant chorus of twenty thousand llectlmveng more difficult sonatas. Would you attended to this, next place the point of the thumb “1 have two pupils, a boy of nine and a girl of sical Fund Society, in Philadelphia, had begun its or¬ —capable of teaching, especially those in directly into the first joint, hold it firmly, and with ten, both of whom are very deficient in concentra¬ chestral labors and had given Beethoven’s first sym¬ Europe. Revolution was rampant almost everywhere, voices there were multitudes of amateurs who were fourth n lftli grades? led to the higher paths of music by the compositions is the best fingering for the chromatic slow and measured stroke upon the wrist action, strike tion. Can you suggest some help ?"—E. K. phony. In 1840 Boston founded a larger symphony and orchestral musicians found it very hard to get a scale? the point of the finger upon the edge of the table. orchestra (The Boston Academy Orchestra) which living. As a consequence many of them emigrated to which they first studied in the “Jubilee D.iyv" There- giving There is little you can do of a special nature to fore both Gilmore and Zerrahn helped American taste After about fifty strokes repeat without the support improve concentration in children so young. Mental even ventured as high as Beethoven’s fifth symphony, America. It was dire necessity which led twenty-three sens. I cannot understand the value of this. of the thumb. Make this a daily exercise at first until although at first it gave miscellaneous music between of these stranded artists to band together and form a in Music forward in a great degree. Would you consider It a good plan?”—E. M. powers do not exist in children to any great extent, sufficient muscular strength is developed in the joint two of its movements, fearing tKat its length would classical orchestra in the hope of replenishing their As this is intended for condensed musical history I 1. The virtuoso stage in any art can only be attained only the possibilities for their development. Those may give but passing mention to Zcrrahn’s work with to hold the finger in firm position. Under this treat¬ most conversant with the education of children take be too great for the audience to hear continuously. empty purses. The Germania Orchestra was the re¬ lly the absolute consecration of one’s self and energies ment the fault will gradually disappear. Do not New York had possessed a Euterpian Society long sult, an orchestra which gave better music and in a the orchestra of the Harvard Musical Association, in to that art. You have found out by your own con¬ this into account. It is true one child may be much practice this gymnastic exercise upon the keyboard, as before this, beginning in 1799, but as it gave but one better manner than had been possible in America Boston. It existed from 1866 to 1882 It was quietly fession that housework interferes with your finger more intelligent than another. Intelligence, however, it is wholly unnecessary. concert a' year, and made no pretensions to symphony, before. conservative, although John S. Dwight shrieked wildly dexterity. A reasonable skill can be attained and main¬ does not necessarily mean the actual possession of the The hand should be held high with the little finger it need not be classed with the permanent organizations The Germania musicians did not tread the flowery against Liszt and Berlioz and Wagner, whom he tained even by those who must attend to their house¬ various faculties, hut simply the ground provided by side slightly higher than the other, so as to admit°of mentioned above. paths of ease. Only their Boston concerts gave them seemed to regard as the World, the Flesh, and—so hold duties, but the virtuoso stage is a different matter. nature upon which work may be maintained. It 's free passage of the thumb. There may also be a In all of these orchestras there was no real con¬ a profit. New York always entailed a loss. In Phila¬ forth. But there was something much greater in ex¬ The word may not express your true meaning perhaps, sometimes almost impossible to develop faculties that tendency towards an angle so that the fingers point a ducting. To lead an orchestra with a baton was not delphia they pared down their expenses to a minimum istence now than the Harvard Musical Orchestra. The for many do not realize that there are but a few nature lias not provided the way for, the inattentive little towards the name board letters in front of the established in Europe until after 1800, and the custom —without avail. At last they attempted a concert there true leader and founder of the orchestral taste of virtuosi in the world at any one time. Paderewski, child often proving the inattentive man. The devel¬ keys, but not enough so that the elbow projects in an came in much lbter in America. The reader must in a large room which was rented to them for the sum America had arrived at last in the person of Theodore Hoffmann, Bauer, Bloomfield, Zeisler, and all of that opment of concentration must be the result of all the ungainly manner. Let the thumb pass as far under as however make a distinction here. Leading with a staff of ten dollars, to be paid before the concert began. Thomas. class. Some brilliant pianists, however, do their own child’s study, academic as well as musical, and will only possible, aiming directly towards its desired key, and But the receipts fell below this sum and the hard¬ The Advent of Theo. Thomas work in the house. be the result of the endeavor of years. Meanwhile it (rapping out the time) was used by Lulli in the let it drop there quickly without in any way jerking or seventeenth century, and possibly as far back as the hearted landlord turned out the gas, the audience, and 2. You are certainly sufficiently advanced to begin is bad to try and hold the child’s attention for long It was in December, 1864, that Thomas began giv¬ twisting of the arm, the fingers instantaneously assum¬ time of Charlemagne, in the eighth century. The early the orchestra. A more sensational organization had, teaching, and may carry your pupils into the fourth at a time, especially under foregoing conditions. Tasks ing their position on the next key position bevond the for a short time, a more decided success. Jullien, the ing orchestral concerts in New York. He soon ni»d<- and fifth grades. You will find, however, that the art should be brief, and a change of thought frequent. American conductors were part of the working forces thumb. This should be practiced, both in preparatory French conductor (who finally died in a mad-house), tours to various eastern cities, and in 1877 and 1879 of teaching is an occupation by itself, and will need a y ou should teach them to try and observe and watch of the orchestra. exercises and regular arpeggios, until the thumb can brought a band of forty' musicians over here in 1853, lie was the conductor of the Philharmonic Orchestra great deal of your very best study if you are to excel or every little detail in their work, allowing nothing pass without the slightest break being discernible. New York’s Seventy-five-Year-OId Orchestra In this band were some of the greatest of artists. itself. In 1890 he transferred his activities to Chicago in it. It does not mean, as many imagine, simply the • to escape. This one item will keep you busy for years, To New York belongs the credit of beginning a true Lavigne, the finest oboeist of his time, was there, and Fifty business men of that city pledged SI.000 each passing on to another what you have been taught. If ihe best thing to do for the children will be to insist annually for three years, in order to establish a per crusade for symphonic music, for the Philharmonic so was Bottesini, the king of the contrabass. ,Bot- that is all you attempt you will soon exhaust your Owing to the unusual amount of material upon their memorizing everything they do in music, manent orchestra. Mr. Thomas placed at the service Society, which began in 1842, has now seen seventy- tesini drew crowds with his fireworks upon the “bull possibilities. i eaching. them accuracy in details will help them to wc of the organization his immense library of orchestral in this Symphony Issue, the Etude Day page five years of continuous service in the noble cause. fiddle,,” as the unregenerate called it, but the magnet 3. The so-called French fingering is the most practic¬ the mind and develop concentration. In this matter. scores. It was an educational fight, us usual, with a is omitted this month. It is only recently that its anniversary has been cele¬ after all was the eccentric conductor. In the Germania able for average use. In this the third finger plays all decidedly rough path for the pioneer. results^' k WiI' bC USeless for >’ou t0 look for qUick brated, and some tardy justice done to the memory of concerts Carl Lenschow or Carl Bergmann conducted The losses were heavy for the first three seasons, and Uriah C. Hill, its chief founder. The sustained influ¬ with the conservatism of true artists, but in the Jullien MAY wn THE ETUDE Page 299 MAY 1917 Page 298 THE ETUDE Certainly, I’ll Play I including Mahler’s Eighth Symphony, with 1,000 per¬ the Chicago public squirmed at the sometimes severe Mae-Aileen Erb character of the programs, but they grew up to them at formers, have been given by this orchestra last. I believe that Thomas was at one time offered The Cincinnati Symphony Orchestra has also come permanent. Mr. Van der Stucken conducted it Why is it that so many piano students show un. The Symphony Orchestra and the Concert Band the conductorship o( the Boston Symphony Orchestra, .j 1912, and at a prize in the eyes of every conductor of the world, from 1895, Mr. Stokowski from 1909 t<~ an to 0iav when asked to do so. Ordinarily present'Dr. Ernst Kunwald is its eminent conductor. Written Expressly for The Etude but he declined it out of loyalty to his own orchestra Hi'ese same people would inconvenience themselves KA splendid« ... endowment, ..._s.:_tn amounting almost tc a million and its men. Theodore Thomas, most noble and dis¬ gladly to do you a favor or to render you any service By JOHN PHILIP SOUSA interested of characters, hewed straight to the line, in dollars has been left to this orchestra by Miss Martha you might ask of them; yet when you ask them to Cora Dow, which will enable it to carry out the symphonic progress, and it was he who was the true play, they refuse point-blank. True, there are some, Mf. Sousa’s Article is one of the Most Original and. Distinctive THE ETUDE has ever been Privileged to Present teacher of our country in this field. At his death, greatest plans in the future. Already it has made a who after a certain amount of coaxing' will really January 4, 1905, it was found unnecessary to disband tour to the east and the impression made upon me Dy condescend to play, but all the pleasure has gone out It is Filled with Unusual Interest for all Music Lovers the orchestra; his lieutenant, Frederick Stock, proved its performance of such works as Strauss’ ‘‘Sinfoma of the playing and the listening, too! Domestica,” and Wagner’s “Meistersinger Prelude, to be a great conductor in his own right, and he has There are only two reasons which can account for was that both orchestra and conductor are in the very At the very dawn of history, vocal and instrumental main in the repertoire of the famous orchestras of the ments is beyond question the violin group. In senti¬ kept the Chicago Symphony Orchestra up to its this hesitancy to play for others. Bo*}1 can he elim¬ combinations existed, for do we not read in Chronicles: world and arc played with never-ending delight to the ment, mystery, glamor, register, unanimity of tonal highest level even to the present time. front ranks. ' . _ , inated by application and will power. They arc; In 1902 Minneapolis also founded its Symphony auditor, the performer and the conductor, each suc¬ facility and perfection in dexterity it more than equals In Boston the Harvard Musical Association Orchestra First. No pieces prepared. "And David and all Israel played before God with all Orchestra, which bids fair to be permanent It has ceeding year. all other families. But, aside from its delicate nuances had been going on in a rather somnolent way for some After spending time and money on a musical educa¬ their might, and with singing, and with harps, and with been the work of a very energetic conductor, Mr. Emil Although it is a far cry from the combination of and diffident dynamics, it reduces itself to the skeleton years, ignoring much of the modern music, and clinging tion it reflects disparagingly on your ability and ambi¬ psalteries, and with timbrels, and with cymbals, and Oberhoffer, who is making it a great influence in t e strings, wood-wind and brass of “Papa Haydn’s” or¬ of the symphonic structure, because, like bread served as a drowning man to a straw, to the recognized classics. tion not to be able to play at least one piece in a with trumpets;” musical life of its city. Not only does Mr. Oberhoffer chestra to the instrumental tools employed by Richard with each course, it loses its novelty; and, if violins An opposition orchestra was established by the young satisfactory manner. Rather than give that excuse 1 give classical concerts to the elite in Minneapolis, but Again, is it not recorded,in Daniel: Strauss—to the composer of “The Surprise,” “The are used a’.one, beyond a certain time limit, they sug¬ radicals and a new Philharmonic Orchestra was organ¬ would sit down and play a simple five-finger exercise Farewell,” “The ■ Clock” and other immortal works, gest an Adamless Eden, which, however beautiful, does ized under the leadership of Bernhard Listemann. he is earnestly bringing music to the people by means "Nebuchadnezzar spake and said unto them, ‘is it to show that the careful instruction of my teacher had should be given the honor of establishing the classic not appeal to Eve.1 Instruments can be likened to man. Louis Maas and Carl Zerrahn afterwards led this of popular concerts, musical explanations, etc. I have true, O Shadrach, Meshacli and Abed-negot Do not not fallen on absolutely barren soil! orchestra. Man is a social animal; orchestral instruments crave orchestra. The result was a good deal of newspaper heard this orchestra also, and was surprised at the \e serve my gods, nor worship the golden image which Second. Fear of not “getting through.” The group of the “Father of Instrumental Music” company. contention and empty houses for both. ensemble already attained. /• have set up? St. Louis has an orchestra which also shows signs «>xis better to have tried and failed than never to "‘Now if ye be ready that at what time ye hear the (1766) consisted of six violins, one cello, one bass, Of the separate instrumental groups, apart from The Boston Symphony Orchestra of permanency. Since 1907 Mr. Max Zach has led have tried at all.” By not trying, we can never achieve; sound of the cornet, flute, the violin, the vocal, while by not meeting difficulties we can never overcome them. in compass, lightness or In 1881 Maj. Henry L. Higginson, a wealthy banker this band and his programs are of the high order harp, sackbut, psaltery and Every time you give in to that feeling of fear and mobility, is not the equal of Boston, cut the Gordian knot by founding the which one would expect from an ex-member of the dulcimer, and all kinds of self-depreciation you are losing your grip on yourself- of the violin family, it pos¬ Boston Symphony Orchestra. Georg Henschel was its Boston Symphony Orchestra and a disciple of Mr. music, ye fall dozen and your character is weakened. Every time you make sesses a power for pathos, first conductor. He was not of the first rank as a Gericke. worship the image which I yourself do something which is hard for you to do, passion and soul-gripping conductor, but he was better than his predecessors and And now even the far west is entering the symphonic have made; well: but if ye your character is strengthened. When you begin to quality not possible by any he made very interesting programs with many modern field. San Francisco began in 1911 and formed an zvorship not, ye shall be cast play throw your whole self into the interpretation oi other group. The wood¬ works in his lists. The orchestra was then by no orchestra which was led by Henry K. Hadley. It was the same hour into the your piece, and you will have none left for self-con¬ wind has a slightly greater means what it has since become. pioneer work at first. Rehearsals difficult to obtain midst of a burning, fiery register than the violin. In In 1884 Mr. Wilhelm Gericke took charge and at and yet the most arduous modern compositions de¬ sciousness. furnace; and who is that niarblcized chastity, crys¬ once began the reforms which have made the Boston manded. Mr. Hadley worked indefatigably and ac¬ After this when you are asked to play accede God that shall deliver you Symphony Orchestra the equal of any in the world. complished wonders under the circumstances. Now promptly and graciously. Just remember people would out of my hands?’ tallized coquetry, humorous He built for the future by discharging many of the the western city is beginning to open its pocket-book not ask it of you if they did not enjoy music. Many "Shadrach, Mcshach and murmurs and voicing ani¬ veterans of the band and filling their places with young and give the sinews of war which every symphonic are unable to play for themselves and the only way Abed-nego answered and mated nature, it is in a mltsicians from abroad. His intention was that these . orchestra needs independently of the box office. The in which they can satisfy their thirst for the beautiful said to the King, ‘O Nebu¬ class by itself. The last should 'grow up with the orchestra, and the organiza¬ reaper of the benefit of this will be Mr. Alfred Hertz, is through others. So forget yourself and the few chadnezzar, we are not orchestral family, the brass, tion was very little changed in its personnel for years the. famous operatic conductor, who now conducts the possible mistakes you may make and' take genuine de¬ careful to answer thee in in gamut is less than any afterwards. If one regards the Boston Symphony San Francisco Orchestra. There have been disputes, light in sharing with others the gift which lies within this matter.’” save the vocal, but has the Orchestra as a superb instrument upon which the con¬ but the outlook is that both conductor and orchestra you. _ Evidently, Nebuchadnez¬ power to thunder forth the ductor has only to play his interpretations, then Wil¬ will be sustained through thick and thin, and that the zar and his band were not barbaric splendor of sound helm Gericke may be regarded as the founder of the result will be an elevation of San Francisco’s music. How Staccato Practice Puts a “Snap” very popular. or intone the holiness of organization. Arthur Nikisch, who followed in 1889 No country but our own could show such a solid in Playing Poor old Neb had as the Cathedral. was a much greater orchestral poet, but the discipline growth in the highest paths of music in a single gen¬ much trouble securing an The Orchestral Pallet became more lax and the instrument deteriorated under eration. It is simply phenomenal. Yet a few By Elizabeth M. Rossiter audience as some of the Therefore, composers his regime, in spite of the greatness of his readings. orchestras of the great cities have proved but temp¬ moderns. have found a greater diver¬ After that came Emil Paur, Gericke again, Dr. Karl orary. Pittsburgh, which had an excellent organization Staccato practice should be introduced quite early in “Be sure and do not miss sity of tone color in a mul¬ Muck, Max Fiedler, all of whom were great con¬ under Victor Herbert and Emil Paur, suffered it to the pupil’s work. As soon as the hand has gained a my concert to-night,” says titude of wind instruments, ductors. but they had a perfect orchestra made ready lapse. St. Paul has flickered somewhat in the sym¬ good poise over the keys, and a rather smooth legato the Nebuchadnezzar of to- cylinder or conical, single- to their hand, for the growth in homogeneity which phonic field, although efforts are promised very soon fay Photo. Copyright by Bolles, 1890 has been acquired; begin staccato practice. The ac¬ reed, double-reed, direct vi¬ Mr. Gericke had planned for so wisely was taking which shall reestablish its orchestral prestige. “Sorry, but I can’t,” says companying five-finger exercises have been used by the bration by blowing into an place. At present Dr. Muck is the leader and is likely People’s Orchestras, popular- orchestras, etc., show the Shadrach of these times, "l have found i m,erica something that I least expected to find . . . J to remain so as long as he chooses, and this is well, that the desire for music is among the masses also. writer for a good many years, for acquiring the various an orchestra like Theodore Thomas’s-. Sever in mg life. aperture, or cup - shaped kinds of touches, and they have proved very valuable. edging away, “I have a IVveiAco'meruT*"’ , ^ershurp, Vienna, Berlin, Paris, London, and other great cent mouthpiece, taking the vi¬ for in him we find the combination of poet and drill- There is probably no country in the world in which was as perfect as the organization Theodore Thomas has created previous engagement to . an orchestra th ■ brations from the trumpet master, which is needed in the ideal conductor. musical education is so widely pursued as in America. take a nap in a boiler Anton Rubinstein. Surely there is none where so much is expended upon muscles of the human lip factory.” and various sizes of tubes, than in the string family- The Damrosch Influence music. But this very brief account of the leading Hugo Riemann, Sir Charles Villiers Stanford, and one flute, two oboes, two bassoons and two horns. The alone. All these wind instruments have added to the With the Philharmonic in New York, the Chicago points of the progress of symphonic orchestras may Cecil Forsyth, those indefatigable delvers into the earliest of the Haydn symphonies were given to the pallet of the orchestrator and have permitted him to Orchestra, and the Boston Symphony Orchestra the go to show that this great disbursal is not merely the mystical mines of musical antiquity agree that every¬ world by these instruments. The “Alpine Symphony” use his creative power in blending the various colors seeds were planted and the harvest was much greater lavishness of the parvenu but the earnest progress of thing in music, up or down to 900 A. D. should be of Richard Strauss (1914) calls for two flutes, two In this connection, it is not amiss to point out that that than anyone could have anticipated. The New York a really music-loving nation. considered ancient. They record the use of voices and piccolos, two oboes (doubled), one English horn, one giant of the music drama, Richard Wagner, in nearly Symphony Society has done as much as the Phil¬ instruments giving melody only, or, at most octaves heckelphone, one E-flat clarinet (doubled), two B every instance, enunciates the "leit-motifs” of his operas harmonic. but it began later. It has been entirely in singing and playing. Of course, the rhythmic in¬ clarinets, one C clarinet (doubled), one bass clarinet, through the agency of wood-wind or brass." Damrosch from the very beginning, for it was founded A Memorable Performance struments of percussion were used to mark the time three bassoons, one contra-bassoon, sixteen horns, four by Dr. Leopold Damrosch in 1878, and when that and accentuate the melodies. tenor-tubas in B and F, six trumpets,, six trombones, The Band at the Beginning the Band of To-day illustrious pioneer died, in 1885, his talented son, The performances of Mahler’s Eighth Symphony, two bass-tubas, two harps, organ, celest, timpani, The so-called Thurmer (Watchman1 bands of the First, practice them with a pure legato touch, usi If, as some claim, music is a man-created invention, Walter Damrosch, took the helm, or the baton, and sometimes called the “Symphony of a Thousand,” dur¬ eighteen first violins, sixteen second violins, twelve Middle Ages seem to he the progenitors of the present both hands together. When a smooth, singing tone h its improvements in the innumerable years that pre¬ has guided the orchestra for over thirty years. Mr. ing the spring of last year by the Philadelphia Orchestra, violas, ten cellos, eight double basses, small drum, bass day concert band. They were made up of fifes, olioes. been attained, begin the staccato touch with separi ceded the makers of modern harmony were slight Higginson’s example of generosity in endowment of drum and a host of “effect” instruments, which we, in zinken, trombones and drums. Trumpets were not at under the baton of Leopold Stokowski, was heralded hands. Let the weight of the hand drop upon t indeed. an orchestra also bore good fruit, for, in 1914, Mr. America, call “the traps.” Besides the above instru¬ first used, because they wore for royal ears alone: not around the world as one of the greatest orchestral fleshy cushion of the finger tips near the end of t It is self-evident that man, in the ancient days, had Harry Harkncss Flagler announced that he would ments, Strauss, in a previous composition, employed for the common herd. As time passed numerous wind achievements by an American orchestra. The entire nail, but do not let the nail touch the key. Use brain, eyes, voice and hands, even as he has to-day, guarantee $100,000 annually against any possible deficit but polyphonic music did not exist until the breath of saxophones. instruments were added to this group; some of thr orchestra and chorus was then transported to New very flexible wrist action. Be sure to train for in the receipts, so that the conductor is now able to God warmed into music a soul, and cold mathematics The Modern Symphony Orchestra originals became obsolete and others were improved follow out his own high musical'plans without regard York, where a performance was given at the Metro¬ crisp, short snappy tone. gave way to creative genius, inventive skill and in¬ It will be noticed that between 1766 and 1914 com¬ upon, until to-day, 1917, the wind l>a td consist* of four to any box office results. Mr. Damrosch’s programs politan Opera House before one of the largest audi¬ When this little exercise can he played, with t spiration. posers have added a multitude of wood-wind, brass and flutes, two piccolos, two oltoes, one English horn, two are of the broadest and most educational character. ences ever crowded into that huge building. The hands separate, in a crisp staccato, at a prettv bri The Messiahs of Music percussion instruments to the primitive symphonic com¬ bassoons, one contra-bassoon, or sarrusophone. two alto auditors included some of the most celebrated musicians tempo, put the two hands together in staccato. Ma The Messiahs who, brought the glad tidings—Pales¬ bination. With the single exception of, the harp, there saxophones, two tenor saxophone:, one Isaritonc saxo¬ The Philadelphia Orchestra of both continents and the performance repeated the the bands act in such complete unison that the tor phone, twenty B clarinets, one alto clarinet, one bass will sound as one. Next play one hand staccato a trina, Bach, Beethoven, Wagner and a multitude of has been no effort made to permanently incorporate In 1900 Philadelphia followed the symphonic trend success of that given in Philadelphia, clarinet, four cornets, two trumpets, two fU-ugcl horns the other legato. Alternate until it can be played wi divinely-endowed musicians, have led the world out of into the string band any other stringed instrument. of all the great American cities and founded an It is for this reason that The Etude has chosen as While the guitar, the lute, the mandolin, the banjo, or added cornets, four horns, four trombones, two orchestra. Mr. Fritz Scheel was brought from San ease, and changes made in touch, from one hand to 1 the wilderness of crudity into the dazzling realm of its title for this Symphony Issue a picture of the great the zither and the viola-d’amour have been used in euphoniums, six basses (double 11), one harp, one tim Francisco to lead it. A more thoroughly equipped and other, at any place in the exercise without a break. the present—a present rich in the treasures of the orchestral combinations, they have only been employed pani, one small drum and one bass drum. (This is conscientious conductor could not have been chosen, chorus and orchestra. The cover was not quite large After this exercise has been mastered as prescribi masters who have arrived, rich in the promise of for some effect believed necessary by the composer. the instrumentation of Sousa’s Band.) but he fell a victim to his own devotion to the cause enough to include all the instruments and consequently give the studies and pieces that follow the same ki those to come. In fact, “the symphony orchestra,” to quote W. S. The tendency of the modern composer to place, on the and died in 1907. After five years of conducting by these were represented below. The great triumph of of practice. For the more advanced pupds there The precursor of the present in relation to the com¬ Rockstro, “has become a large wind band plus strings, shoulders of the wood-wind corps and the brass choir Carl Pohlig, during which constant advance was made, the undertaking was due to the splendid leadership and nothing as good as No. 1 and No. 2 of Clement bination known as the Symphony Orchestra dates from instead of a string band plus wind.” of the orchestra, the most dramatic effects >>f the a really great and enterprising conductor was found initiative of Leopold Stokowski, whose genius has >ra us ad Parnassum. If conscientious practice of tl the Eighteenth Century. Joseph Hadyn has long been known as the “Father Why? symphonic body has much to do with the development in Mr Leopold Stokowski, who had been conductor in made the Philadelphia Orchestra one of the foremost kind us continued, the result will be surprising » The most aesthetic of the pure families of instru¬ of tb<- wind band, although there is no question that Cincinnati. The very greatest works of the repertoire, symphonic organizations of our time. f 1 yjng: N°thing will put a “snap” or crispness of Instrumental Music.” Many of his symphonies re¬ your playing quicker than this.
i MAY 1917 MAY 1917 TEE ETuEE Page S01 Page 300 THE ETUDE
Is the Symphony Played Out?
By HENRY T. FINCK
The distinguished Author and Critic asks a significant question and then gives some very informative answers
It would be foolish to ask: “Are symphonies played hear the reader exclaim. Well, that’s just the way I of diverse tone-color, presents a much greater variety out?” We all know they are not. At nearly every feel at every chamber-music concert I attend. After of impressions, and because orchestral programs are orchestral concert throughout this country and Europe the second number in four movements—allegro, adagio, very rarely made up of three symphonies of four move¬ a symphony is played, and this, in the aggregate, makes scherzo, allegro—I have had all I can stand of that ments each. There is seldom more than one, and, with a large number. To be sure, hundreds of symphonies sort of thing and I make for the door as if I had heard increasing frequency, none at all. once popular are now never seen on programs. Of the a fire alarm. The time will come when symphonies, as well as 104 so-called symphonies of Haydn, at least 100 have Even Mr. DeCoppet, though he was so passionately quartets, will be dismembered and only their best move¬ vanished; of Mozart’s 40 or more, only two or three fond of chamber music that he spent a fortune on it, ments played. An exception will be made of those of are heard, at long intervals. The name of many minor found three successive quartets iin four movements! which all the movements are equally inspired. There composers, once familiar to concert-goers, are now a allegro (beg pardon!) too much for his nerves. He are possibly twenty or two dozen symphonies that mere memory, or less than that. Who but an assiduous told me once that after the second quartet in four come under this head. All the others have one, B SOUSA BAND AT THE PANAMA EXPOSITION. student of the history of music knows, for instance, movements, allegro (you can’t throw anything at me!), two or three movements that were stuck in by the that Franz Xaver Richter, of the famous Mannheim concert bun *„ been used as a model for bands in all parts of the * he had enough, and was apt to find the third a bore. composer merely to do homage to the artificial cyclical and wood-wind instruments through the effects first .dev.lfo€\^pJ^h ? is attested by such a school (eighteenth century), composed 69 symphonies? Now if he, a devoted enthusiast, felt that way, how e which is as popular in various parts of Europe as in us form, which is no form—that is no organic form— carried our n Scores of cases like his might be mentioned. must it be with the average concert-goer? A few Jollowlnf^jtroi both occasions. Its at all. jurmances yuen at'the Tree Trade Hall yesterday afternoon and evening by this famous ft“'."f a 1 f1 efhJ^fnderinr/s C
The following list does not by any means include more than a very few of those who have written symphonies. At the same time it does include the names of men and women who have written in symphonic style without the strict conventions of the formal symphony. issi
Aids to Good Time-Keeping
By Hazel M. Howes
_ commonly used interchangeably, namely, rhythm and time. Rhythm is musical accent or regular pulsa¬ tion of music: Time (tempo, in Italian) in its cor¬ rect meaning is the speed of the rhythm, or the rapid¬ ity with which the accents follow each other. It is evident that, although the degree of speed with which the natural accents follow each other is important, yet we must assign “time” in its strict sense to second place and be primarily concerned with how to accent properly, and thereby gain a correct sense of rhythm. Cecil Burleigh A simple yet practicable method of teaching this is Buhleigh was born in Wyoming, New York, by “Time Indications." The teacher will first teach 1885. His principal musical education was the relation of accents to the different time signatures, in Germany, where he studied violin under laying special stress on those most ordinarily used, not ritek and Max Grunberg and harmony under omitting, however, to explain the more complex forms ) Leichtentritt. In America he studied under violinists Emile Sauret and Hugo Heer- then illustrate measures with different time signatures n 1907 to 1909 he spent much of his time by taps with his finger, and by notes on the keyboard, izing in all parts of the United States. Since each properly accented, so. that the pupil may hear in has held positions as head teacher in the practical form the meaning of the teacher’s words. jartment of representative educational institu- The teacher should play but one measure at a time, and present he is connected with the very pro¬ the pupil may then repeat the taps and notes and indi¬ state University of Monta cate them. he is still young some eighty c Examples. e already been published. Hi of expression backed up by good musi s has big expectations : s of whose compositions i in this s issue.
of the s Values.” The p which he i , each added r A common signature student to begin with, i ing preferred to hapha
•JJJJNJM c 5*ss|c HJJJ
Terent signatures should in this way be «J ito their various forms, the number of :ticable for the student to write natura 1 the need for en
Music, of r fluence over i legislator oug' —Napoleon. MAY ign Page 80b THE ETUDE Richard Wagner as a Symphonist MAY 1917 THE ETUDE Page 800 Pfltxner, Hans Erich, b. Moscow, May 5, 1809. One of the has"written* a^mp'Ly* iiid’WSp® most distinctive of the modernists among the newer Ger¬ poern^ showing scholarly musicianship and great natura The powerful emotional effect of the symphonies man composers for the stage and the orchestra. of Beethoven upon the young Richard Wagner are Pierne, Henri Constant Gabriel, b. Metz, Aug. 16, 1863. Stock^Frederick. b. Jiilich, Ger., Nov. 11, CrMcneo norue's works include a symphonic poem with chorus, America in 1S95. Since 1905 conductor of the Chicago said to have been the reason for the young man’s direc- as well as notable operas and smaller pieces. tion of his career toward musical ends. He worshiped Poueigh, Jean. b. Toulouse, France, Feb. 34, 1876. Poueigb is in tunc with the best modern thought in orchestral Beethoven as a kind of musical god. In 1830, when writing, ills best known work is the suite, Fiinn. srs"r.gA’ Via he was seventeen years of age, he undertook the The Rise of the American Symphony Rachmaninoff, Sergei Vassilievitch. b. Novgorod, Russia, melodies are beautiful and original and bis oichestranou Apr. 3, 1873. Rachmaninoff's symphonies and symphonic always original and appropriate. . . , ni, laborious work of making a pianoforte score of the poems while significant have not attained the favor that Strauss; Richard, b. Munich, Bavaria, June 11, 1864 Ninth Symphony and completed it. In 1832, at the By PHILIP H. GOEPP has been uwarded to ills pianoforte pieces. two symphonies and nine symphonic Poe“s time Raff. Joseph Joachim, b. Lacben, Switzerland, May 27, quently heard than those of any composer t age of nineteen, he produced a symphony in four move¬ 1833 ; d. June 35. 1885. Raff's work was uneven in ot Beethoven. Strauss is the symphonic master of the ments in C major. His models at that time were Mr. Goepp has made a life study of the. Symphony and the Symphonic composers. His three published volumes upon the quality and often verv trite. His symphonies, however, last twenty-five years, and his works have the enduring are so melodious that one at least is heard every now and character which is likely to make them Immortal. Beethoven and Mozart. After marketing the work subject have made him an international authority. then on present-day programs. Largely self-taught. Stravinsky, Igor. b. Petrograd, June 5,1882. One of tne around among smaller orchestras, with the view to Ravel, Maurice, b. Ciboure, France, Mar. 7, 1875.m Noted most colorful and fascinating of all modernist writers ror the orchestra. His Bird of Fire ballet music Is a truly securing a performance, he sent it to Mendelssohn, In a discussion of America’s share in the creation gorgeous background for the pantomime has and blending of various and different national qualities Scherzo of the Second Symphony in F. The Finale of who was then conductor of the Gewandhaus Orchestra! of modern music we encounter not merely a foreign Strong, George Templeton, b. New York, 1855. Strong nas that will lie the strength and the distinction of American the Third Symphony, In B flat, is a splendid example written symphonies and symphonic poems which entitle Mendelssohn did not think enough of the work to prejudice, that always exists against a new country in music. him to front rank among American composers. Most of make any comment upon it whatever, at any of the of the forceful temper of the composer, with a wealth his life has been spent in Switzerland. 1007 art, but a strange diffidence of our own, a kind of dis¬ Looking, therefore, with open mind and unblurred of mingled rhythm and melody. A later “Symphonic vuot this composer was apparently slowly preparing Strube, Gustav, b. Ballenstedt, Harz, Ger., Mar. 3, lob7. future meetings of the two composers. Although inclination to believe that we can really produce great vision let us see what we will find. It is not unnatural himself for the composition of big orchestral works by Strube has resided in America for so many years tnat Mendelssohn was only four years older than Wagner, Suite” was crowned with a prize by the Federation of first writing a variety of works for smaller groups of he is regarded as an American composer. His symphonies music—as if it were an exotic that could not grow on that there must be a kind of intermediate period (that Women’s Musical Clubs. instruments. Excluding two works (Opus 21 and Opus and symphonic poems are thoroughly modern in every his remarkable precocity and his father’s wealth had our soil. still exists to-day), where various types among us are 71) for voice and orchestra, Reger’s first real orchestral sense of the word and show French influences. secured him a position in the musical world far in ad¬ Eminent in the group of American composers in Svendsen, Johan Severin. b. Christianna, Sept. 30, 1840, d. One has a way of taking for granted that the each blossoming into fair fruit. It is a reflection of larger forms is William Wallace Gilchrist, who was born work came with his Sinfonietta Opus 90. Since that June 14, 1911. Svendsen’s two symphonies are large in vance of Wagner at that time. Mendelssohn evidently time he has indicated that his greatest genius was for countries that were once the home of the classics must our civilization, that contains in various corners of ,in Jersey City in 1846 and died in December, 1916, in tbe orchestra. design and free in treatment, marking him as one of tne lost the work and it was not recovered until it was foremost of Scandinavian composers. - continue, ipso facto, to be the centers of the art, to the the land colonies of different nations with little Easton, Pa. In his Symphony in C Major, that is dis¬ Heinecke, Carl Heinrich Carsten. b. Altoona, Ger., June 23, Tanelev, Sergei Ivanovitch. b. Russia, Nov. 25, 1856, a. found in an old trunk in a garret forty years later. 1824 : d. Mar. 10, 1910. Relnecke wrote three symphonies exclusion of all others. We are reminded of the ancient mutual influence. It would be interesting to invite a tinguished by a pervading vigor of rhythmic melody and in scholarly style, but they have not survived in popular June 6, 1915. While an able composer of orchestral It was then produced in Venice in 1882, with Richard works, Taneiev is best known, for his strong influence story of the famous commander of the Spaniards competitive exhibition of music, say for an international a signal power of melodic discussion, one may feel, as favor. upon many brilliant Russian pupils of the new school. Wagner conducting. Wagner, however, belittled the Rheinberger, Joseph Gabriel, b. Vaduz, Austria, Mar. 17, against the Moors, whose body after his death was exposition. Provoked by a foreign prejudice, as well as in Chadwick’s symphonies, a certain tradition of the 1839 ; d. Nov. 25, 1901. Rheinberger's genius turned more Tchaikovski, Peter Ilyltch. b. Wotkinsk, Russia, May 7, work as an “old-fashioned ovrage de Jeunesse." Wag¬ 1840; d. St. Petersburg, Nov. 6, 1893. Tchaikovski com¬ mounted on horseback and sent into battle to frighten a certain American intolerance (it is somehow more romantic German masters, while the strain of Celtic towards the organ and the chorus than to the orchestra, posed six symphonies and seven symphonic poems. While ner’s love for the dramatic was shown in all of his the enemy. but he produced two symphonies of significance. his detractors Insist that he does not touch the heights than diffidence) one is tempted to boast that the present song is less evident than in other works of the com¬ every-day life. He was not cast in the symphonic Roussel, Albert, b. Tourcoing, Apr. 5, 1869. Roussel has of immortality, musicians know that he was one of the Various kinds of prejudice are here united. There production of symphonies in America is as important as poser. The Scherzo Bacchanalc and particularly the written some exquisitely beautiful works for the orchestra, greatest figures in all musical art. The popular demand mould. His striking countenance, which is finely re¬ is the provincial feeling that the familiar figure who revealing a fine, fresh aspect of his art. for his symphonies ranks with that for Beethoven, Schu¬ that of any other country. To be sure the question is Trio have a jovial abandon all their own. It is a work Rles, Ferdinand, b. Bonn, Ger., Nov. 29, 1784; d. Jan. 13, mann, Schubert, Mozart and Strauss. vealed in The Etude supplement to this article, which is lives in your own town cannot possibly produce a great less of statistics than of taste. It is here that the typical of the best tendencies of American composition 1838. Ills father was the teacher of Beethoven, and Van der Stucken, Frank Valentin, b. Fredericksburg, Texas, issued with this number, shows the composer’s love for work of art, cannot vie with the wonderful foreign Ferdinand was the pupil of Beethoven. Notwithstanding Oct. 15, 1858. His orchestral works Indicate that he Is courage of criticism comes into play, free of the fetters where a classic form is enriched by a new blend of omr.no. tin. most skillful and original of the American a dramatic pose. names you see on the programs of symphony concerts. of fads and prejudice. melody,—where the music peculiarly defies the appli¬ plionlst,Giles's six symphonies are weak imitations of those of symphonic works. Of course this feeling always existed, and accounts for of tbe famous master. Vogrich, :, b. Hermannstadt, Austria, Jan. 24, 1852 ; d. cation of a national label. Rimtky-Korsakow, Nikolas Andrelevltch. b. Tikhvin, Russia, _1916. Vogrlch was a composer of highest the tragic struggles of each of the masters in his life¬ Continental Writers Mav 31, 1844; d. St. Petersburg, June 21, 1908. This attainments. His two symphonies and other orchestral New Scale-Fingerings time. But it is naturally greater in the youngest of the Folk-Song Influences If we exclude Austria, the production of symphonies Russian naval officer produced three symphonies and much works are modern and scholarly. nations. It is a strange fact that the power and leaven of other music for the orchestra, of a style and character Volkmann, Friederich Robert, b. Lommatzseh, Ger., Apr. 6, in Germany has for years been inconsiderable. For it that will insure him a place among the great immortals 1815; d. Oct. 30, 1883. Volkmann’s symphonies are un¬ History shows how difficult it is to overcome the pre¬ Scotch folk song appears in larger forms in almost By J. Katherine Macdonald is impossible to treat seriously the Sinfoitia Domestica pretentious and are useful with small orchestras. every musical country, save in Scotland itself. The iln, Anton Gegorovitoh. b. Wecbwol Wagner, Wilhelm Richard, b. Leipzig, May 22, 1813; d. sumption against a new country in music. It was true of Strauss, still less his latest “Alpine” symphony. 28, 1829; d. Nov. 20, 1894. Rubins Venice, Feb. 13, 1883. Wagner wrote but one symphony, in Italy in the sixteenth century and in Germany in the first Scotch symphony came from the pen of Men¬ symphonies. His Ocean symphony is now heard at long It is a great question nowadays among piano teachers Perhaps the most prolific country for symphonic and that was never published; but his orchestral works eighteenth. Perhaps we are a little like the people in delssohn; but the vein is unmistakable at times in intervals. It contains seven movements. Rubinstein can¬ and excerpts from his operas are more frequently heard as to what extent one should adopt the new scale¬ composition is Russia. Recently we have heard such not be classed with the greatest of orchestral composers. than those of any other modern composer for the sym¬ Andersen’s fairy tale of the Emperor’s Clothes, that Grieg; in America it has blossomed forth in a new fingering—the Moskowski scale-fingering, as it is some¬ works as the latest of Rachmaninoff and of Scriabine. Salnt-Saens, Charles Camille, b. Paris, Oct. 9, 1835. Saint- phony orchestra. only the wise could see. .We hear many extravagant, wealth of beauty, perhaps most strikingly in the songs fjagus' precocity ns a writer of symphonies was most Weber, Carl Maria Friederich Ernst, Freiherr von. t>. Butin, times called. It would not be a hanging matter if one should prefer Ger., Dec. 18, 1786; d. June 5, 1826. Weber’s two sym¬ cacophonous novelties of futurist composers, and we and sonatas of MacDotvell. It remained for an Ameri¬ mnrked, as he had a symphony performed with great suc¬ a symphony of Hadley to one of Rachmanioff. Scria¬ cess when he was only sixteen. His symphonic works phonies are rarely heard, but his overtures are classics. This consists in so fingering all scales and arpeggios can woman, Mrs. H. H. A. Beach (born in 1868 in New pi-..<1produced u.-.-tl since. .. then. rank.. a--‘st brilliant orches- Weingartner, Paul Felix, b. Zara, Dalmatia, June 2, 1863. applaud for fear of not being “wise,” when in reality bine certainly lacks the virile strength of our best com¬ One of the foremost symphonic conductors of the times. as to arrange that in coming outward («. e., downwards we see or hear nothing of beauty. But we do not ever Hampshire), frankly to give the title “Gaelic” to her trnl writing of his time. posers ; his main claim to originality lies in a recourse Schelling, Ernest Henry, b. Belvldere, N. J„ July 26, 1876. Has written many symphonies and symphonic poems. with the left hand and upwards with the right), give an ear to the noble productions of our own com¬ symphony in E minor. With masterly skill she has Though distinguished as a virtuoso pianist, Schelling has Whiting, Arthur Batelle. b. Cambridge, Mass., June 20, to a new device that has nothing to do with the the fourth finger should fall on a black key, and that woven her characteristic melody into a tonal plot, vi- produced many able and brilliant works for the orchestra. 1861. Overtures, orchestral fantasia, etc. posers. It reminds one of the brigand in Fra Diavolo, tonal art. Schillings, Max. b. LKIren, Ger., April 19, 1868. One of the when possible the thumb should take the white key who is asked if he sees the captain anywhere, and, ' brant in the various moods, gay and sad. of Highland most gifted of the modern German composers for the There comes a time in every country for a kind of that follows the black. This is by all means the most looking up into the sky, answers “No.” You cannot lore. Moreover, she has brought to America the distinc¬ orchestra. He is tbe conductor of the Stuttgart Court declaration of independence in art, an assertion of Orchestra. Laurel Leaves comfortable and natural way to finger any scale or possibly see beauty if you deliberately turn away tion of the first important symphonic work written by Schmitt, Florent. b. Blamont, France, Sept. 28, 1870. arpeggio, and when one reflects, it is just what has from her. national consciousness. If there seems to be a taint a woman. Schmitt Is one of tbe most Interesting of the French com¬ of treason in the first assertion, let the charge be borne, posers of to-day. Ills method is highly poetical and By Katharine Geibel always been done in scales with the right hand, and in In reality the whole question of American music, and In the line of these composers must be included reveals a flue technic. or better, boldly defied. the flat scales with the left. By this means we have a in particular of American symphonies, is one of atti¬ Henry K. Hadley (born in 1871), who has hern re¬ Schoenefeld, Henry, b. Milwaukee, Oct. 4, 1857. Has com- It may be best to begin with what might be called the pofwsl two symphonies and other works for the orchestra These is an old German proverb, “Lorbeer ist ein bit- higher arch for the thumb to pass under than in the tude. Once it is admitted that they may be considered peatedly crowned with national prizes. His symphonies first American composer of symphonies that bore a tres Blatt, dem der’s sucht und dem der’s hat!” Laurel orthodox way, and have the outside of the hand (which the battle is more than half won. Somehow, it seems, teem with a special beauty, where a modern art of 8chubert, Frans Peter, b. Llchtentbal, near Vienna, Jan. 31, clear impress of new and original beauty. This was 1797 ; d. Nov. 19. 1828. Schubert composed ten sym¬ is a bitter leaf, for he who seeks it and he who has it. is the weakest) slightly tilted up. Whereas, when we American composers, like children, are meant to be seen subtle orchestral treatment is joined to a delicate John K. Paine, born in Portland, Maine, in 1839, Pro¬ phonies, of which the one known as the Unfinished is most There is an idea that fame brings ease. Quite the oppo¬ play the scale of A Major, for instance, in the old way (though rarely in print) rather than heard. vein of song, with a power of passionate climax. It frequently lienrd, and is considered by many as Schubert’s fessor of Music at Harvard from 1875 to his death in site is true. The famous pianist who must keep his with the left hand, how difficult it is to place the must be remembered that the individual melodic quality 1906. His first symphony was produced by Theodore Schumann. George Alfred, b. Konigstein, Saxony, Oct. 25, laurels has to work hard every moment of his time. thumb on the A when the fourth finger is on B (also Frank Criticism Needed of a composer is quite apart from his conscious intent. 1866. one of the soundest of the newer school of German Thomas in 1876, followed by the “Spring Symphony” in There is always a rival, a competitor, who is ready to a white key), and the third on Ct (the black one), I Thus in his symphony No. 4, in D minor. “North, writers fur the orchestra. He is not related in any way What is most needed is a bold and frank criticism. 1881, a work that to-day holds the freshness and con¬ t.i Robert Schumann. steal anybody’s laurels. It is a great game, and no need not point out to anyone.' The scale of F for the East, South and West,” Mr. Hadley uses negro themes in Schumann. Robert Alexander, b. Zwickau, Saxony, June 8, In a mad chase of novelty for its own sake we will tinuity of interest, the expressive beauty of its melodic matter how bitter the laurel leaves, there will never be left hand is even worse; for in this case it is the second the 3d, and an Indian motif in the 4th movement. Yet 1810; d. July 29. 1850. Schuman’s four symphonies acclaim much that is merely decadent art, or, still worse, themes, the warmth and delicacy of the harmonies— have generally been looked upon us the most important a time when students and teachers will not fight vali¬ finger that comes on the black key, thus raising that the touch of Highland is as clear as is the Bohemian since Beethoven, although Schumann himself was too is a reflection of a certain destructive spirit abroad that especially the nobility and power of the climax. If we antly for them. It’s human nature. side of the hand far above the outside (or fifth finger song in Dvorak’s “New World” symphony. The same modest to have a high regard for his work In this branch is in revolt against all human ideals. And at the same should analyze, we might find in the temper of Paine’s of musical composition. side) and almost preventing the thumb from passing remark applies to Mr. Hadley’s 3d symphony in B Soriabine, Alexander Nicolaievitch. b. Moscow, Jan. 10, time we will ignore the works of American musicians music a certain delicate romanticism akin to the vein of under the fourth finger at all. minor, where he has chosen Italian scenes for the 1872 ; d. April 27, 1915. ScrlablneV works represent an that in sheer reality are more beautiful. a Goetz or a Bruch. A predominating influence of advance from regular formal compositions in modern The objectors to this system of scale fingering argue setting of his 2d and 3d movements. There is. here, style to extreme Iconoclastic pieces in futurist style! His Perhaps one difficulty with American music, as with German ideas is not to be denied, and the reason why compositions represent a clear philosophy in the newer How To Use the “Etude’s” Educational that one would often have to depart from it in a scale all American art, is that the wrong kind of thing is one more proof of the truth that a national folk song treatment. these works have not been heard more often may lie Supplement. passage in a piece. But does not one have to depart expected. The world has always looked for “typical” cannot be consciously adopted—a lesson that is full of Sgambatti. Giovanni, b. Rome. Italy, May 18, 1843; d. Dec., in the vain striving for an imaginary “American” meaning to American composers. 1911. Sgambatti s 8’gmpAonp in I) is one of the most Realizing the need for an appropriate portrait from the old form in many cases? Others say it is qualities, with a certain primitive, uncouth rudeness. quality. Paine was one of the early martyrs of notable symphonic works produced in modern Italy. better to begin with difficult methods, even to placing It is thus that Whitman has been hailed abroad, Shelley. Harry Rowe. b. New Haven. Gonn., June 8, 1858. to supplement the biographical studies in The the diffidence of Americans in perceiving their own German Influences An American composer of distinguished gifts who has Etude, we present with this issue a portrait the thumb on the black key in scales and arpeggios; above poets of a nobler and profounder Muse. musical productions, in heartily approving them and written excellent orchestral music. In' a group of symphonic composers that show a which may be framed in a very ingenious and and that after accomplishing this everything else would It is time to recognize the truth that nationalism in giving them repeated performance. Shepherd, Arthur, b. Paris, Idaho, 1880. Has been highly preponderating German influence, we should list Miccessful lu winning nntlonal prizes for his works, in¬ original manner at slight expense. Simply pro¬ be easy. This may be all very well for extremely art is no special gain, is an incident at best—a limita¬ It cannot too often be repeated that nationalism in cluding Interesting overtures. Frederick A. Stock, the conductor of the Chicago cure a good piece of window glass measuring ex¬ talented pupils, but for the ordinary rank and file it tion rather than a virtue. It is a strange fact that Sibelius, Jean. b. Tnvnstehus, Finland, Dec. 8, 1865. His art is not an ideal, that it leads to the quality of stereo¬ Symphony Orchestra; Arne Oldbcrg, also of Chicago, symphonies and symphonic poems are among the finest actly eight by ten inches; a standard size that would be absolutely useless. We must for them begin music to-day moves in national grooves more than at type, of mannerism. A reason why Mozart somehow works of their kind produced during the last quarter of a and Henry Albert Lang, of Philadc! can be procured in any store where glass is sold. with possible things and gradually lead them up to the any other time in its history. It jseems a kind of refuses to be displaced from the highest rank may lie century. ago the Philadelphia Symphony Orchestra played Mr 81ndtng. Christian, b, Kongsbcrg, Norway, Jan, 11, 1856. Place the glass over the face of the portrait; fold more difficult problems. paradox in view of the rapid growth of intercommuni¬ in the limped style that seems to combine the opposite Stock’s Symphony No. 1, in C minor, from a manu¬ Slndlng's Si mpIonics ami orchestral works reveal high over the edges of the paper so that the plain It seems to me only sensible to adopt the newer cation. In the days of Bach there was a certain com¬ virtues of Teuton and Italian, of Guelph and technical ability, a manifest melodic gift and finished script score. The impress of a modern German treatment. border on the back of the portrait covers the method of scale-fingering. As a matter of fact, one is mon style and standard of music, whether for the stage, Ghibelline. manner is clear, both in the quality of the themes, in the Smetana, Bedrtch. b. Leltomlschl, Bohemia, Mar. 2, 1824; d. edges of the glass all around. Neatly remove un¬ still adhering to the original order of the fingers, which the chamber or the church. Music was not merely Insane, May 12 1884. His six symphonic poems are of Celtic Influences mode of treatment and more especially in the program iwmnnent significance, although they have not necessary white paper margin and paste down in is (reckoning outwards) the C major fingering, 12 3. national, but simply music. Since then folk song has avowed by the composer. The Finale hears titles in¬ t he Interest manifested in the -’works of" ’his ■ fellow- passe-partout fashion. A hanger may be made 1 2 3 4; and all we need do, in the cases of these awk¬ been discovered.and—greatly overdone. In a way the There is a considerable group of American sym¬ Bohemian, Dvo>4k. tended as expressive of the "motive of life” of the in the shape indicated above the biography from ward scales for the left hand, is to begin with a differ- sharp division of national groups of art was a sinister phonies in which we feel this charm of a blending of Sokolov, Nicholas, b. SL Petersburg, Mar. 26, 1859. His German nation, though, to he sure, tfyc composer de¬ Interesting symphonic works are little known in America tough paper and pasted on the back. Schools ent finger. The principle is the same for all scales-- omen of the present cataclysm. After the world-war is classic tradition with a certain tinge of Celtic song. Spohr. Ludwig, b. Brunswick, April 5, 1784; d. Nov. 22 mands that they be taken in the broadest and mosi ideal conservatories, priyate teachers and students will ™e ^ourt^ linger always on a black key, and the thumb ended we may find in the language of tones the ideal The symphonies of George W. Chadwick (born 1854), 18.6*. Spohr produced nine symphonies and numerous sense. oib.-r works for the orchestra. His treatment of the thus obtain a most excellent framed portrait at oh the white key that follows a black one. of the ancient builders of the Tower of Babel. For are distinguished for virile buoyancy of temper and a strings was especially fine, although his works sound If Mr. Stock* might be regarded almost as a German antiquated and uneven at the present time. the cost of a few cents, supplementing the study music is, in its nature, a single language for the world, prodigal flow of sustained melody. So clear is 'the Stanford, Sir Charles Villiers. b. Dublin, Ireland, Sept. 30, of the master in this issue of The Etude, and as its alphabet rests on ideal elements. It has no Celtic strain-in Chadwick, as in some other Americans, himself, the other composers of this group are American 18.... Or bis five symphonies the most successful has Music is a higher revelation than the whole of national limits, like prose or poetry; its home is the that one is tempted to say that the true Scotch by birth. Indeed the nationality of a comp been Hie Irish Symphony, which Is frequently performed. providing the reader with a beautiful decorative Stanford is easily one of the finest talents Great Britain picture for the study and home. wisdom and the whole of philosophy. He who Pene' whole world; its idiom the blended song of all nations. symphonies were written in America. Blended with little to do with the influence wc have been discussing, ba» produced during the last century. th? meaning of my music shall be freed from So, if we really wish to find American music, we will the vein of abundant melody is a subtle sense of and it is rather a result of tradition and study. Ante all the misery which afflicts others.—Beethoven. discover iit in plenty, But we must not look for a new harmonic modulation and a power of broad rhythm. We Oldberg, whose symphony in F minor was awarded a national type or a new tonal dialect. It is in the mixing might choose among striking instances the lovely • Fredorli-k A. Stock was horn in Germany in 1872. may uni MAY 1917 Page 306 THE ETUDE Fifteen Vital Steps in Teaching Young THE ETUDE Page 307 (3) A repeated performance of the best wor^ . prize by the National Federation of Music Clubs in Children music can achieve recognitton in merely one he & 1911, comes of a Swedish family long settled in America. If a work seems to please, let the impression be con A notable work is a symphony. “fantasies of a firmed and heightened in later repetitions. By Viva Harrison Poet,” by Henry Albert Lang, produced in Philadel¬ In conclusion, we cannot resist the prophetic feeling phia in 1914. In its design, with titles of a transcendental that we are on the eve of an age when the various conception, it belongs to a line of works such as the schools of symphony will merge into a higher pndse or • I. Analyze the child’s nature, Approaching it upon “Death and Transfiguration” of Strauss, that had be¬ “Symphonyland” the art; when transplanted national tradition will vanish a congenial basis. - _ come almost the type of the modern symphony, while before a broader spirit—the symbol of a new hfimam y H. Do not be antagonistic. Strive to get the best the plot is the suffering and redemption of the hero. and brotherhood. Here America will lead in the ideal in each individual. By LASZLO SCHWARTZ Mr. Lang, who was born in New Orleans in 1854, has expression of the tonal art, as in the practical realm ot III. Always inspire your pupils, having some definite recently received a prize for a later symphony. Here we might refer to a very beautiful symphony, in A statesmanship. aim in view. How we are Making Musical History Now in America Through the Development of an Unusual Number of IV Be interested, and create a love for their Work. major, by Martinus van Gelder, produced in Philadel¬ Local Symphony Orchestras phia in 1904, in which a certain naive charm is not Does Teaching Make You Nervous? V. Train the mind and muscle together, as tech- marred by a striving for modern effect. The com¬ nique is the means of expression. Ten min¬ utes’ practice of five-finger exercises every poser, a native of Holland, has long been a resident To make a beginning. day is most important. Repeat often. Out in Butte, Montana, a man by the name of Johns¬ of Philadelphia. By Mabel S. Kent To keep the players interested in the work. VI Find the notes on the key-board in relation to ton made up his mind that a city of 50,000 simply In the music of the Chicago composers is revealed To prove to the community what an orchestra can Middle C, used as a computing tone, writing New York City—an orchestra that did_____„ had to have its own Symphony Orchestra or stagnate in high degree a modern art of subtle and picturesque Does teaching make you nervous? Do you become them in two octaves, both treble and bass. thing more than “amateur." With the growth of musical do toward its entertainment and musical edu¬ musically. This notion came to him almost three years treatment. Orchestral brilliancy is somehow more easily agitated and annoyed during the lesson, and after education In America we now have dozens of so-called cation. VII. Teach the value of notes and rests correspond¬ amateur players who are as fine as the virtuosi of former ago. There was no easy path ahead of him and he evident than pure tonal architecture. In a measure the the day’s work is finished feel all “tied in a knot. It ing to each other, and be able to see them years. These amateurs are now waking up to the fact that To bring to them, through ways hitherto unknown, knew it. Many players were missing to complete a ancient alignment of Brahms as against Liszt and you do, you may rest assured you are not doing your they can combine and enjoy one of the greatest pleasures of new phases of comradeship. mentally as well as write them. musical life—playing in a good orchestra. Hence we are Symphony Orchestra. Little by little he succeeded in Wagner, where Strauss .is a disciple of the latter best work, nor are your pupils putting their best efforts VIII. Present time, rhythm, and metre, in a simplified rapidly becoming a symphony land. Mr. Schwartz has And by all means to prove to them musical growth bringing capable musicians to Butte. To make certain school, may be seen among American composers. In into their work. True, some pupils are exasperating at endeavored to recount some of the things which have lnlu- the symphonies of Chadwick and Gilchrist we see the way, making them real by symbols, illustrat¬ enced this movement.] as a result of their labor of love. that they would not only come but remain, he hustled times. Every teacher has to contend with the dull poetic design of a Schumann, where with all fitness of about till each of them was assured of a good living. pupils—the ones who try and cannot learn; also the ing your point. West versus East the orchestral dress the melodic plot is paramount. In Not long ago a great foreign artist visiting our To-day Mr. Johnston wields a baton over fifty players. ones who could succeed if they would. But unless she IX. Scales should be taught singing the intervals, It is very interesting to note how once again in works that reflect the modern German influence minute shores exclaimed: “America may not have as many The City of Denver also presents a splendid ex¬ .assumes the right mental attitude net^es will certainly and forming the triads; major (joyful),minor matters educational the West is stealing a march on themes are hidden in a subtle play of instrumental opera houses as some European countries, but in pro¬ ample of pluck and its just reward of success. There be much in evidence. A quick and sure cure for grow¬ (sad). the East. The chronicler of our musical history will color and effects. The broad, clear melody has yielded portion it is already ahead of us with its number of are two Symphony Orchestras in that city Thereby ing nervousness and. irritability is relaxation. Relax, X. The formation and resolution of the dominant bring forth most astonishing proofs showing that, not¬ to the brief motif, which is often given a verbal symphony orchestras!” hangs a tale. Tureman, the conductor of the Philhar¬ Constantly Relax. Watch yourself every minute of chord and the dominant seventh chord should withstanding the fact that in wealth and in the number significance. The art of a Liszt, with his wonderful This statement was not meant for the usual stock- monic, and Cavallo, of the other institution, have been the day. Just let go those tightened muscles. There is be explained in an interesting manner, trans¬ of great educational institutions the East is ahead of schemes of program music, is here seen in a later, competitors in fhe Symphonic field for many year*. no need to sit at the piano with a stiff back and every posing them in different keys. flattery nor is it a flight of super-optimism, for the the West, yet the most remarkable development in subtler phase. XI. Train the child to compose original tunes, har¬ artist has traveled from Atlantic to Pacific and criss¬ Such competition, in small cities is not always pro¬ muscle rigid. Relax constantly* and take things easy. Symphony Orchestras can be recorded in the middle ductive of good results. French Influences A child’s mind is very receptive to mental influences. monizing and writing them, the ear being the cross the land. He had simply been convinced by facts. and far West. These accomplishments loom up so All over the country we find wrecks of institution* A highly interesting group shows a striking reflec¬ If the teacher is continually scolding and showing irri¬ chief guide. This is but the beginning. What will be this artist’s much greater when we consider that in the West they XII. If you are playing a simple melody, sing and tale within two generations? Now let us see how the which have fallen prey to the petty politics of their tion of modern French harmonic ideas. It is quite tation, the pupils will hot take an interest in their work. have tremendous obstacles to overcome ere they can viciously competing leaders. These pitiful musical . hear it within. Symphonic Germ wreaks its havoc in the average small apart from the orchestral manner above, described, A teacher told me recently that some of her pupils never bring their dreams to fulfillment. The East is title- marathon runs do not always bring about the survival XIII. All musical structure and form should be taught community. It will either attack the leading musician though it is similar in the element of small themes. would have a good lesson unless she was perpetually mad and thereby often fails to discover and appreciate of the fittest. Many a good conductor has lost his to be applied and recognized in the analysis Instead of the broad melodic lines of classic tradition scolding them; and yet I know that a little praise, mixed in the town, till he simply must obey the impulse and its worthy domestic and local musical talent. The position because the competing director was better with a desire to gain the child’s interest, would do far of piieces. or a shimmer of orchestral color the stress is upon the gather his musical flock for the first historic rehearsal, West cares less for the imported tag, but gives its versed in the arts of winning the graces of the local strange tang of new harmonies. The music of Debussy, more good than scolding. A calm, sweet, loving, and XIV. Require mental concentration, which is the key¬ or else the initiative of the movement will be born own musicians a chance to prove their worth. As an social leaders. Dr. Time is the only one who may lie with a chronic mannerism of bizarre harmony, is ever at the same time firm disposition, will surely be more note of success. in the heart of a prominent and preferably wealthy example, think of Minneapolis choosing Oberhoffer relied upon to cure such local symphony troubles. associated with a scene, whether of “Gardens in the appreciated by pupils. If their love can be gained, XV. Never fail to be patient. music lover who is truly “just crazy about good music,” for the Conductor of its Symphony Orchestra, knowing Even though the founding, growth or downfall of they will strive hard to please. And if a teacher has Rain” or of “Chinese Pagodas.” It lacks the free or else rides the subject merely as a hobby. His that the man had previously earned his bread playing every Symphony Orchestra bears a strong resemblance, received the proper preparation for the work, not alone melodic play for the highest form of the pure, un¬ money helps as a great impetus toward the founding in a public place, just as Dvorak had done. Think yet, in each case we will learn some new lessons, new 1 in the art of performing but in the art of instructing, titled art. So we have no symphony of Debussy, unless of a local symphony orchestra. In addition to these two of what that city has accomplished in aiding him to phases which are enlightening and fascinating. and has mental poise, the work should not be irksome. Have You a “Self Starter?” we count "Three Symphonic Sketches” of “The Sea.” causes we must acknowledge that civic pride has also make good and to take his well-merited place in the Let us merely flit over the land and glance at the Another teacher of my acquaintance has progressed The remarkable virtue of the American music that been the motive power for the founding of many such musical world. That is but one characteristic example less known music centers where Symphony Orchestras wonderfully in her work; and her success is attributed, reflects this Gallic school, is the freedom from the vice By T. L. Rickaby institutions. of the spirit of the West. They are receiving their have come to stay and grow. This list is not com¬ not alone to the good training she received, but to her of mannerism, the variety of harmonic ideas, with a just reward. plete by any means and cannot be made complete, for love for children and her control over them. Every Let the proud citizens of Quarterburg find out that greater play of pure melodic design. Indeed, in view we must remember that there arc hundreds of cities year she has three large recitals given by the different The most noticeable failing of the average pupil the Halfburg Symphony Orchestra has ceremoniously of the early growth of this vein of American com¬ where school symphony orchestras exist but as yet have grades, and it is noticeable that her pupils are free is the lack of initiative—the power of doing something given its first public Symphony Program and every position (mainly among members of the Boston Sym¬ no permanent organization of similar character com¬ phony Orchestra) and its independent development from nervousness. She is too busy and happy in her oneself without being prompted. Very few pupils are public spirited citizen of Quarterburg can be whipped self-starters. They need cranking for some time before in line to help in beating the Halfburg Orchestra at posed of adults. Inasmuch as this article docs not em¬ with a special quality of its own, there is a real doubt work to think of nerves herself, and never allows the brace the school orchestra, cities boasting of such of an actual French suggestion. It seems rather like word “nervousness” mentioned by her pupils. ’ She the wheels begin to turn. It is inconceivable that any their own game. This spirit of competition may not one could be really successful at anything without that be judged as very ethical or an ideal incentive musical institutions are not represented in this list. a case of synchronous and perhaps sympathetic phases guides their thoughts in other directions. One day a Nor did it seem necessary to include those cities which little girl informed her that she could not play without precious initiative. “God helps them that help them¬ matters musical, and yet, this local efferves¬ of an art in the new and the old world. are the well-known centers of the United Chief among these American composers are Martin her music on account of her nerves. “Nerves,” my selves.” Very true. Benjamin Franklin, but you should cence can be put to good service in welding have written it “God helps only them that help them¬ the community spirit into a powerful work¬ States. And let it also be understood that al¬ I.ocfffcr (born in Alsace in 1861) and Gustav Strube friend exclaimed in an astonished manner, “what are most every College, University and Normal (born in Germany in 1867). The former wrote a series they? Are they bugs?” selves.” Think of this the next time you approach your ing unit. The musical leaders of small cities practice hour with indifference. must not fail to give this point their serious School which has a Music Department has of symphonic • poems that seemed almost to fore¬ “I don’t know,” the little one answered, “but it is produced a Symphony Orchestra of some di¬ something my mama has.” thought. Coupled with that and diplomacy shadow rather than to follow the modern French ideas. mensions. These alone run into hundreds, Rut far the most significant work of this group is “Well,” her teacher replied, trying to be serious, this communal competitive spirit can be set to work with most encouraging results. and of course are not credited here. The the symphony in B minor of Gustav Strube. To do “don’t bring anything, like nerves here. I would not cities here mentioned represent only those have such things in the house. Be sure you shake your Scales and Baseball Even in a metropolis like New York this justice to the composer, one cannot point to many communities in which, through the individual clothes good before you colue in. Perhaps you had local competitive spirit is being utilized in single instances of borrowed Gallic harmony. (There effort of a few of its high-minded musicians, is merely the primary stress upon the element of har¬ better go out on the porch now and shake those awful By E. A. Gest urging the orchestras toward greater perfec¬ ARRANGEMENT OF INSTRUMENTS IN THE MODERN ORCHESTRA. or thanks to its developed civic life, have monic novelty—a chronic quality of original idiom. things off, then you can play.” tion. Right now, they are preparing for a reached this high state of musical emancipa¬ There arc to be sure some of the faults of the French The little tot—she was just seven—did so; and that As a rule, children find scale-practice uninteresting, monster orchestral competition among the small local tion. school: a certain precocity of expression, a strain was the last the teacher heard of nerves from that orchestras. and many have a convenient way of forgetting to Prac" In a country where such immense and feverish mu¬ of persistent strangeness. As I have said elsewhere, pupil. She seemed to think that whatever nerves were There are, of course, symphony orchestras which {First Violins tice their scales, giving all of their time to ‘‘pieces. sical development is taking place, as in the United . . . “the moving moments come precisely in the it was disgraceful to own them. When the child went were born and still exist, thanks to the generosity of Second Violins This is particularly true of l>oys; and it is often the Violas States, it is impossible to supply up-to-the-minute exact release of the strain of dissonance . . . only we home she called her mother outside and asked her to one wealthy music patron. Such were the Boston case that the more they dislike the routine of PraCllC’ Violoncellos data on such gigantic movements. To use the word* may feel we have been waiting too long. The desert shake her clothes good, “for Miss C. made me shake off Symphony Orchestra, founded by Col. Higginson; also ing, the greater is their interest in outdoor sport* Double Basses of a man who had tried it: was perhaps too long for the oasis.” all the nerves, and you know I caught them from you.” the Bethlehem Symphony Orchestra backed by Chas. Such boys will respond to the following plan for scale- “Our Symphony Orchestras crop up so fast, that by V'ct there is achieved in this symphony a higher Another pupil, a small boy, objected to studying Bach work : Schwab and several others. These are the exceptions. (Flutes Pressed for a reason he said that Bach made him Piccolo the time one has completed statistics it is antiquated.” degree of lyric expression than one finds elsewhere in Have the key-note for “home" and the repetitionof The majority of Symphony Orchestras exist because 2. Wood-Winds , similar schools. We are tempted to the discovery that nervous. Of course the teacher knew that this was but of jone or more music lover’s high ideals and per¬ Oboe the key-note for the “bases.” Clarinet Albany, N. Y. Dayton, Ohio of the symphonies based upon modern French ideas, an excuse. Wishing him to study what she had given severance, or thanks to civic pride. And of course, Ann Arbor, Mich. Davcii|>ort. Iowa the most profoundly conceived has been written in him, she feigned great surprise and told him what a first and last, to faithful audiences. Austin, Tex. Denver, Colo. America. wonderful man Bach was. The little fellow listened There is no doubt but that we would have many French Horn I Baltimore, Md. Dcs Moines, Iowa attentively, and when she had finished he asked her more of these institutions had it not been for the mul¬ Trumpet—Cornet Chief Needs Bellingham, Wash. Detroit, Mich. seriously, if “she would marry Bach.” The teacher was titudes of discouraging failures. Unfortunately there Trombone Before the final close it is important to point to the Tuba Bangor, Me. Dubuque, Iowa sure she would if it were possible, and that was the Every time he makes a mistake in his scale (in not are and always will be men and women who misjudge chief needs of an American reception of American Bartlesville, Okla. Erie. Pa. last of Bach making him nervous. He decided that if their own musical capacity. Lacking the true ability or fingering) he is “out,” and must begin over un« Tympani or Kettle Drums Beatrice, Neb. Ft. Worth, Tex. music. They are, in brief, (1) the production of the for leadership, they soon find it impossible to keep { Bach was great enough for his teacher -to marry he he can make a “home run.” (That is. of course to Side Drum Birmingham, Ala. Fresno, Cal. best, not the worst or the mediocre American com¬ would do to study. awake the local musician’s keen interest in their or¬ play the scale up and down without a mistake.) be Bass Drum Boise, Idaho Grand Rapids, Mich. positions ; chestra. The reaction such failures bring in their And1 still another small boy, who was a very earnest him keep an account of “outs” and “home runs W Bells Buffalo, N. Y. Hartford, Conn. (2) A spontaneous abandon of responsive feeling and wake will cause the loss of precious time ere the next Triangle worker, confided to her one day that he really did not bring the “score” to his next lesson. The “diamond Colorado Springs, Colo. Houston, Tex. of frank critical judgment, unbiased by fads or critical moment arrives when the right man at the Tambourine, Etc. think much of music, especially for a boy, but that he ™f.y ’>e enlarged, having two octaves between ^ ' Dallas, Tex. Huntington. W. Va. prejudice; right time may make a new and happier beginning. came to her for "discipline.” and the hands may be played separately or together, Danville, Va. Indianapolis, Ind. depending on the grade of the pupil’s work MAY m7 MAY 1917 THE ETUDE Pa,,,- *09 Pane SOU • THE ETUDE Mr Hopewell was about to announce the full mem. 1 in Kansas, and see how the problem works out in Ithaca, N. Y. Rochester, N. Y. bership of the Orchestra when he found out that practice, for after all no orchestra of any kind was Kansas City, Mo. Sacramento, Cal. there was a good sized organization in a town com- Lincoln, Neb. ever founded through debate. Facts count. posed of plectrum instruments. The man from Kan- Salt Lake City, Utah Mr. Hopewell, the leading musician, has just taken Louisville, Ky. sas knew the value of good will and cooperation, so San Antonio, Tex. inventory and found five violinists, one ’cellist, one Memphis, Tcnn. he approached the leader of this group of players on How to Start a Local Symphony Orchestra San Diego, Cal. double bass player, and strange to say, every represen¬ Milwaukee. Wis. mandolins, guitars, etc., and made them the follow- San Jose, Cal. tative of the brass and reed families. Not only the Nashville, Tenn. Scranton, Pa. ing proposition: Newark, N. J. Horns in F, the Cornets, Clarinets, Trombones in no By MME. DAVENPORT-ENGBERG Seattle, Wash. “I want you to join our Symphony Orchestra. There New Haven, Conn. and altos and alto Saxophones in Eb, but also Bassoes, Spokane, Wash. is a whole library of the classics arranged for plectrum New Orleans, La. Oboes, Tuba, Flutes, Piccolos and even a Trombone, Conductor of the Bellingham Symphony Orchestra instruments in combination with large orchestra. But, Oberlin, Ohio Springfield, Mass. were lined up for the proposed Symphony Orchestra. Oklahoma City, Okla. Syracuse, N. Y. Thanks to the local band, almost every brass and you must agree to study another instrument in ad¬ Omaha, Neb. Tacoma, Wash. reed instrument found a champion in local music dition to the one you are playing now, so as to help In the far northwest corner of the United States is Bellingham, Washington, a city of about 30,000 inhabitants. In eight years Mme. Davenport-Engberg has Toledo, Ohio circles. In this town, as elsewhere in small communi¬ us in completing the Symphony Orchestra with its Portland, Me. built up an Orchestra that has attracted national attention. She has the proud distinction of being the only lady conductor of a Symphony Orchestra in the world. Portland, Ore. Topeka, Kan. ties, the greatest difficulty arises in recruiting the proper instrumentation, and in time discard your pick string instrument players. On the other hand, through Providence, R. I. Washington, D. C. instruments.” the great achievements of School Orchestras, of late It was about eight years ago that I felt my first Richmond, Va. Waterbury, Conn. As one would expect there were many exclamation at the head of each section of yie orchestral instru¬ they always are), humming a foolish monotonous air, there has been an unusual increase in violin students. urge to start an orchestra. It came much as to the Roanoke, Va. Wichita, Kan. and question marks hurled back and forth ere the ments, there will be little to do but to wait until their wearing on her face a far-away sentimental look re¬ Yet it is next to impossible to secure viola, ’cello and preacher of old who suddenly felt a call to preach, efforts have borne fruit in the way of producing some flecting a mind that is asleep. It is indeed pathetic to partnership was sealed. As a result of this the or- out of a clear sky, so to speak, and I, like the preacher, When is a Symphony Orchestra? double bass players in small cities. pupils capable of playing orchestral music. Then the see our young people such a prey to fads and know that As we see, Mr. Hopewell has also failed to unearth chestra was enlarged with 1st and 2nd mandolins, tenor lost no time in answering the call. Our community These two questions: When is an orchestra a Sym¬ great moment has arrived when a rehearsal may be these same young people are capable of doing excellent a viola player. Thanks to the clever simplified orches¬ mandolins, mando-’cellos, mando-basses and guitars. needed an orchestra, and I immediately set about find¬ called and with the few professionals and their best phony Orchestra and when is it not that, have been work in music if (hey only could be brought in touch the cause of many a heated debate in the smallest as trations of the classes which are so extensively used Our friend, Mr. Hopewell, succeeded in cementing ing ways and means to start one; true, I had always pupils a nucleus'has been formed which will develop, with it and have it put to them in the right way well as largest music centers. Far be it from us to by Symphony Orchestras in their wee days, it is pos¬ the former tit-bits of band, orchestra and pick instru¬ wished to be a whole orchestra at once and often felt if properly guided from stage to stage, into a full- Imagine people in Europe going crazy over ukuleles, usurp Solomon’s throne. Merely this: Is an apple sible .to dispense with the viola part by substituting ments into one institution—a Symphony Orchestra con¬ the violin, my chosen instrument, rather inadequate, fledged symphony. even if the men who play them do look romantic enough tree only an apple tree after bearing fruit or is it an the 3d violin part. The harmonium or organ parts sisting of forty-five players. its literature limited and somewhat superficial in This is practically what I have done in the city of to touch the schoolgirl’s heart, hysterical waves like apple tree even in its various previous states of de¬ filled out the scarcity of ’cellos and passo fundamento Within a year and a half there was not one plec¬ character. I consider it, of course, the greatest single Bellingham, Washington. We have now 85 members, these could never get a foothold where a Beethoven velopment. Must a Symphony Orchestra be complete to (double bass) thus strengthening considerably the weak trum instrument left in the organization, nor was instrument, but every instrument, as well as the with every instrument represented except oboe and the very last music stand and instrument in order to string department. Nor can we overlook the splendid literature written for them, falls short when weighed in bassoon. These we substitute at rehearsals and import had lived and died and where his music had chastened justify its existence and to lay claim to this title? support a good pianist gives to such an incomplete the balance with the greatest of all instruments, the the taste of the people. Our country is sadly in need ■ Let us whisk ourselves to the small town of C- Symphony Orchestra. orchestra, and the wealth of lore written for it rep¬ of a cleansing wave of good music and every con¬ resents the highest expressions of musical thought in its scientious musician should add his ... het efforts to highest and loftiest form from all the minds of the make that wave as powerful as possible. The Final Steps in Memorizing greatest composers. My decision to start an orchestra was made after The High-Priced Teacher my appearance as soloist with one of the leading Coast One of the worse detriments to progress, it seems to By Robert W. Wilkes orchestras. I felt that the venture was worth trying. me, is the teacher with the high price; better balance I was convinced that I could get up one that at any measures in the manner previously directed—which he of things will be attained when more teachers will begin It will hardly be necessary to state that notes, the by pulling the hand or fingers away from the wrong rate could not be any worse than the one I had played can do in five or ten minutes—and after you have to do things with their hearts in their work instead of time, fingering, pedal markings, and the expression keys and directing it to the right keys; and even if the with, and withal I felt confident of making a far better shown him that he really can memorize, tell him to in their pocketbooks. If their interest is for the wel¬ should all be memorized. The player should be music is so fast that one or more notes are unfor¬ one, at least my orchestra should play in tune; on that spend the same amount of time on memorizing each fare of their pupils and for the community in which warned against reading from the notes when playing tunately played wrong, the player with the alert mind point I was determined. To what extent ray undertak¬ day of the coming week. they live, they will not charge outlandish prices. I do a memorized piece. If the piece is played from the' will at least be able to play the next notes correctly; ing has succeeded some of you are acquainted, and as Beginners, no matter how young, should be taught to not by any means mean their services should be given notes, as in sight-reading, the memory is not being while the player with a sluggish mind will sometimes I look back and review the work of the last six years, memorize. The fact is, a pupil of seven or eight years away, far from it; if a teacher is well equipped he has play half a dozen' or more notes wrong, or even have I feel prompted to urge others to do what I have done. exercised and some of the notes will soon be forgotten. will often learn a piece by heart better than a pupil had to invest a considerable amount on his training and It is advisable to keep the music always open on the to stop altogether, before he is able to put his fingers many years older. Don’t be afraid to overstrain their Material for a Good Orchestra Everywhere must get return for that as for any other education, piano when playing from memory, only looking at the on the right track. minds; the memory, like a muscle, seems to grow besides making a living, but these fabulous prices should notes when you are not sure or when a passage does strong and active by constant exercise. It is my firm belief that everywhere in every intel¬ not exist. Teaching music can be treated as a profes¬ not run smoothly. This Method is Not Slow Very little practice is required to keep a piece “in ligent community there is lying dormant material with sion, but no one has a right to forget that we have In the first case—if a certain note or notes are not Some may object that such a method of' learning a shape” when it has been carefully memorized in this which to develop and build up a symphony orchestra. a mission to perform at the same time, Often ibr known—look at the music, carefully observe the note piece is very slow and tedious. On the contrary, I .can manner. For some years I have made my pupils re¬ This latent talent is. waiting only for the magic touch talented pupils only receive earnest attention from the of the right, shall we call him or her, “transmitter” to or notes and the corresponding key or keys, and then state from actual experience that it is much quicker, view in the beginning of a season the pieces that they teacher. Every pupil should be made to play; what de¬ bring it to life, but as these “transmitters” are rare and try to play the passage, beginning at a previous meas¬ besides being safer, more interesting and more reliable. had learned the season previous. And before I taught gree of efficiency he attains depends largely on the are seldom anxious for the task of bringing to life ure. Do not follow the natural tendency of looking at A few months ago I memorized the Marche Militaire, them to memorize in this manner they seemed to re¬ teacher. They cannot all be artists, that would indeed hidden treasures in primitive state and sometimes even the note, playing it, and then gomg right on. You will by Schubert-Tausig, in less than five hours. Of course, quire much practice to bring back into good shape a - be a calamity, but they can be made to play acceptably, in rural surroundings the talent usually remains undis¬ find, if you do that, that you will never or hardly ever the five hours were not continuous, but consisted of piece which they had not practiced for six months or becoming a pleasure to themselves and their relatives, turbed- in its slumbers; therefore, so few symphony learn that note and will have to look for it every time more. But since I have taught memorizing, I find that and don’t lose sight of the fact that they make excel¬ from five- to forty-minute periods, extending over orchestras outside our large cities. the piece is played; the reason is that the memory is about two weeks. it is very easy for most of my pupils to retain the lent listeners! I think our country is far more in need Two elements on the part of the “transmitter” are not exercised when you just look at a note and then As I have some theoretical knowledge, I probably of appreciative listeners than it is of performers. Again. ability to play their old pieces. necessary to develop this latent talent or taste for good play it; the memory is only exercised when you learned it quicker than some players would; but I can It will usually be found that the first piece takes I repeat, the biggest impediments to progress are the music—they are essentially—enthusiasm and determina¬ play the notes before it, and then as the time comes to truthfully say that no more time was given to it, as I longer to memorize, and besides is not so well memo¬ people who wish to be paid for every move the) make tion, and of these two elements there must be given un¬ and are afraid of doing something for others. They play the note you say to yourself, “Now, what was kept a record of the amount of practice done during rized as the second; but do not be discouraged if re¬ sparingly, an over-abundance of either, without the never want to do anything and they don’t want any¬ that note I didn’t know just now?” If you can re¬ the two weeks, and I played the composition at a pupils’ sults at first are not as quick as you expected. Once proper amount of the other, will clog the wheels and member the note you will probably be able to recollect musicale a few days later. body else to do anything. the system has been well learned, very few would wish retard progress, if not work complete disaster, it next time, although it is advisable to play the pas¬ I may say also that if I had tried to learn the piece to return to the old methods. but with an ever prevalent balance of both, obstacles sage about three times to make a greater impression by former methods it would probably have taken me at How to Make a Start upon the mind. If you can’t remember the note, look diminished to nothings, the word “failure” evaporates, least ten times as long, and even then I would not How the System Helps Vocalists To those contemplating the starting of an orchestra at it again carefully and try again. On no account and as each barrier is approached and overthrown the have been able to play it as well. at the concerts. Twelve years ago, when I returned where the material must be made, so to speak, I would should you leave the passage until you can play it Those vocalists who come out on the stage holding movement grows and rapidly attains proportions which I have taught all my pupils to memorize in this say that in my opinion only a violinist can do the work in their hands a little card or paper containing the astonish even the most optimistic, and the spirit of song from Europe, there were not more than fifteen people in without looking up once. manner, and nearly all prefer it to the old methods. of conducting it; for two reasons, first, the brunt of words of a song may avoid doing so by memorizing sweeps triumphantly on with ever more and more to our home city who played anything. Now music However, I do not disguise the fact that some—who all orchestra music falls on the strings, most on the their songs by this method. They should learn one lend their voices to its chorus. students, especially violin, are so numerous that Mr. Rapid Thinking Essential apparently like to use their brains as little as possible- first violins, thus demanding as a director someone with line at a time and be sure to join each new line with' But some will say, “This is absurd; I know of com¬ Carl Faelten, a well known Boston piano teacher, who The mind must be trained to think as quickly as the do not memorize so well. In many places they do not a keen insight and knowledge of violin technics—bow the previous line or lines. munities where this never could be done.” I insist, it spends his summers with us, remarked that anyone was ■ piece is intended to be played. It is of very little help know all the notes (which I can easily find out by ing, fingering, phrasing, etc. Second, no one but an To sum up the entire system: can be done in any intelligent community, any locality conspicuous on the streets here if they did not carry a to have memorized the notes, if the mind is always asking them to change hands in those places), and musical instrument. energetic teacher of violin would have at his cnmmrnd Anyone with ordinary powers of concentration can which is made up of people who have had access to the lagging behind the fingers. Of course, it is better to consequently they do not play so well in public, de¬ enough advanced pupils of violin to fill the various memorize, but only a few notes should be memorized world’s treasures in the way of education ; in short, To make my article better understood I must indulge know the notes imperfectly than not to know them at pending as they do too much upon habit. string sections—the first violin, second, usually the at a time. among cosmopolitan people who have heard and seen in a few philosophical remarks on existing conditions in all: but if the mind works too slowly a mistake will When teaching pupils to play from memory, all mis¬ viola and perhaps even converting some into bass As a general rule, pianists should take each hand things. I do not say how long it will take, the number our part of the country, upon which I feel very strongly. often be made by the fingers because the mind has not takes, whether in notes, time, fingering or other details, players. separately at first. of months or years will depend, first, upon the stage of From the Symphony Orchestra radiates all other forms previously directed them to the right keys. It is a should be plainly marked. I use a cross (X) for a After having launched into the actual rehearsing of Concentrate the mind. Do not mechanically practice musical development existing in the community; next, of music in a community; from its roots spring every good thing to know when a mistake has been made? wrong note, an F for a wrong fingering, and a T for the programs these must all needs have constant guid the passage half a dozen or more times with the music, on the power of the “transmitter” just how much of variety and form of worthy effort along good music but it is still better to prevent mistakes; and mistakes wrong time. Before playing each section or page the ance on the music to be played. My orchestra has now Once or twice with the music should t>e sufficient. the two necessary elements he or she is willing to give. lines. Its first follower is always a choral club, smaller can only be prevented by actually thinking of the keys pupil should be taught to look it over carefully and long since developed out of that stage, the players has Cultivate rapid thinking, by “running the notes On the unstinting giving of these hinges the tempo of orchestras spring up, quartets, trios, choruses with just before they have to be played. try to prevent the mistakes from being made. If mis¬ orchestral accompaniment, etc. Its influence has a ing become experienced, proficient and routined enough through the mind” every time the piece is played. the development in any instance. Of course, the force of habit is of great assistance. takes are made, nevertheless, the pupil should he di¬ cleansing effect on musical taste and it establishes through contact with big orchestral works to play in¬ If you have trouble with a certain passage, see > Even if you know what the next key or keys should rected to play that measure or measures at least three standards by which people can gauge things; they do telligently and artistically any average on you can play it without the music with the other hand. What Twelve Years Did be. it is much easier to play correctly if the hand and times correctly before continuing. not so easily fall a prey to fads and crazes which so with no help, but in the first stages of the orchestra's Try to avoid depending upon habit; the whole sys¬ fingers naturally tend to move in the right direction. There is only one thing to do with those pupils who The power of suggestion must be used long before often sweep our primitive country, as, for instance, the development my results were obtained by giving each But no matter how often a piece has been practiced, the tem is based on the fact that each individual note in say that they have practiced the piece and know it with it is even time to sow the actual seed. There must be recent ukulele fad. I do not know a more discouraging member of tile violin section private lessons on the hand and lingers will sometimes tend—especially in the music must be known. Habit can be destroyed W the music but cannot play it without the notes. Refuse awakened in each prospective player a desire to do sight than to see our country first swept by a fancy parts to be played. While this was a laltnriotu task, public performance—to move to the wrong keys. The disuse, but knowledge which is once gained is perma¬ absolutely to hear any part of the piece except the things. Every likely subject must be put vigorously to dancing convulsion, next a ukulele spasm, where every tedious beyond comprehension for those who have never player who thinks of the notes before they are actually nent. If you really know your piece, note bv note, part that has been memorized. If no part has been taking lessons on the chosen instrument whatever it schoolgirl may be seen meandering along the streets, tried it, yet a unity of phrasing was obtained through played will be able to prevent the impending mistake only a very little practice will recall it all to you if memorized, make the pupil memorize one, two or more may be. After having gotten a good instructor started in groups or alone, twanging a ukulele (out of tune, the fact that they were all taught alike, that made the have not played it for a considerable period of time. MAY I9i1 MAY 1917 THE ETUDE Page 811 Page 810 THE ETUDE How Much Did You Practice? cellent and central a place as the Y. M. C.A. ensemble excellent and produced an effect as of upon Auditorium to rehearse in. They were the first one instrument. i _• our Svmonony Mrs. W. E. Simmons As an illustration of some of the detail work done , in the first stages of the orchestra’s development I will Rental of theatre for each concert, $140.00. recount one of many funny episodes which have ac¬ “How much did you practice? The teacher’s first Building of platform (raised in the back), $14.00 The Composer companied its evolution. Before one of the concerts, at question when the pupil arrives. How well does the which we were to play Massenet’s Suite, Scenes Pilt- each concert. teacher know that without those precious practice hours all her work is in vain. She also knows that oresque, the fourth movement, Fete Boheme being the Rental of folding chairs, each concert, $4.00. one of the best ways to get the pupil to practice js A Powerful and Fascinating Romance of Modern Musical Life most difficult part of the suite needed an endless Folders for each desk for music, $6.00. to enlist the systematic interest of the parent. amount of preparation; each member required numer¬ ' Newspaper advertising, each concert, about $40.00. By the distinguished writers ous individual lessons on the parts. It so happened Window cards. Here is a little scheme for regularizing practice that during this time a carpenter was doing some work Stenographic work done gratis at my husband’s which I have found very valuable. I give the pupil a series of these cards. The parent dates the AGNES and EGERTON CASTLE for us in the basement directly under my studio, work pharmacy. card and certifies that the amount of practice has which kept him busy about a week at odd times. In Stamps for mailing list, $10.00. Authors of “The Pride of Jennico”, “The Bath Comedy”, etc. the meantime he worked at other places, on Friday been done properly. The pupil takes a pride in bring¬ Programs, $12.00. ing these cards to the lesson. Eight cards attesting morning upon making his appearance to finish up he Imported musicians, from $60.00 to $100.00. inquired of the maid, “What is that queer piece that to full practice periods entitle the pupil to a reward Local Union men for each concert, $5.00 each; everyone in town is playing anyway? Now, I have card. The one receiving the highest number of reward average $125.00. moment I entered there was something want- worked here nearly a week and I have heard nothing cards at the end of the year receives a year’s sub¬ tag, and It was that! . . . What la the but that same crazy piece played by everybody that has Soloists, average from $200.00 to $750.00. scription to The Etude. meaning of this?" been here; then the other day I went over to the other Conductor, NO PAY. The mothers of the pupils like the scheme immensely, “But tt is quite simple. It means I don't side of town to repair a door sill and somebody in that Each year the music bill is larger, as number in¬ as it gives them practical control over the pupil’s care to sing.” “You—you! Do I hear aright? Is this house was playing the same piece. *Mter I got to bed creases and more expensive foreign Works have been practice time. Indeed they rarely fail to call me over Saroltn speaking to me? S«ro!ta Vaneck, the other night somebody in the next house struck it up played. Have found it more satisfactory to buy the the phone and apologize when the pupil has prac- with the voice of the century I" and stuck to it till midnight, and last night I went music than to rent it, therefore we have a substantial ticed less than the required time. I-ady Holdfast's pale face grew a shade down to the Y. M. C. A. reading room to read in peace library. Have had absolutely no financial assistance until This is the card I have employed: paler; hut her lips still had their freezing smile as she answered : and quiet, and. upon my soul, I hadn’t been there ten the last of the fifth season, when a wealthy woman, “You forget, madame, that Sarolta Vaneck minutes before a whole big orchestra struck up the highly cultured and a devoted music lover, who lent does not exist any more,” same piece. If it was even a pretty piece I could un¬ her moral support in every way from the first launch¬ “Ah bien!’’ exclaimed madame. The other rose and stood looking down at derstand it, but it seems as if everybody has gone ing of the undertaking, even to the extent of attending STUDIO OF MRS. W. E. SIMMONS her friend, the angry lire deepening In her crazy over music in this town and it certainly is crazy all rehearsals and playing the piano for us when eyes and belying her air of eblll composure. stuff they play.’’ It is needless to say that we hold needed, paid about $500.00, which was the greater part Pianoforte Instruction “Eli, what Is tills?1' went on the genial our rehearsals at the Y. M. C. A. every Thursday of the deficit incurred up to that date. Mr. Engberg Practice Card night and that we were the cause of his settling in his you, while you can look like that. Ah, I Pupil’s name -—-- mind definitely that everybody had gone crazy on has managed the business end of this orchestra, he it thought you hnd grown Into a pretty dummy is who has brought it before the people, so to him is Not less than - minutes each at first; but now—/after mleux r
_ 1 MAY 1917 Page 312 THE ETUDE MAY mi THE ETUDE THE AFTERGLOW A melodious drawing-room piece, fresh and rather unconventional in treatment Grade 3 Allegretto con moto m.m.J= 132 A.O.T. ASTENIUS, Op. 5K . Andante con S5p mp
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The Future of the Symphony
Eminent Leaders Give their Opinions upon an Important Subject ^J j’ ^ ^ — 9 j ^ f r f~j ^ i =E-i!rlrlr Ftlx- Max Zach Dr. Ernst Kunwald forth. Long ago we have agreed to preserve master¬ A f : ^ 3 a tempo u"— Conductor of the Cincinnati Symphony Orchestra pieces in painting, sculpture and literature for the en¬ Conductor St. Louis Symphony Orchestra I cannot prophesy what the next fifty years will joyment and inspiration of succeeding generations, I am of the definite opinion that their star is in the bring forth in America in the world of music, but I hence our galleries, museums and libraries. Great ascendancy and their future the brightest. Whether j paintings, books or statues exist in their concrete, un¬ may venture to say what I think should happen and the interest in the symphony, as a form, is dying it is 1 ^ ~ ^ poco a poco cresc what I hope will develop. alterable forms. The degree of enjoyment in them is difficult to answer, for it is impossible to say definitely The growth of symphony music in America has pro¬ limited only by the individual’s state of culture or what the reason may be that prompts bur composers to ) _0 [ ,») 5 2jfc ^ # r# |5 h r £ 5^ £ 1 5 & t it imagination. gressed most satisfactorily up to the present time, and write shorter orchestral pieces in preference to sym¬ How many people, however, can hear what they see nothing further could he desired than that this growth phonies. Of late few have written symphonies of big in an orchestral score? Relatively speaking, very few. may continue as steadily as it has thus far. On the dimensions, the symphonic suite having been the largest other hand the development of chamber music has not Our orchestral masterpieces must forever be “re¬ form used. Possibly the composers find that they been so rapid, and along this line there is much to he leased” for the enjoyment and edification of the people. can reach and influence conductors more easily with ft f1 Ppm 3 ^a tempo lh | desired. For this purpose hundreds of active participants are short works, possibly they are also cognizant of the / 0’-=-4-j -L 4 I ftp ■ ^ Am ..- _ _ j J" eagerly and joyfully giving of their best, thousands Such is also the case with local opera. Only by the fact that the public’s prejudice against works by d=- joyfully receive the message and uncounted thousands cultivation of a love of music in the home can America American composers can sooner be overcome by some¬ A. —33?-I * " vie with Europe as a musical nation. But the wonderful are yet actively or passively to come under its beneficent thing which does not make such demands on their at¬ ) ^ ™f~===^ rall^r~m lh strides made, the activities of music clubs, the en¬ tention as a symphony would. But that the public is couragement offered by the public schools in the study Am I too egotistical in imagining that this living, losing interest in symphonies I deny: there are too ) ffrfr rfrf-.f -^1 j ^3^ of music, make for a most optimistic outlook for the ever-to-be-renewed art brings the greatest joy of any of many proofs to the contrary, too' many requests for -&EI2 the arts to the world? This art which unlike the repetitions of w-orks which made an immediate impres¬ future. r others cannot be- sullied by ignoble thoughts and lacks sion at their first performance. —1 -L&— Alfred Hertz even the idiom for the expression of baseness. That the classics are suffering in comparision with Conductor San Francisco Orchestra Opera, which to-day combines vocal, histrionic and modern, particularly Russian, writers is undeniable, I hki.if.ve that the future for Symphonic Music in orchestral art and adds, besides, lavish scenic investiture though the reason for it may be different in different r-tTpj m _tf p America is extremely bright, not only that smaller cities to it, will ever make its appeal to the greatest number parts of the country-—in the East possibly because of f f$m # have started orchestras of their own, and have success¬ of people and rightly so. But for real esthetic uplift too great a familiarity with these works, in the West fully done so, but the larger cities realize that it is the symphony has no rival. because of the lack of it. But here we must consider better to spend their money, available for music, on The two, opera and symphony orchestra, ought to and the general youth of the audiences—young in apprecia¬ tion of music, young in years—they need something 1I*-**,. their local symphony orchestras than to support more very likely will and should harmoniously co-exist the | jTj ^ A s"' ffrfr fFrPr rPr| or less cheap traveling opera companies, or spend it on one for pleasure, the other for uplift of man. ’ which arouses their fantasy, something concrete, in a soloists who arc touring the country only to make as word: a picture—and that is rarely to be found in what is loosely termed classical music. The old method of much money as possible. arne uiaDerg, M.A. educating the audience with the classics and an occa¬ t E p senzalegato E —- 0- The development of the symphony situation here has Member of The National Institute of Arts and Letters sional performance of modern program music is obso- been most gratifying the last few years. While two Professor of Piano Composition, Northwestern ? Jete. One must attract his audiences with the fanciful ye^rs ago they had 10 concerts only, we had 20 last University, Evanston-Chic ago ,.fL , . ,.-7777 and carefully lead them into an appreciation of absolute rfTTTT^ ^ , >rar, and this year as many as 40. Besides the fact that The Symphony Orchestra is the most potent facto music. we have raised the number of our orchestra from 65 to '6 ^>-Lr+— in musical education. The culture of any citv larv That opera will displace orchestra music I do not )cr—r. « » —-g— — +=—*— eggt>« • 80 pieces, wc have been rehearsing daily for twenty-five enough to afford one may be gauged bv whethe ,?ar’ for tbe reason that its appeal is of an entirely week-. You see we are bidding fair here to make a different nature. Few operatic seasons have succeeded, musical center of our own. or not ,t has a Symphony Orchestra. Orchestral Asso even in cities which can draw upon a great suburban It is only natural that American composers will be nations as trustees of public educational institution- population. New attempts are constantly being made, most encouraged to write for symphony orchestras in¬ owe a duty to the American public and should all hav constantly fail, while orchestras are formed, are sup- stead of composing operas without having a fair one consistent policy. This policy should be, not onl ported by guarantors or subscribers, or both, and seem chance of ever hearing them, and I am quite sure that o uphold the highest standards of performance, bu to the needs of the day and the future. The number in this way. the quick development of orchestra condi¬ insist upon the most universal, catholic and inter o peop e who are finding their greater joy and uplift . *1 ? 5 34 4 tions will have a splendid influence on the general -9^ " -y wi h0nhtheP7efatjOnJUPOn th6ir programs- ^^ten musical evolution of this country. with high art standards. Only under such 'condition m Purely orchestral music is daily growing, and well it may be so for the orchestra—this is my creed-is the can the American student of performance or composi mos satisfying medium of musical expression. Emil Oberhoffer tion absorb impressions from all the best sources o 4 PPpJ^_ y Conductor Minneapolis Symphony Orchestra hope to develop a synthetic Art, which is the highes mf hope which can be entertained for American Mush ■ M Y\? 'lroa"'s' t,is '"’Pcs and aspirations are most faithfully mirrored in the works of art that he has put The day for local Nationalism is past- let us h r ^ -0 P k. --S- 1-4^; Internationalists. v ’■ 1 us b y M L T_ n ; W | 1 -Li 1 j TB d". —
Copyright 1917 by Theo Presser Co. British Copyright i L I A/AY 1917 /'age 314 THE ETUDE MAY 1917 THE ETUDE Pug* 315 2d YALSE CAPRICE W. M. FELTON waltz. This number displays vigor and freshness of invention It win A portrait and sketch of Mr. Felton will be found upon another page of demand clearness and accuracy and a certain degree of velocity. this issue. This talented and promising composer makes his first ap¬ pearance in our music section with a showy and brilliant concert Allegro sclierzitndo may mi Page 316 TIfE ETUDE MAY 1917 THE ETUDE Page 317 DANCE OF THE GOBLINS A jaunty grotesque dance, entertaining to play and with useful educational features, Grade III. HANS SCHICK Con spirito m.m J = i08 ? ? UL! r
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mf p»^| PSPS psa N#j fm PPP PS1 / > ^ jltf >■ Y bill u urn SL... ‘P If M MAY 1917 Page 318 THE ETUDE MAY 1H7 THE ETUDE Page 31H STAND BY THE FLAG STAND BY THE FLAG PATRIOTIC MARCH R.M. STULTS PATRIOTIC MARCH A timely patriotic march introducing effectively portions of several national airs. Play in true military style with dash and fervor. R.M. STULTS Con spirito m.m J = 120 PBIMO Con sjirito m.m. J=uo . . . . SECONDO > > w ^s=j= r 1/ »iC==s=== i uJH s j «] > ' > > :> 4 Is > 4 5 — .2. 2 ? fi lss^.™.l f-f-r rS-f- m< y nIf ±=t= fh fc-1 : stN eEj P i -x • - ,j / B ^ 8 4 > b
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FRAGMENT from the “UNFINISHED SYMPHONY” PRIMO F. SCHUBERT Allegro moderato m.m. J = MAY 1917 THE ETUDE Pan* 323 Page 322 THE ETUDE
COASTING CECIL BURLEIGH,Op.c) , indicated by the composer ( 160 quarter notestoths A portrait and sketch of Mr. Cecil Burleigh will be found upon another I Play it at t ie i!Pe^^ aJ1 the interpretative markings. Keep in mind si page. Mr. Burleigh is an American composer who is rapidly coming to minute) an te(j 5y the title of the piece. Grade V. tlie fore. Coasting is a characteristic piece which will require candid study. ways the pic u
A simplified arrangement of this well-known classic,done in Mr. Harthan’s usual thorough and painstaking manner. Grade 111.
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Copyright 1917 by Theo.Presser Co. d L British Copyright secured MAY 1917 MAY 1917 THE ETUDE Page 325 Page 324 THE ETUDE A STARRY NIGHT ROMANCE W.O. FORSYTH,Op.44, No.J Mr W 0 Forsyth is a well-known Canadian teacher and writer who i useful for the study of the singing and in the development of the makes his initial appearance in our music page this month. His Star- legato style of playing. Grade IV. ry Night is an original and very expressive song without words, very I With serenity m.m. J =42
British Copyright secured Copyright 1917 by Theo.Presser Co. Pngt 326 THE ETUDE may m? THE ETUDE Page 32 7
VALSETTEViiLiDLIlU U-LDI ±J^BALLET MARY HELEN BRO^K HAPPY YALLEY A neat little waltz movement, rather unconventional and unusually well harmonized. A good recital number, and useful as a study in style. A graceful inspiration, with several original melodic and harmonic toochc. It i. . ptoMW *» •» 80 m"'y '*"*“• Am8rl““ 3rade 3’ Tempo diValse m.m.J.= 54 LOUIS ADOLPHE COERNE, Op. 90, No. 1
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British Copyright secured Page 328 THE ETUDE THEETUDE
REVERIE-IMPROMPTU An l*riii,t/!C toinature, somewhat in the style of Chopin, but in its harmonic treatment reminding one more of the Russian school. The com- poser, Mr. Gregory Kannerstein.a successful pianist and teacher, is Russian both in nationality and training. Grade V.
Andante moderato m m J =42 ---- G. KANNERSTEIN
L British Copyright secured JUY jyI7 TEE ETUDE Page 331 H0®i7 P«v*830 THE ETUDE SPRING SONG HALFDAN KJERULF, Op.28,N0.5 FRUHLINGSLI^I^ nularity Spring Song is a fine example, mel'0. Halfdttn Kj.rulfl1818-1868. Ms ono of the a„li.r Norwegian 1 f0rm “d composers of prominence. His songs were sung by Jennie Lind, | dious an Sontag, Nilsson and other great singers, and his piano pieces Allegretto con moto e grazioso ALMJ=j<
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I MAY 1917
Page 332 THE ETUDE AVE MARIA E SCHUBERT, Op.52,N0,6 ISw. Strings and Gedecht (Composed in Transcribed for organs Ch. (or Gt.) Clarinet,or soft Gamba, GORDON BALCHNEVli and Melodia (Trem.) Sw. to Gt. recital. This will go well on a two-manual otgai Ped. 16' Bourdon, Sw. to Gt. either for church or A playable and effective organ arrangementof this beauti u c as Adagio con espressione — 6 -
MANUAL
Copyright 1917 by Theo.Presser Co. * Lower notes preferably on Gt.twith right thumb) or on Sw ,at players option MAY 1917 MAY i9i7 THE ETUDE Page 335 Page 334 THE ETUDE MAMMY’S LITTLE BABY DOROTHY MEAD* YOUR SMILE WALTER WALL.ACE SMITH odtc Equality1 makes til ^00^^^^™^° flttingly blended‘ lts limited range and definite tonality make this a good teaching song. Its mel- CRADLE SONG to a plaintive and characteristic melody, and it, Moderato JO a tempo A dialect song par excellence. This song touches the heart, with its appealing text, rttr T i?ir apt and tasteful harmonic treatment. rl. i. oUKLMGH
LOUISE ALSTON BURLEIGH In rocking rhythm, Tenderly
In this c,-bin here, Mammy’, gotyc hon-ey, Don’t you have a tear.
Mam-my’s lit-tie lamb - kin Crying in your sleep, N^v-er mind my hcyi-ey, An-gels watch will keep,
MXmmy’s lit-tle ba-by Turn your face a while, Let me in your sleep-ing Feel you trust me, child,
Let me through your weeping See your an - gel smile. Mam-my’s lit-tte now j? fa£t T- sleep.
py.ight transferred 1914 to Then. PreaseJco. International CWit» 0Y 1917 THE ETUDE Page 337 may im How Music Helps Us Stand the Strain of Every-day Life Fugc 336 THE ETUDE In a recent article in the Chicago Daily which it has brought about remarkable jir, H. Addington Bruce, well cures. GAVOTTE IN F PADRE MARTIni town for his excellent psychological An American physician, traveling in (1706-1784) ticles, tells how great.is the necessity Europe with a friend afflicted with those who received instruction from him beingM0. ' r fflU’sic in the strain of modern life. melancholia and showing suicidal tenden¬ Padre Giambattista Martini was a distinguished theorist of the early classic school, a^fhe canonic stye, is a real gem. Grade IV. He writes: cies, found it impossible to improve his Most people regard music as one of nart.Gluck and Gretry.Most of his compositions are now forgotten. The Gavotte in , friend s condition until one evening they die luxuries of life. Actually, it ought went to hear some Strauss music in Allegro grazioso m.m.J = 72 1(, be regarded as a necessity. V ienna. Then, to his surprise and satis¬ Some sort of m'usical instrument— faction, the physician noticed that his „iano organ, violin, harp or automatic friend displayed a slight revival of in¬ music* producer—should be in every terest in life. home. And it should be used, not left to “I was not slow,” he relates, "in fol¬ accumulate dust. lowing the indication. We became as¬ Get r sic—good music—in the home. siduous devotees of the divine art as i «ri11 run more represented by the waltz king. The faint dawn of intellectual life brightened. family- ‘‘We gradually enlarged our scope, and It will run more pleasantly because included grand opera and other musical 5 4 s tliere will be less liability to strain and entertainments. From this time improve¬ ^ ^ 3,„ 6 4 * » 8 t 2 6 4 7 -.—p— -r— nervousness, greatest ease of adjustment ment was steady. in the family relations, and greater indi¬ “The patient would sometimes relapse vidual health and efficiency. into apathy. But the fits of gloom became Music, that is to say, has splendid less frequent and of shorter duration, until the cure by music, happily begun in j tianquilizing and energy developing ef¬ i * fects. • Vienna, was complete, and he returned Ir, a Boston newspaper the other day home sane of mind and sound of body.” tliere appeared an interesting announce¬ To those in perfect health, as to those 5 ment. nervously or mentally ill, music is equally j u fc* ~ It was to the effect that during the helpful. Its greatest value comes from annual examinations at Harvard Univer¬ the pleasurable emotional states which ^ p, i ^ a tempo ^_>• . . it creates. i sity there would be a brief organ recital J Cf at Appleton chapel every morning before No other art appeals so strongly to the the day’s examinations began. Students emotions. The man who has learned to were invited to these recitals. love music has within his reach an un¬ The suggestion was made that by at¬ failing source of joy. tending them students could more easily And the joy which music brings to him overcome any nervousness they might echoes through his whole organism, led regarding the examination ordeal, stimulating all the physical processes and,would be better able to do justice to within him. themselves in' answering the questions The food he eats is more easily di¬ put to them. gested, his lungs work better, the quality There is plenty of precedent in medical of his blood is improved. experience for this curious use of music as an aid in gaining control of mind and From all this his brain benefits, being better nourished. „ Consequently he finds it easier to reason, to remember, to plan, Many a nervous patient has been helped back to health by listening to music. In to execute. all first-class hospitals for mental dis¬ You say you are not fond of music? ease, music is regularly used as a quiet¬ Learn to be fond of it. You can learn, ing, upbuilding agent. There are cases in and it is well worth the effort. For YOUR Home Even though your parlor is small, and you can pay only a little each month, you may own this aristocratic, magnifi¬ Selecting the First Piece cently toned grand piano. i ^-5 8 2A ^ . . 2 4 | | JTJieNgj<^s£Gr ah i Nti rn 8 8 T» p ri* ;Tf11 a-gl By Grace White J ...JJJ fH=I -f—1—- r y-flt b 1 4= 1 LT Irattdettei 3^4 ? » it. The ideal pupil will memorize it > . . . P sj j The teacher should be most careful in.
"ft:.- without being asked. However, all pupils ,1 J JJ-T1 the selection of a pupil’s “first piece.” A high-grade grand piano, less than five feet long, for only The subsequent interest or discourage¬ are not ideal! The question of memoriz¬ ment of the pupil can frequently be ing should be taken up as systematically $600 (f.o.b. New York) ie traced to his attitude toward his first as the playing of scales. Have the pupil tre con Kranich & Bach are leaders of the world in the manufacture of fine grand -fir p piece. Above all, it should be something play the. first phrase — usually four 3 4s E'Jt measures. Then tell him to play it from pianos. The Grandette is the firm's latest achievement. Abb-, A 4 3 he can master. Play it all through to pying no more space than an upright piano, it is a standard Kranich & > a. — | 2 13 3 it-- memory. Probably he does not succeed. 0 ^ • him first, and see if he likes it. If he is Bach grand in every respect, with the same delightful Touch, sturdy con not enthusiastic, tactfully put it aside im¬ Have him do it twice again from the struction, and wonderfully lovely Tone that have made Kranich A Bach mediately and take up something .else. music. By this time his listening will grand pianos famous for three generations. be more acute and his thinking more Used pianos taken as part payment Usually he is eager to play it. Test the Grandette at our expense. Write for information and Grandette booklet 23 =nr, \ a_i 2 8 a * Before he attempts to read it, point orderly, because he knows that soon he h m i| ^ 2|_—una c°rfi
they are liable to break down at COMMENCEMENT E S.—Your experience with violin repair¬ points: this makes them nervous, andT.i W Trials of Truo Ton® by TQM-ft*Pbon® ers,'who experimented with your vlolln. eaeh very thing happens. 0 tlst Moving Picture ^u,t^uySuGndJ0Ur fUl1 name and address- No questions will be answered Make the Most Important Occasion of the School advising different treatment to iremedy tlhe when this has been neglected. difficulty, is another case of where doctors K. E. A.—1—There are at present Capitalize YOUR Ability Year a Happy Memory disagree.” I could not advise without seeing American cities which support perm.,,.1!; Only your initials or a chosen nom de plume will be printed. THE WORLD PAYS FOR SKILL the instrument. Violin construction is an symphony orchestras, and a really »Zi extremely difficult art, and so is violin re- violinist does not have much difficulty in^t. Playing Make your Questions short and to the point. Mn Bryant has invented a method of^iucccMfuUy ' pairing. Even eminent physicians ana su geons differ radically in regard to the proper the jTppiicant must have i M the following named books an Questions regarding particular pieces, metronomic markings, etc., not TUNEFUL OPERETTAS AND CANTATAS treatment of cases submitted to them, and so thorough_ technic,. c, andand'i must also have IL! 1 abundance of music will be found likely to be of interest to the greater number of Etude readers, will not be Success is more certain than by best oral instruc¬ A ROSE DREAM do violin repairers. Their theories often orchestra, at least in a good student's orcW considered. THE PENNANT prove to have been wrong, after the woj k adapted for all phases of moving tion. We furnish Action Model and Tools free. By Mrs. R. R. Forman Price, 50 cents tra. You can gain this experience by em“mi Diploma granted. By Oscar J. Lehrer Price, $1.00 has been done, and the violin may sound Ing in a college or conservatory in one 0f th. • nlavinE. None of these books Money refunded if not as represented. Pretty tunes, amusing situations, well set A delightful entertainment for any group worse than before. It Is a safe rule, where large cities, which supports such an orchil CcluS for church use, but all of young folks, between the ages of eight a violin sounds well, not to have any radical ..._ _thesec.-* stuae orchestras ham * mCa-Ut bV imitationf up young men, bright girls in smart (rocks, and fourteen. The plot allows for the contain sacred and secular music suited a dance here and there, and a spirit o( changes made in It, in the way of re¬ reached a high plane of excellence.""’eXCplImwu Tri?n„ ' Mr. C&niels writes: “f am now my own ^master. participation of any number. graduation, experimenting with the bass bar, play many of the works In the repertoire 3 t0 all occasions; original works and was born in Kines «mi "^different'lUelody. /Thus*111111”11 flSU16 -- and especially the le- ~~ college "go" Is tire best description of “The sound post, linings, blocks, etc. Such the average symphony orchestra, and whc. transcriptions by classic, modern and Pennant." It'ls a real, practical piece (or a b THE FAIRY SHOEMAKER changes may result -in improvement,^and they appear in public the orchestra is usually
THE organ player THE ISLE OF JEWELS
A Success from the Start Harmony Book for Beginners By Preston Ware Orem Price $ Lays a strong foundation for future musicianship by giving
Afresh* neV sou^1?^ °f th* °ld “CUt 3nd dried” harmo '
Strongly Endorsed by the Musical Press Tlieo. Presser Co., 1712 Chestnut Street, Philadelphia, Pa. FOUR PART Garbett ^ ,"B0° "gg** Close at Eve, The. I0B4S ’ ?!' . ’iu““ Z is? FASCINATING PIANO PIECES UKULELES
THE PRICES ARE MODERATE A Ba^ate^lizsaria A?°S $4.00, $5.00, $7.50, $9.00
Any of the above Music will mine hand made Hawaiian UKULELES *iu „„ ou, THEO. PRESSER CO., Turn"™* B°0K FREE WITH EACH INSTRUMENT Pa. THEO. PRESSER CO. ;; PHILADELPHIA, PA. THE ETUDE Page S51 Pleasant Pastimes Standard By Helen L. Cramm Song Album This volume would need no' advertise- This collection is made up from the best ment if it were known. It is full of or- songs in our catalog, principally those iginal and Interesting little pieces for that have appeared in The Etude from young players, and most of them are de- time to time. There will be an immense scriptive. The first one imitates the met- number of songs in the collection, and l'onome. They even have pieces like Swat the songs are suitable for medium voice the Fly. All are of descriptive nature, iu most cases- 14 wil1 be 8 collection that but very simple, so simple that a child 8,U sin|ers wil> be Plad to bave of four or six years can master them. them J°r entertainments or for recital There are also a few verv simple duets use' There w.ll be both sacred and secular The Dolls’ Strike A -i , 4. au i 1 tp songs in the collection, and we consider winch add value to the volume. Every of the most v’a,uab,e and cheap A Merry Little Tale for Busy Students one of the selections is a gem, and we collection8 of vocaj music that can be take great and hearty pleasure in recom- found anywhere. It WJU be bound In NEW WORKS. By JESSICA MOORE Summer mending the volume to our patrons, the usual’form of our standard albums. Rag Doll: But what I hate to think Wax Doll: With pleasure. Samuel: Here is a letter addressed to Advance of Publication Offers— New Music There will be only one copy allowed to with strong outside cover, and best print- STAGE PLAN. each purchaser. It is not intended by ing and paper. Our special advance price, about (Sings and dances—" The Dream you, sir, which may explain the situation Set the stage to resemble, as nearly as fetter than I can. May, 1917. S£ff A number of thousands of our teacher our special offers that our patrons pro- postpaid, is but 25 cents, possible, a carpenter shop—work-bench, Is, they may turn me inside Dance,” Spaulding.) patrons have signified their desire during (Hands Mr. Pine the envelope from vide themselves with more than one sample tools, shavings, etc. Have practical cur¬ Fifi: Clarise and I will contribute to Album of Sacred Piano Music. . . . which he extracts the letter.) the past winter to receive our new music copy to become acquainted with a work. p„ri.r tains at the back, ready to be drawn for ■ Scrapbook Fairy: Well, if they are the occasion. UbUd’s Own Book, Haydn. On Sale. This means either seven or four- ItIt"is is rnot intended that a supply be ob- ‘Jtanuaru larior stuck up and (They sing “The Merry Dance” (duet), Mr. Pine (Reading): Min, Etudes. 2 Vols. the finale picture. Dear Mr. Pine— teen pieces of new piano music or new tained through these special offei", as the Album Spaulding.) Siieg, Sonata’ 0p' 7. songs each month during the busiest price is low and scarcely covers the cost The Standard Parlor Album is another Whereas, it has been pointed out to us Hinders 12 Easy Pieces. CHARACTERS AND COSTUMES. How will they Soldier Doll: Attention, company! teaching season. This new music also in- publishing and mailing. Our special aibum produced from special large plates, (They form a line behind him and that the children do not and never have Heins Album . Peter Pine, proprietor of shop (busi¬ treat 'the Scrap¬ ^ Octave Studies. eludes organ music, octavo music, and advanc,e Price on tbis volume is 25 cents, It wip consjst chiefly of pieces in inter- mark time to music. Soldier Doll sings— appreciated their dolls for more than an ness suit). book Fairy? Milter Study in Music, Cooke. . . . music for the violin, but at less frequent ■ ^al ' mediate grade suitable for home enter- “Ours is a grand old flag,” Spaulding. hour or two, and that after that period Samuel Smart, foreman (carpenter’s Sailor : Suppose they’ll make me sail a Melodies of the Past, Greenwald. . intervals, four times a year instead of „ . ... tainment, including largely, numbers by All join in refrain, waving small flags, they are usually roughly thrown about or' modem writers ana popular contemporary apron and cap). Moirtowski Album . seven or eight, would be most likely i Hems Album modem writers and - Shiver my timbers, I hope ’twill u'hich have been hidden in their sleeves. their heads and their limbs torn asunder Pleasant Pastimes, Cramm. . , , composers. Only the very best pieces will Toys: Soldier Doll, Sailor Doll, Jump- the latter two cases.. There are a few composers of salon music be Jsed. Every number Is a gem. Our float. Enter Samuel hurriedly.) in the most brutal manner; therefore, we fteliminary Duets, Spaulding. . ing-japk, Topsy (black face), Fiji and The point of this notice, however, is to that seem too have a nerenn.alperennial ev.a+ence.existence. cial introductory*• price' for' r thist] Volume Samuel: At last I believe I have ourselves have declared a strike of all ,U Method for Pianoforte, Book 2 C'larise (French Dolls). Miss Wax Doll, Clarise: If they kiss me, I know I’ll draw our patrons’ attention to the fact Among them is Heins. While his music wjjj be 25 cents, postpaid, dolls and toys in the toy kingdom. Such, Stainer's Organ . Miss Automatic Doll. Scrapbook Fairy, cry; solved your problem. You are to go on that during the summer months these 15 °f. a light, cheerful character, yet it Therefore I hope that none a strike immediately. I expect Mr. Pine strike to continue in force until the Standard Advanced Pieces. , , a.* j rr. *.u contains an element of permanency that Dutch Doll and Rag Doll. standard Parlor Album. will try. here with prospective buyers at any aforementioned children agree to treat packages wd be continued. Two or three- is not possessed by a gre£t many J these Standard Advanced Pieces Chiluren (in ordinary street cos¬ Standard Song Album. packages will be sent during the summer popular salon writers. He ranks with # ^ pianr,fnrto tumes) : Ada, Bessie, Carrie, Dora, Soldier: Of course, I know that I am minute. us as they themselves would be treated; Student's Music Guide and Manuscript All: Oh! that is, in a thoroughly respectable and months to all who request them. A postal Liehner, Landler, and Behr, and Engel- Ior cne * lalu)iorie Fannie. Gertie, Harry, Isaac, John, Ken¬ Lesson Book, Jonas. card will start these packages at anytime, mann. He is equal in popularity, at this This new volume is one of the series neth, Louis and Michael. But then I’d rather they be¬ Samuel (Continuing) : So come with humane manner. Technical Studies for Left Hand, Palo- me. I have written a letter for you all (Signed), Another postal card will stop them at any day, to any of them. The album that we printed from special large plates. II « ill have. verde . pjrne will publish will contain only the very contain pieces of rather advanced grade Topsy : Dey don’t like culled folks, I to sign. (Alt exit.) All of the Dolls. Young Polks’ Music Study Playlets. . . Overtures : Marche Herioque. 6 Hands We are better equipped, of course, hav- bef4 of his writings. It will be a 50-cent but not too advanced for the ordinary know; (Enter children.) . „ FivoF enDh L- fv-orw volume and will contain ten or more com- good and well-equipped player. I here —Spaulding. So I just guess I’d better go. Ada: There appears to be no one here. Michael: Oh, you naughty girls! mg less of that sort of work to do from positions As our speda, advance price *iU bc a large nmnlier of pieces in the After the overture, the curtain rises Dutch Doll: Vat is it dot you speak Hadn’t we better knock? Mr. Pine: Well, girls, from the tone Buying Music until September than at other times of w;p be but 2g cents, this will make each book and they arc made up in judicious and discloses the dolls strolling about the the year e- l> to attend to orders for reg- composition cost about 2 cents, delivered proportion of selections from the great aboud ? John : Mr. Pine said he’d follow us in of this document I rather think the dolls By Mail stage. For me I make it nod- a few moments. are in earnest; ‘so what shall I reply to ular selections-v of r>_On Salec_i music. your house. It is not necessary to classic writers, the modern composers, It is certainly to be hoped that the dings oud. Bessie: While we are waiting won’t them? Collections of On Sale music a speak more of the popularity of this and contemporary writers. This volume prosperity that’this country is enjoying to any reputable teacher upon the receipt writer. He is too well known among all will be a veritable mine of good things Chorus All: Good Morning, Every¬ Automatic Doll: If you don’t wind me someone volunteer to sing? Dora: Oh, Mr. Pine, we’ll be good to at the present time will continue order designating the number of piano players to need any comment here, for die ambitious player. ()iu speel.il in body—Spaulding. up, kind sir, Carrie: Why, yes; I will. them hereafter. matter what the development of —| jginteI " pupils, the^amount aiid "style'of*music* de- •£* .be thc las‘ tHKhictoiy price (If the gestures arc mechanical, the I’ll never have the (Sings—“Childhood,” Spaulding.) Fannie: I’m truly sorry. national affairs may be. sired, grades, studies and voices, in fact “°“th that the work wl11 reraaln on sPec,al ,s 25 ccnts> P0StPaid- effect will be in keeping with the char- strength to stir. All (Applauding) : That’s splendid. Carrie: This is terrible! The business of supplying music by offer. Jumping-jack : There’s nothing left for (Enter Mr. Pine, also applauding.) every possible bit of information given John: Who cares? mail, carried on by Theo. Presser. Com¬ Album of Sacred Enter Samuel Smart (.Excited). me to say I only heard the last part of that. Won't Ada: You don’t, of course. Boys don't pany in connection with the publishing of us makes a selection more satisfactory. Samuel: Dolls, one moment, please. But make a friendly you attempt another for my benefit? play with dolls. this magazine, is enjoying the busiest year These packages can be kept for at least Technical Studies for the Piano Music 1 feci it is my duty to warn you that you bow. Good-day! Carrie : Let Gertie contribute this time. Bernie : I wish I hadn’t thrown my doll ot its thirty-four years of existence. There a year, settlement made at any time, dis¬ Development of the Left Hand This will be the lost month of the will soon be in the hands of a relentless, All: Won’t you try and save us, Mr. Gertie (Sings “The stars are saying at the cat yesterday. tan be only one reason for this, and that counts the same as on regular order. Any special offer on this new eolleetlon. as is that mail order buying is a satisfactory By M. Paloverde heartless enemy, known as human chil¬ good-night,” Spaulding.) Harry: Why not arbitrate? That’s the music that is carried in our regular stock, the work will l>e ready in a very short method for teachers to use in the obtain¬ This new book of studies is now nearly dren. It has been the ambition of these Samuel : I have been thinking over Mr. Pine: Capital. (Looks about him.) way men do. cinyany hLailUfcllstandard U publications,JUkmv-ouuuo, are cheerfully ' time.UUIC. It will proveI'UMI aiiiiuadmirably 1»• v adapted ing of their music supplies. We know it sent On Sale, subject to return. This ready, but the special offer will be con- for Sunday playing at home, <■ children from time immemorial to deal your serious predicament, and must say, Why, where are my dolls? I left them Dora: You help us, Mr. Pine, won’t is satisfactory. We invite a trial from refers to. everything. ' except. the,, sort of tinned._. ...during _...the current month. The in, emiren-Lurch .servicesservices wnenwhere 11it is with atl dolls in a heartless, brutal man¬ candidly, that I am puzzled. So if you’ll you? everyone of our readers. The following ner. Without the slighest provocation allow me to retire for a few moments I books which are pamphlet bound and organ. The pieces are Mr. Pine: Well, I’ll endeavor to end are some of the reasons for that satis¬ for special practice of the left hand, all of thc very highest type, although may formulate a plan to counteract their upon your part they will proceed to de¬ Samuel (Outside) : Coming, sir. this strike, but they are very emphatic factory condition: which would be easily damaged either ii terial which shall be musical as well ns they are of only moderate difficulty, anil stroy you. Your ancestors have all been cruelty. At any rate, trust me; I’ll do (Enters, carrying a large envelope.) in their demands, and unless you con¬ First and foremost: A catalog of the transportation or perusal of same technical._ Some of the studies in this some of the very greatest of the classic sufferers, but should that establish a prec¬ my best and— Mr. Pine: Now, young man, explain, vince them of your jincerity, I cannot teaching material, sheet music, books, con¬ This perhaps refers particularly to the book .. 1 „good that they„ might. be alluand modern [uulcomposers arc represented.lvp.,„v edent? Is there not some way in which Fifi : I know you’ll succeed. please. Where are my chattels? The promise success. taining the most used and most popular scores of operas, which require the pages used as separate pieces. All have real Tbe special introductory price In ail' works in their respective lines. This in¬ this terrible slaughter can be stopped? Samuel: While I am absent amuse dolls and toys I left in your care this All: We promise. cut, for instance. Anything that is re- value. Practically e.™rFf^sty^^°t Pa“8FP Gf publication is 35 cents, postpaid. eludes modern technical and theoretical ™’ •,° . nprpSSariiv be in condition that may be met with for the left hand 1 believe there is. Haven’t you some¬ yourselves as best you can. (Retires.) morning? Mr. Pine : Samuel, you have heard works, instructors, (particularly piano turned must necessarily De in concuu modern music intermediate gradc thing to say in defense of your own All: Hurrah for Mr. Smart! works, instructors, (particularly piano - , in modern music 01 iin.eriiicai«.i.c grade . ., , , j Samuel: If you please, sir, they are what has transpired. Will you now pro¬ music), songs and church music. _ _ for first class sale. will be found. The use of such a book Student s Music Guide and lues? For you will stlrcly be their next Sailor : Let’s have some music while on a strike. duce the striking dolls? The second most important condition • cannot fail to bring about real benefit victims. we are waiting. This suspense is terrible. Manuscript Lesson Book Mr. Pine: On a strike? What npn- (Samuel goes to back of stage and is perhaps the fact that our prices and Ensemble Graduation and and advancement. Our special introduc¬ Au.: Oh! what shall we do ? Jumping-jack: I’ll sing a song about sense. By Alberto Jonas draws curtain disclosing the striking discounts are most liberal and economical. _Mimic tory price is 25 cents, postpaid. Ftri: My sawdust heart goes pit-a-pat. “Old King Cole.” Samuel: Nonsense or not, sir, they dolls. The children rush to them with The third requisite is, of course, prompt- Commencement This is a hook which a very great manY They'll surely mash my pretty (Sings—“Old King Cole,” Lawson.) are, as you can see for yourself. ness in filling orders, and that covers a Ensemble playing is one of the most teachers will greet with joy. It is a blank hat. outstretched arms and bring the dolls Young Folks’ Music Dutch Doll: Did you know “Johnny Mr. Pine: Well, have it your way. But forward.) multitude of details, namely the carrying practical as well as popular features of book—a manuscript book, but something Wax Doll: Oh dear, oh dear! I know Schmoker?” No? Listen! what for? Study Playlets far more. Seftor Jonfts, the great Spanish Soldier (As before, sings: “Ours is a of as complete a stock as possible of the ^ season,s ciosing programs. To meet I’ll faint. (Sings—“Johnny Schmoker,” Lawson.) publications of the world—the publica- ^ „ver-increasing demand for material This new work is now on the press and pianist and teacher, has written nt the All: Yes, what for? grand old flag,” Spaulding. All join in If they discover that I Rag Doll : Wax Doll, won’t you tell Fannie: Oh, Mr. Pine, and you prom¬ our readers who have ordered copies In lops of thc padres some invnlunMr cx- the refrain.) •IS to be able reasonably to take care of this class 'we —y — advance at the reduced price will soon be ereises 8"d special directions for study us about your dream? ised each of us a doll, too. CURTAIN. of every order the day it is received. This new works to our catalog, ana mis ye ^ ^ them The iden of mnking wbiob sHoulcl “speed 11,. the pupil s work means that teachers living in locations not in particular the additions are nor o y ^ mtIe j ollt of tbe iife cf a great immensely. Hmv will it he used - \\ ell, less than a thousand miles away from numerous but of a specially taking cnar- com r paraneis that of making a the pupil comes for thc lesson with, let Philadelphia can receive music from us acter. Besides several original works p]ay]et out of the life of some great us say, the Chopin Nm-tnmr in < •. th»- «»nc more quickly than if they waited an op- obtained from recent composers and ar- national hero. It has been found in our with the runs in thirds, ihcse runs nrr, What an Orchestra Conductor Has to Do portunity to go down to the business sec- rfln0.ers we have acquired the entire public schools that children show a re- as all teachers know, vrr\’ difficult. I h. v of their own city and obtain it. -wJLhle music catalog of E. Witzmann markable interest in the hero playlets, can lie helped through special prepara ory Ethf.l thinks she is kept very busy Just think of it, Ethel, with two clefs They have the same tone-color, there are of any of these languages, or the least Postal card order blanks, catalogs, ad- which we have already re- Indeed, the idea has become so widespread exercises in thirds. The teacher take* the with ten fingers to manage. She com¬ and only ten fingers to manage. Now only ten to direct, and Ethel reads from error even in inflection or intonation, ?ce on every subject in music, a most & Co., . for s;x hands, the that large publishing houses have put out pupils book, and on the blank s,,"' s plains a great deal about the weak fourth Ethel dear, the next time you go to an two clefs. If you wish to know real must be detected. This is a fair analogy finger and the wobbly fifth ; she cannot r u.sv Ui.<= devoted to music and the masters■*-«• **•ereises -needed to help the pupU. Inline- orchestral concert watch the conductor, difficulties look at an orchestral score. to the labor of the orchestral conductor. make the thumb go under at the right ,wience to' the■ teacher,-—- B a few of the as well as several fortor one piano, lourfour music. There is a playlet in the hook diately the pupil Is forced to recognize you may not see from your seat what This is what Sidney Lanier, “the mu¬ Orchestras have developed into great time and she says there is too much to sician’s” poet says of the orchestra con- "raor advantages offered by this house. hands,nauus, and for*.- two Pianos’ fo“r hands' dealing with the lives of each of the fol- the teacher’s ability. Moreover, the Inrl- he reads but I will tell you. He reads bodies of musicians,, many of whom are Dnr list of vocal music, two, three and lowin„ „reat composers: Bach, Handel, dent Is not forgotten, as the pupil t ike. attend to—clefs and keyboard and ten An order and a request for first cata- Uur llsl u, a whole page at once, and from many solo performers — the orchestra which lo?s is the simplest and most direct WU1four .pak rt songs,_ suitable„,.!4-nklo for fCommence1ruYim#»nPP!- -,Mozart, . ° Beethoven,it _ ._ /'llChopin,_C?-- Schumann, Ikothe cnDnlnlspecial i.YiTi'i«Pkexercises home in « IwxiLIwx.k thattli/it '‘Fancy that you had a class in elo¬ lingers make piano music very difficult clefs. He has sixty or seventy instru¬ Prince Esterhazy supported for the first method of testing the value of these ad- ment is rlch in variety and musical Schubert, Mendelssohn and Wagner. They he will keep and use to his advantage for cution of sixty pupils, all of whom simul¬ indeed. Ethel says to her teacher: ments to direct; each family of instru¬ symphonies of Haydn contained six Va«ages to any teacher. . worth. We invite correspondence from may be given with little trouble bv any months. Altogether the schcmr is an ex¬ taneously read aloud to you—some in “Oh. I can’t read in two clefs,” and ments speaks in a different language, and violins and violas, a ’cello, a double bass, ioe last and final word is that there is teacbers and others interested in getting group of intelligent children, with or with- cellent one for progressive teachers who Greek, some in Hebrew, some in French, “I can't make my fingers go when I use there are many tone-colors to blend. a flute, two oboes, two bassoons and four J° order too* sm*alf to”receive the best at- teaChe'!^ and costumes. Indeed, insist upon having ev,^- possible -dvan- the pedals." some in Latin, some in English and that «on that we can give it, and there is «P C" ^^ liberM quantity of such they may be read as dialogs.. The special tage for their pupils. The special advance With Ethel’s ten fingers, how easy! pieces of brass, seventeen instruments in of publication price is 25 cents. the least fault in pronouncing any word all. . 01917 THE ETUDE Page S5S MAY 1911 Page 852 THE ETUDE -00 Sale” Returns NOWHERE is it possible to obtain so value of The Etude for $1.50 a year Intimate and authentic pictures of Russian New Piano Method, Book II Moszkowski Low- ranon the outside ~ rof each parcel. musical life as In Simpson's "Travel* In The prospective subscriber will realize that the 1916-1917 teaching season is Russia.” Chapters on Russian opera, the By A. Schmoll Album Octave Studies here is musical inspiration and knowledge its close, we think it timely to Whenever in doubt as to the best Russian music publishers. Fifty half tones, We are very glad to know that Book I, We will publish a volume in "the Presser The value of octave playing has been practically impossible to obtain from any "ff.Ltion to the requirements govern- dividuV11 mak‘ng, returlls, we invite in¬ Special Notices dozens of musical examples of working dividual correspondence on the subject, or people’s songs. Of highest academic value of Schmoll's Pianoforte Method, has been Collection of Moszkowski’s compositions. recognized more and more in the last ten other source. If the Premium Worker C On Sale returns and settlements. and Intensely readable. Cloth, price $1.00. appreciated by those who have had an The same plates will be used in this or fifteen years. Teachers feel that there will but call attention to the many pieces '1 plan of sending music On Selection "If"/ °fther SVb-iect relating to the sup¬ Zg ANNOUNCEMENTS Eugene E -1 , mTaylorvllle,- -’—•" 111. is more valuable technic to be acquired plying of music teachers’ necessities on opportunity to examine it. In a very edition as were used in the sheet music of excellent music in each issue there will ,, use during an entire teaching season open charge account. large number of cases we have received edition, and the pieces selected will be through octave practice than almost any be no difficulty in securing a list of new f® liberal that there is one condition Statement Made In Compliance with an order for Book II, from those who those that are the best known and most other kind of technic. The Bravura style readers. *h we are obliged to require of our I WANTED AND FOR SALE I the Act of Congress of August 24, 1912 have ordered the first book. This shows generally played. There will be nothing is in itself an attractive one, and the .trans, and that is, that they arrange a Magazine Bargains Here are some of the premiums, es¬ For May STATEMENT OF THE OWNERSHIP. that the book is one of value and one more difficult than the one called The practice is by no means dull. The octave pecially suitable for the approaching Cent at least once each season. We MANAGEMENT, CIRCULATION, ETC., of that is certain to win its way into the Sparks, and none easier than the Serenade. practice of late years has become almost summer: * not particular when the returns and Through special arrangements with pub¬ The Etude, published monthly at Philadel The album is almost ready to be delivered general with all students. A command Elements are made. Whenever your teaching world. We know of no writer Ladies’ Handkerchiefs. Beautifully em¬ lishers of the leading American magazines 1912* P<1’ requlre<1 by the Act of Au*>u,it *4’ and the offer will be withdrawn at the of the keyboard is gained better through iMfhine season ends is satisfactory to of educational works that is more pleas¬ broidered, packed three in a box—1 and 2 we are able to offer our readers money- Editor—James Francis Cooke, Philadclphia. end of the month. All those who wish to practice of the wrist and arm than pos¬ so long as we receive the returns and ing, more musical, and more educational subscriptions. Six in a box—3 subscrip¬ saving combinations of subscriptions. The For SALE—Genuine Italian ( Mon tag- than Schmoll. The Book II is simply a avail themselves of the reduced price had sibly any other form of practice, and we Elements at least once during every nana) violin. Remarkable quality of tone. tions. Various qualities, all very attractive following list of these combinations shows -Theo. Presser Co., Philadelphia. continuation of Book I and takes you better do so while the special offer is still are very glad indeed to know that the twelve months. $125.00, Edward Lang, LaG range, Ind. and of good material. how you can obtain The Etude with your FOR SALE—Hardman upright with through the minor scale and other ad¬ in force. Our special advance price is teaching fraternity are recognizing this. Of course, during the summer months otner tavorite magazines at considerable Theodore Presser, Philadelphia. Playmate Swing, for small children. player attachment. Practically new. Phone E. H. Presser, Philadelphia. vanced work. This Book II takes the but 30 cents, postpaid. These studies of Low have always been . the usual or most convenient time with reductions. ■ Chestnut Hill 192 or write S. H. J. care of M m. E. Hetzell, Philadelphia. pupil up to about Grade IV. There is recognized as one of the standard sets Strongly built, and safe—8 subscriptions! ’ y teachers, therefore we call attention These prices are for yearly subscrip¬ Geo. W. Norton, Philadelphia. James Francis Cooke, Philadelphia. no special offer now on the first book, Sonata for the Pianoforte for octave work and we take pleasure The Gem Ice Cream Freezer. A famous 't0 these few directions preliminary tions and no other publisher or reliable FOR SALE or rent, conservatory with make, is double action and freezes the to the more complete directions sent out national reputation, having boarding depart¬ Known bondholders mortgagees, and other but the second book can be purchased at Op. 7, E. Grieg in recommending them. Our special price, agent can offer these combinations at less ment and large city patronage. Address, security holders, bolding 1 per cent, or more the special price of 30 cents, postpaid. in advance of publication* is 25 cents, post- cream in a very short time. The gears on June 1st with our regular monthly than the prices quoted below. You may Conservatory, care Etude,_ of total amount of bonds, mortgages, or other Our new edition of this fine modern are covered to thoroughly protect inside statements of that date. send directly to The Etude all your FOR SALE—Well established School of securities: Sonata is now in press, but we will con¬ 1. Indude only such music as has been Music in Colorado. Fine location, splendid from either salt or- ice. Two-quart ca¬ orders for magazines, whether single or °ne’ THEO. PRESSER CO. Child’s Own Book— tinue the special introductory offer during obtained from us subject to return. equipment, paying largely on Investment. Haydn pacity—4 subscriptions; three-quart ca¬ club subscriptions, thus saving postage, Must sell, address M. Bischoff, 1553 Steele (Signed) Theo. Presses, President. the current month. This is one of the Advance of Publication pacity—5 subscriptions. Shipped charges Music that has been specially ordered and time and trouble. We wffl promptly for¬ St., Apt. 5, Denver, Colorado._ Sworn and subscribed before me this 20th We arc very glad to continue on most interesting of all Sonatas for one’s day of March, 1917. Offers Withdrawn collect. (Directly filled, will not be accepted for ward your orders to other publishers. POSITION as teacher of piano, harmony [seal] (Signed! Jas. D. Wixchbll. special offer this charming work for own playing. It is just such a work that and history of music. Conservatory grad¬ Cameras, Box Type, Premo Junior, credit if returned, although mistakes are Here are the bargains for May: (My commission expires January 21, 1921.) the musician will return to again and The following works have appeared dur¬ uate, four years experience. B. G. care children. We already have in this col¬ Model B, with universal focus lens! cheerfully rectified. Etude,_ again and enjoy. It is full of beautiful ing the current month, and are therefore 2. Damaged music will not be accepted lection, taken from the lives of great withdrawn from the special offer prices. Simplest camera that can be made. Pro! Woman’s^ World*..I *1 70 WANTED position for Summer Term or What You Can Do musicians, Bach, Handel, Mendelssohn, and original ideas, and yet it is not so if returned, that is, music which is soiled, Plain and Fancy Needlework "■!:!"'■ f Save 50ct». next school year by experienced piano They are, however, now available for sale duces equally good results in the hands of You can help us to make The Etude Mozart, Schumann, Schubert and Chopin. difficult as to require any extraordinary tom, finger or pencil marked, or in an THE ETUDE .1 $]_ 75 teacher. Formerly main assistant to Wm. H. still larger and more helpful by pushing at the regular prices, which, of course, in¬ children or adults. Loads in daylight Sherwood. X care Etude. The one we have now in press, Haydn, is technical efforts. Every pianist should otherwise unsalable condition. the campaign for new readers with un¬ cludes the privilege of examination. Any with the Premo Film Pack. Pictures, 2y4 Every, Week .jsavc75d». UPRIGHT PIANO for sale. Standard Just as interesting as those that have pre¬ know it. The special introductory price 3. Pack all music flat between paste- make. Very reasonable price for cash sale. abated vigor. Just as, in the post, its of our works, new or otherwise, will be by 314 inches. Instructions included with THE ETUDE . ) $1 Or ceded it. They are pleasantly told by in advance of publication is 25 cents, post- hoards, whenever possible, and wrap care¬ Also large concert grand. New. Cost $900. loyal readers built this magazine up to sent cheerfully on examination to any of each camera—4 subscriptions. fully, using sufficient paper to prevent .fsi'ffl For sale at a low price. Adress Piano, its present position as the world’s leading Thomas Tnppcr. The little hook is filled our patrons. Premo Junior No. 3. Pictures 8% by 1712 Chestnut St., Phila., Pa._ full of pictures for the children to cut damage to contents in transit. • FOR SALE—A. M. J. Mlnnaert's School musical magazine, so now your help will The following are the works herewith 414. Same construction as above—7 sub¬ 4 Use the gummed address label that continue to extend its field of usefulness out and place in the proper places. In of Music, Dauphin, Manitoba, Canada. Ow¬ Handel’s Twelve Easy Pieces withdrawn: scriptions. je furnish for that purpose, and do not ing to illness In family going to locate else¬ and service to teachers, students and fact, they make their own book. The suc¬ THE ETUDE .) fO 50 for the Pianoforte Lawn Swing. Made of strong hard¬ fail to write your own name and address where. Will sacrifice this finest and most musicians. cess of tliis collection has been unbounded, successful teaching location the price Includ¬ This new volume in the Presser Col¬ on the label also. This is very important Christian Herald .j Say. $1.00 Not only will this be a record-breaking and we know that the present one, Hadyn, wood, holds 4 passengers comfortably. ing good-will only. Record of the school has lection is now very nearly ready, but we and will avoid delay in credits if always THE ETUDE .1 $0 go been one of consistent development during tbe year for the quality of The Etude articles is up to the standurd of the rest. Our Lieurance—Four Indian Songs. Violin Height 9 feet. Occupies a floor space of five years of Its existence in Dauphin. Stu¬ will continue the special offer during the and Piano. Price, 75 cents. 5 feet 2 inches by 8 feet 3 inches. Seats Woman's Home Companion .fsave'dOcU. dents qualify for the higher examinations for and music, but we expect it to be a special advanced price is 10 cents, for each current month. This compilation was or¬ 5, Small parcels of music should be re¬ the diploma of Associate of the London Col¬ record-breaking year in the number of copy, postpaid. Slater—Pictures from Fairyland. Price, adjustable to four positions. Sent by ex¬ THE ETUDE .I *0 or iginally by Von Bulow and includes some turned by mail at the postage rate, two Ladies’ World .I Z.OD lege of Music, England. Terms for piano¬ new Etude readers as well. The magazine 75 cents. press or freight, collect—8 subscriptions. Mother’s Magazine .) Save $1,15 forte playing (including theory) consist of of the favorite. numbers of the master, ounces for one cent. Packages weighing 36on lessons,-roe (30 minutes.$1.25. each) $ will maintain its present high standard in Chopin’s Etudes In Polar Cub Electric Fan. Makes every the music that is presented in each issue. chiefly selected from the Suites. It is member of the family cheerful, cool and over four pounds should be sent by parcel Delh,eatorDft0'0' "add ess.1*3.00 Two Volumes one of the best preparatory classic Special Offer post, rates for which will be supplied by Everybody’s J t0 one ad Summer Schools Summer Schools WESTERN CHICAGO Summer Schools Xhe Blanche Dingley- ST. LOUIS, MO. i You Musicianship? Ellis Perfield’s NEW YORK AND NEW ENGLAND Piano Work kroeger PEDAGOGICAL COURSE SCHOOL OF MUSIC reaaouilig°luid drlna. GUSTAV L. BECKER The Fundamental Principles Summer Normal Course in CLAUDE Sergei Klibansky (E. R. Kroeger, Director) STEINWAY HALL NEW YORK of the Leschetizky Method Creative Music Teaching MUSICAL ART BUILDING WARFORD Dir. Am. Prog. Piano School, Author “&Ej DENVER, COLORADO Summer Term June 25 to July 30 Vocal Instructor CLAIRE NORDEN Normal Course and Private Classes m^ud"?lior4 Sentences Couree tor Pian^fwitmarkT" ' jaly 2nd to 20th inclusive Tenor-Teacher Announces Condensed Summer Course during June announces short normal courses of tc.. PIANO—THEORY—VOICE-VIOLIN and July. Special Terms weeks, in classes of two or four teachers. Metropolitan Opera House For eight years leading teacher Oct. 1st, Jan. 15th - 503 Carnegie Hall For Terms and Particulars address at the Stern Conservatory, Berlin, HORNER INSTITUTE OF FINE ARTS 1425 Broadway NEW YORK July 1st - at Bremestead School MRS BLANCHE DINGLEY-MATHEWS Germany, and three years at the pu' nn c.r IRrh Ave.. Denver CHAS. F. HORNER, Pres. EARL ROSENBERG, Dir. Effa Ellis Perfield Music System Institute of Musical Art, New Summer Session York. An explanation and demonstration with practice at the piano, of the essential points Write Jor Circular SUMMER Summer Course after June First Etude advertising is the open of the late Great Master’s idea of teaching door to musical opportunity catalog write, F. E. Gordon, Sec’y Mr. and M rs. Crosby Adams 212 West 59th Street NEW YORK and playing. A valuable assistance to young teachers regarding finger develop¬ MUSIC EDUCATION ment and a knowledge of the most beneficial Annual Summer Classes ___ teaching material and how to impart it CINCINNATI CONSERVATORY of MUSIC, established 1867. Summer Normal Courses '■Tr7i,;r.r<:P-u;,-; For terms and Hates address for Teachers of Piano FOR ALL TEACHERS OF MUSIC HOLDERNESS Florence Bjornstade M. E. FL0RI0 CLAIRE NORDEN, 503 Carnegie Hall for the Study of Teaching Material • r>: . J Summer School of Music PI AN ISTE—TEACHER Pianoforte, Vocal, Public, Private Announces a Special Summer Course for Progressive Piano MONTREAT, N. C. : CHICAGO, ILL. and Kindergarten Schools FOR GIRLS Teacher* and Students. Technic, Bar-Training, Bight- TEACHER OF SINGING Beading, Interpretation, Analysis, Memorizing, etc., Elocution—MUSIC—Languages CALVIN B. CADY, Principal Holderneis, New artlstlcall^tau|ht^n^a Thorough and^Comprehensive (Tenor dramatic formerly of “La Sc ala,” Milan.) June 14-27 Aug. 2-15 nnounces in addition to his regular vocal instruction, Chicago, III., June 25th to July 27th Studio: 573 Amsterdam Ave., New York City Music Teachers realize that to-morrow wi PURL IC SCHOO LS M U SIC ( JVrite for^booklct contatning^outline andstrong Hikes. Dormitories .Hinging, thereby enabling those of limited time mean more and more competition. Higher Seattle, Wash., July 31st to Aug. 31st standards, intense effort, efficient methods all or Catalogue and Circular Ac MONTREAT, NORTH CAROLINA BERTHA BAUR, Directress, Highland Avenue and Oak St., Cincinnati, 0. inuld register as early as possible. For terms, making the necessity for constant alertness Skidmore School of Arts apparent to any sensible person engaged in the Ime. E Florio, Secretary, 177 West 88th St„ N. Y.City profession of music teaching. SUMMER NORMAL CLASS !OR SINGERS AND TEACHERS OF VOICE CULTURE rummer Seasion, July 2 to Auguat 11 -WEIGESTER- BUSH CONSERVATORY Material, Together with Syatematio Presentation Summer School of Vocal Music Summer School of Music The Oldest and Best Equipped CHICAGO AVENUE AND NORTH CLARK STREET FROM JULY 9th to 30th llih Annual Seuion at Elmira, N. Y. KENNETH M. BRADLEY, Pmilent EDGAR A. NELSON, Associate Directi FORMERLY CONDUCTED BY FEEDEEtO WOODMAN EOOT CALVIN B CADY JULY STH TO AUGUST 30TH (8 WEEKS) Send for Circular Siverior Training. Moderate Rates. SUMMER SCHOOL-FIVE WEEKS—JUNE 25 to JULY 28 ALLEN RAY CARPENTER,914-17Kimball Hall, Chicago 714 Davis St., PORTLAND, ORECON 're around of vocal study covered by lectures, Catalogue on request Brookfield Summer School of Singing and private instruction. Write for Booklet E. Send for Prospectus to SPECIAL NORMAL COURSES in R. C. WEIGESTER SARATOGA SPRINGS, NEW YORK HERBERT WILBER GREENE, 702 Carnegie Hall, New York City iiisit Expression Dramatic Art Public School Music _CARNEGIE HALL, N. Y._ Languages Physical Culture Dancing AMERICAN School open throughout the entire year. Credits are granted for summer CONSERVATORY EDWIN HUGHES res leading to certificates, diplomas and degrees. Unsurpassed faculty of over sixty instructors, including announces that in response to numerous requests, he will con¬ COLUMBIA LOUIS ARTHUR RUSSELL Charles W. Clark Mate. Julie Rive-King Edward Collins SCHOOL OF i ^ duct a summer course for advanced pianists and teachers at SPECIALIST in Yoke Culture, Singing, Personal Expression and in Pianoforte, Hand Culture, interpretation Herbert Miller Edgar A. Nelson Grace Stewart Potter y music his New York studio. Early application for time reservations Kenneth M. Bradley Guy Herbert Woodard Wilhelm Nordin “ ' Stine Wegener Edgar Braielton Rowland Leach 7 MUSIC S should be made and all communications addressed to MR. RUSSELL’S CLARE OSBORNE REED, Director Summer Courses STEIN WAY HALL, 109 EAST 14th STREET, NEW YORK ...J^The BuahConaerva’or; kind in Chicago SUMMER SCHOOL rly “Tea. April 20th and TORIES. For reservation, make 21st. (All-day Sessions.) Friday for Pianists, Saturday for Vocalists. ‘add‘ressUEDWARD H. SCHWENKER, Sec 5 Weeks, June 25 to July 28 For liter offers courses in Piano, Theory, Voice, Violin Teachera of the Russell Systems are always in demand. Correspondence in d for Bulletins Catalogues, Gallery of Portraits of noted Teachers, Pianists and Singers through Public School Music Department ^American Institute of Applied Music Alexander Wilson, Secretary, 853 Carnegie Hall, Manhattan, N. Y. *£\ (Metropolitan College of Music) 212 West 59th Street, New York City direction Critic Teachers. Summer Session, June 18th to July 27th msRSasssHssas The Courses open to students during the session are LOUiSVILLEr VOCAL MUSIC, PIANOFORTE, VIOLIN, HARMONY, ORGAN DUNNING SYSTEM” TST Faculty for the Summer Session. Has over S00 Teachers—Classes Larger Every Year—Teachers Earning $2500, $3000 and $4000 t»m. Violin — Mr. Henry Schradieck & Assistant. Mr. Leslie J Hodg- Harmony-Miss Anastasia Nugent, Mr. Wil a Year with the Dunning Work Alone—Why is This 1 t. Mr. F. Sherman. Because it. standard has never been equalled or such phenomenal results obtained by auy other plan lor teaching begin. Organ — Mr.'Wiliam F. Sherman. MR. McCALL LANHAM’S SPECIAL MRS. CARRE LOUISE DUNNING NORMAL CLASS FOR TEACHERS, Houston, Texas, March 1st, CONST COURSE FOR VOCALISTS. Portland, Oregon, June 19th, Chicago, Aug. 1st, New York City, Sept. 19th. 30 Half-hour private lessons. Mrs. Addy Yeargain Hall, Normal Classes, January and June, Musical Art Bldg., St. Louis, Mo. fumuaTAUDEPART^mfo^NTHR^KHOmENnRE YEAR . Mrs. Harry A. Prentice, Normal Class, Feb. 15th, New York City. Address 78 W. 103d St., CONCERT PIANIST Mr. I : a thorc N. Y. City. SPECIAL SUMMER COURSES s ROY DAVID BROWN AND TEACHER id Rhythm, ic technic of voic Mrs. Oscar E. Busby, Normal Class, June 4th, Waco, Texas. Address Marshall, Texas. i»no, Voice, Violin, Organ, Theory and PUBLIC SCHOOL MUSIC j •oughly in Performance (Mr. Hodgsoi ;C and^n Mrs. Anna Craig Bates, Normal Class, Marshall, Texas, June 18th. Address 3303 Coke St., FACULTY OF EXCEPTIONAL REPUTATION AND ABILITY Dallas, Texas. DORMITORY FOR LADIES Six weeks, from June 25th to August 4th Mrs. Harriet Bacon MacDonald, Normal Class, Austin, Texas, June 11th. Address Bush Temple, II you are rellly serious about a musical education and your own success m ti M""CFw iottb« CourH< 350.00. “th' PU^eeYor"the*Course, $65.00. Dallas, Texas. Wit to yourself to investigate this Institution. ROY'DAVID BROWN,"Lyon & Healy Buildini- < UK AGO. ILL. SPECIAL COURSES IN REPERTOIRE. Mrs. Samuel Kroesch, Normal Class March 26th, Minneapolis, Minn.; June 1st, Oklahoma 214 W. BROADWAY. LOUISVILLF., KY^^ ^^ jjmd Season—October 1st, 1917, Send for circulars and catalogue. City, Okla. Address 611 Oak St., S. E. Minneapolis, Minn. JOHN B. CALVERT, D.D., President. KATE S. CHITTENDEN, Dea Full information and booklet of Foreign and American endorsers. 8 West 40th St., New York City jO T»E A\ARY W°°D CHASE/CH^OL Qt Atlanta Conservatory of Music the foremosttschooltof fine arts °F A\USIQAJy ARTS <3* Summer Courses Advantages Equal to Those Found Anywhere in the Summer Session Begms June 11th, 1917. WALBAPSH 6703 G A* I G Az d O ‘•TO" • H,“-r *LOa- ANNUAL SUMMER COURSES FOR TEACHERS CF PIANO, VOICE, VIOLIN NEW YORK SCHOOL OF MUSIC AND ARTS Crtilog? ““VeORG FRaUNDNER, Director Central Park West, cor. 95th St., New York City ;ago. Ill., in June Write now (or fold,r_Ludlngton, Mich- in July RALFE LEECH STERNER, Director Art of Teaching Peachtree and Broad Streets, Atlanta, Georgia homelike school devoted to Music and the Am Special Summef Teacher'S* CoUFSeS whichPisSthtbfi,aUty?fSC PIANO, VIOLIN, THEORY Your Name Should Appear ii CHICAGO MUSICAL COLLEGE THE FOLLOWING TEACHERS WILL BE IN ATTENDANCE ALL SUMMER: .. ZIEGFELD, F ^ FELIX BOROWSK1. President Slat SEASON TEACHERS PROFESSIONAL School of Music and Dramatic Art in America; 100 teach«T* of wort si¬ Piano—Arthur Frirdheim, the Great Virtuoso; Liszt’s Greatest Pupil. Voice—Rolfe Leech Sterner, Celebrated Vocal Teacher " Violin-—Clarke. for PROGRESSIVE TEACHERS tes and private lessons in Piano. Voice. Violin. Organ. Theory. Pobhe n+ V/lOJOrx RoyerP/ve.a-w, thetka IimmantEminent VJnlln.’etViolinist. HarrietteTJ „ --I-**-- Bro\Ti TJF 1J \ TTJv, Q Qnneene Fvnnlr U_J \ST VW , * . , , , e PIANISTS directory ture. Dancing. School of Opera, Orchestral Instniroenu. Expreasior. For Information Address nal ‘draining School for Teacher* in all Branches. Teachers(4-rtif.cat.-9. WEEK. TERM~S, INcLu^NGBTu\TloNS^PRDRpRACT^CIwfRE)Tal:ON APPLIC2VnON™TIRE YEAR' P^,LS MAY ENTER A£Jn£AYqR bTtoKLET Vn^bSo^OF V^WS. ORGANISTSThe ^£25. The HAHN MUSIC SCHOOL romD?ete«taimronTOi«iertI^^'fwSrtioiwhfpSanSwoiSrt'il'sei»l!S5£Iw1S3Sl...... MEHLIN PIANO USED EXCLUSIVELY"". SINGERS advantage is inestimable CARLO. KINSEY. Manager. 620 S. Michigan Boui.' College [Ude .Neal jnj!i_.cb..—-■ Please mention THE ETUDE when addressing oi advertisers. 3sWS. Junius St., Dallas, Tex. please mention THE ETUDE when addressing our advertissrs. 0 &7 Page 353 THE ETUDE MAY l9n THE ETUDE Page 357 > Schools and Colleges )ummgr Schools ,mer ^Schools MICHIGAN Schools and Colleges EASTERN ILLINOIS NEW YORK CITY SUMMER SCHOOL UNIVERSITY SCHOOL GOETSCHIUS’ CATIONAL AGENCY COLLEGE OF MUSIC TEMPLE UNIVERSITY What School? OF MUSIC SYSTEM OF HARMONY MRS. BABCOCK PHILADELPHIA, PA. ALBERT A. STANLEY, A.M., Director QFFERS Teaching Positions, Col- taught through mail by leges. Conservatories, Schools. Special Course for Public School Teachers What Conservatory? Ann Arbor, Michigan E. KILENYI, M.A. Also Church and Concert Engagements I orthwesten 64 E. 90th Street New York City Thousands of students and Endorsed by Dr. Gof.tschius. Individual attention CARNEGIE HALL, NEW YORK parents know that the proper 'ST///A9 UNIVERSITY “ A GATHERmG PLACE FOR decision of this question may E Summer School of Music ADVANCED STUDENTS” OF THE CITY OF make or ruin a career. The 7a Peter C. Lutkin, Dean—Six weeks, June 25th to August 4, 1917 Fall Semester begins October 4 NEW YORK Etude school advertisements rep¬ INSTmJTE OF MUSICAL art: lb Damrosch, Director Public School Music " al city lor summer study” AN ENDOWED SCHOOL OF MUSIC resent the progressive institutions V , ntj College of Liberal A-*- omnium wooded shores of Lake Michigan. nearChir.c |N Gymnasium, t< The opportunities of the Institute are intended only for students of natural ability Summer Session—July 9—August 19 of the country. What better 9. Music, but Summer College of Li K THE PRESIDENT, R< fersity Bldg., CHICAGO SJ with an earnest purpose to do serious work, and no others will be accepted. For catalogue Dormitories guide could you have? and full information address SECRETARY, 120 Claremont Avenue, New York. lw///aw///a\\\ Music Teachers realize that to-morrow MAINE COAST OGUNQUIT SUMMER SCHOOL OF MUSIC 3 hours from Boston will mean more and more competition. Second Year; Six Weeks' Session, June 30 to August Higher standards, intense effort, efficient BURR0WES COURSE of music study VOICE, FREDERICK W. WODELL, Lamperti-Semorich Method, Choral Conduct!] methods all making the necessity for con¬ Peirce Bldg., Copley Square, Boston, 1 Kindergarten and Primary—Correspondence or Personal Instruction urd, Assistant to Breithaupt. Louisa Hopkins, Concert Pian stant alertness apparent to any sensible Happy Pupils—Satisfied Parents—Prosperous Teachers. Classes are doubled by use of (his method 1520 Chestnut Street, Philadelphia person engaged in the profession of music •e of private and dasa lessons, weekly concerts, lectures, piano practice, and 6 weeks’ board, $120. teaching. appHcation^to KATHARINE BURROWES Crane Normal Institute of Music D. 178 FIFTH AVE., NEW YORK CITY, or Dept. D. 246 HIGHLAND AVE., HIGHLAND PARK, - - DETROIT. MICH. Most successful schools started Training School for Supervisors of Music years ago advertising for their v i BOTH SEXES GUY BEVIER WILLIAMS pupils of to-day. To-day they are --... V?-— 1 ■ rtingj methods! Ml of Plano Department, Detroit Institute advertising for their pupils of ng./Gra. Schools and Colleges to-morrow. THE NEW VIRGIL SOUTHERN POTSDAM, NEW YORK THE DETROIT INSTITUTE OF MUSICAL ART PRACTICE CLAVIER WILSON-GREENE VON UNSCHULD THE C0URTRIGHT SYSTEM OF MUSICAL KINDERGARTEN “Strongest Faculty in the Middle West” Far superior in its latest construction to any Students May Enter at Any Time A School which offers every advantage incidental to a broad SCHOOL OF MUSIC UNIVERSITY OF MUSIC Oldest and most practical system. Write for particulars of correspondence course. -- musical education. Corps of over 50 artist teachers. other instrument for teaching and practice. Mm, on Unschuld, Pres. MRS. LILLIAN COURTRIGHT CARD_116 EDNA AVE., BRIDGEPORT, CONN. 2601-47 Connecticut Ave., Washington, D.C. Musieal Institution of highest standard. Faculty H. B. MANVILLE, Business Mgr. :: :: :: 67-69 Davenport St. VIRGIL SCHOOL OF MUSIC best European Conservatories^Artist and Tea, rs’ Training Course, French, German, For Particular, addre. Secretary urses, B.M., M.M., D M. Degrees, THE FLETCHER MUSIC METHOD V now attached. 12 Concerts of world re- MICHIGAN STATE NORMAL COLLEGE IRGIL Executive Office, 567 Third Ave., New York City d Opera, Dramatic The Original Musical Kindergarten and Simplex Method of America lagea. English ^Literature, Classic Dancing, Dormitoty students. Write fo/particula™ ^ l° Brought to America through the interest of the New England Conservatory CONSERVATORY OF MUSIC OR A. K. VIRGIL, ST. PETERSBURG, FLA. Accompanying._ Twelve or concertsby Offices: 1320 F Street - - - Washington, D. C. eighteen years ago; and during that time taught to over 700 music teachers (every one MICHIGAN of whom could be employed in Boston alone); the demand is growing rapidly for ind teachers and rletcher Music Method teachers in spite of the many cheap copies of this system. , 1 Total living J GREENE, ) D , , , Advertising is one of the indispen- The next class opens January 15, 1917. Applications should be made early. Mrs. WILSON-Cl-CREENE. \ Principals 8able elementg of modern bu8jne8J Box 9, Ypsilant Read, “What is the Fletcher Music Method ?” price 32.00. For full information regarding Normal classes and lectures for Educational. ARTHUR FRIEDHEIM Musical, and Mothers’ Clubs, apply directly to ESTABLISHED 1857 MRS. EVELYN FLETCHER-COPP BeaTeacher of Music and The Noted Pupil and PFAROHY CONSERVATORY 31 YORK TERRACE BROOKLINE, MASS. Greatest Interpreter of * LlflDUL/ 1 BALTIMORE, MD. Drawing in the Public Schools LISZT HAROLD RANDOLPH, Director SPECIAL ONE-YEAR COURSE has transferred his studio from Munich to New York City, Steinway Hall, where in the One of the oldest and most noted Music Schools in future he will instruct advanced pupils and teachers. II A limited number of Free ^^S*ScKoo1s and Colleges Every year music and drawing are becom- ins positions for more than 27 years. We Scholarships will be given to pupils without means. All applications arc to be made to mg greater factors in education. Usually the offer a complete and thorough course m demand for teachers of music and drawing Public School Music and Drawing that may PAUL SYD0W, Manager 61 East 53rd Street, NEW YORK CITY CHICAGO in the Piih- _ Pe nrusUett THESE TEACHERS ADVERTISING ON OTHER PAGES OF THIS ISSUE VIRGIL PIANO CONSERVATORY VOCAL TEACHERS MIDDLE WESTERN equipment. The most efficient school in America A. CUPriNGER, 1208 Kimball Hall, Chicago Catalog sent free on request For detailed information, address The “Tek” Results tell THE SECRETARY, 3029 West Grand Boulevard, Detroit, Mich. I Lucille Stevenson 19 reasons why the “Tek” Thomas Normal Training School excels the piano for I Soprano. Teacher of practice. e. Available for con- I certs. Address Room N, 19th Floor, Auditorium as Building, Chicago, Ill. Summer Normal Course Five weeks beginning June 25th Centralizing DANA’S MUSICAL INSTITUTE Send for Literatura and “Tak'’ Catalog WARREN, OHIO School of THE SCHOOL OF DAILY INSTRUCTION IN ALL A. M. VIRGIL, President Music BRANCHES OF MUSIC 11 West 68th Street NEW YORK ,, Desk E, WARREN, OHIO Gertrude Radle-Paradi* ddtess LYNN B. DANA, President President Centralizing School of Acting SUMMER SCHOOL ADVERTISING Edward Dvorak, Director ■N The Etude IS INDISPENSABLE Departments: Piano, Theory, Voice, Violin, THE von ENDE SCHOOL of MUSIC Violoncello, Expres ion. S4nd for Booklet. TO A SUCCESSFUL SEASON “The Foremost Musical Institution of America” USE THE A HOME FOR YOUNG LADIES Box 26, 20 E. Jackson Blvd. UNDER PROPER CHAPERONAGE CHICAGO, ILL. NEW YORK CITY Please mention THE ETUDE when addressing o June and July Issues ^ Please mention YHE ETUDE when addressing our advertisers. TIIE ETUDE Page 359 Page 358 TIIE ETUDE MAY 1917 Haydn’s Court Behavior Geraldine Farrar Says: GIVE YOUR PUPILS The year 1761 was a lucky one for Professional Directory Joseph Haydn. It was this year in the > Schools and Colleges , month of May that he became Vice- Capellmeister to Prince Paul Anton Ester- PHILADELPHIA SCHOOLS SCHOOLS KOSMEO A THREE-MONTHS' SUMMER hazy. This appointment proved to be a Cream and Powder _EASTERN_ MIDDLE WESTERN life-long one for Haydn. With the CONSERVATORY TOaStrSSS Esterhazy orchestra he could experiment CONSERVATORY A ■ | r>| J, ALBERT, Jr. Teacher of Piano Playin Voice. Organ, VlX^ ' H L L iL11 Steinert Bldg. Providence, R. 1 AMERICAN to his heart’s content, for, as he said: OF MUSIC STORlPTI0N~T0ljiEETm “I was cut off from the world; there was COMBS 32 nd YEAR American BILLS" GARDEN CITY. KANSAS no one to confuse or torment me, and I Instruction throughout entire year - Teiihir'. Ituill keep their interest alive during the months when you are not otherwise in was forced to become original.” When BROWN Lyon * Healy Building "ciiiongo touch with them, by putting into their hands more than fifty pieces of music for 1>C entered the service of the prince there H. RAWLJNS BAKER » Summer playing, besides many interesting articles. A SCHOOL OF INDIVIDUAL INSTRUCTION was a written agreement between the Theoretical and Applied Branch., taught Privately and in Cla.se. CINCINNATI SFFV ANY THREE ISSUES FOR 25 CENTS two. As we look from the twentieth Normal Training Course for Teachers—A complete and thorough course BEECHWOOD (20‘=SS minute* century into the eighteenth century some *Che only Conservatory in the State with Dormitories for Young Women COLUMBIA* This trial subscription offer has proved to be a good investment for teachers in of these articles of instruction will A School of Inspiration, Enthusiasm, Loyalty and Success combs years past. It will be of equal value NOW. appear amusing, even unjust. The last at: Our 36-page Illustrated Year Book will be mailed upon request. . DANA’S' part of article two reads.: “He must be fe’ll send you, pn request, a supply of special three-months’ subscription coupons FRIEDHEIIYI temperate, not showing himself over¬ The Acme Teachers’ Agency GILBERT RAYNOLDS COMBS, Director 61 E. 53d St., New York City. DETROIT ‘ lor distribution. 1319-1327-29-31 S. Broad St. Philadelphia, Pa. bearing toward his musicians, but mild placed her as Supervisor of Music in a KNOX t.: and lenient, straight-forward and com¬ city at $1200. If you wish to teach, HAWTHORNE Those having accounts with Theo. Presser Co. posed. It is especially to be observed that write 1233 Healey Bldg., Atlanta. Ga. .FRANK. Tone Producl WESTERN! may have the subscriptions charged when the orchestra shall be summoned LEVE to perform before company, the Vice- SUBSCRIBE XOW FOR TOE Capellmeister and all the musicians shall chools and Colleges VOICE MOULTON the etude PHILADELPHIA, PA. appear in uniform, and the said Joseph MISSOURI AND MINNEAPOLIS EASTERN Hayden shall take care that he and all RAGSV-vf E W NEW YORK ■ members of his orchestra do follow the STOCK- instructions given, and appear in white BEETHOVEN CONSERVATORY-sS stockings, white linen, powdered and CHRISTENSEN SCHOOL OK I’OPt LAll One of Ike oldest and best Music Schools in the United Statee 4525 Oliv^'streef^StTL.ouia, Mo. NORMAL ' MIDDLE WESTERN either with pig-tail or tie-wig.” LET US GIVE YOU SOME EXCELLENT MUSIC This is a phrase in article three: “He TRACY' GROFF BRYANT; should take care to conduct himself in NEW HOME of the MINNEAPOLIS SCHOOL of MUSIC College, Galesburg, Uli FOR A LITTLE OF YOUR SPARE TIME an exemplary manner, abstaining from Kindergarten ORATORY AND DRAMATIC ART VIRGIL Etude enthusiasts who spend just a little of their spare time in getting others to Undue familiarity, and from vulgarity in md hold, the child’e imarset VIOLIN join the great circle of Etude subscribers can earn any of the following very desirable eating,, drinking and conversation.” olor Bird Scale, Staff Peg Board, Faldine M virgil Number seven: “The said Vice-Capell- ards. Keyboardd DiagramDiag ‘ St. Petersburg, FI EASTERN pieces or books for their services. Send for C Remember that MUST Premium, are the Moat Valuable Premiums We Give Because We Can Afford meister shall take careful charge of all ► CHRISTIAAN To Reward Our Sub er n i-m Gelte-s More Liberally with Our Own Publications than with Premiums music and musical instruments, and shall VON ENDE KRIENSJ_ We tore toBuy Even Though We Buy Them with Large Discounts and at Wholesale Prices . be responsible for any injury that may FOR ONE SUBSCRIPTION occur to them from carelessness or SINIGALLIANO — (Not Your Own) neglect,” MA How to get in touch with prospective pupils is the most important First Steps in Piano Study. . f. School of Velocity, Op. 299. Com- Number eight: “The said Joseph Hay¬ re Ward Bryant, Dir. : MIDDLE WESTERN School of the Pianoforte, Vol. 1 (Begin¬ problem that confronts every music teacher and every music school. BRYANT! ners' Book), Theo. Presser. Touch" and Technic. Dr. Wm. Mason. den shall he obliged to instruct the female Success depends upon the solution. School of the Pianoforte, Vol. 2 (Student s ■ parts. Any 2 parts, vocalists, in order that they may not Book), Theo. Presser. lews’ Standard Graded Course of Studies, Idmonmorrib, THEORY AND normal courses forget in the country what they have CONVERSE COLLEGE J. S, Bach. Inventions for the Pano, com¬ 10 grades, 10 volumes. Any five • i .jr.r ,o.n.d M tlue It* *.*, plete. been taught with much trouble and ■ SYSTEM. Improved Mimic Study for Cterny-Liebling. Selected Studies, m three 60" Exercfses. Pischna. LITTLE FOLKS, Dept. E, Salem. Mae beginners. Normal Training Classes expense in Vienna, and, as the said Vice- Carre^Lotdse Dunning, 8 W. 40th St., Standard Concert Etudes. PEABODY: DUNNING Standard Graded Course of Studies, in te Chaminade Album. 13 piano pieces. Capellmeister is proficient on various in¬ |—COPP^ ^ Kindergarten grades. 10 volumes. W. S. B. Mathew F. Chopin. Complete Nocturnes. . struments, he shall take care to practice STUDY HARMONY i Schools and Colleges , F. Chopin. Selected Works (I. Philipp). and COMPOSITION S.CI.SS FLETCHER 1886, Boston, Mass. Heritable Pischna! Chopin. Polonaises. himself on all that he is acquainted with." by MAIL "nderttmperaon .i NEW YORK J. S. Bach. Album of Favorite Piece Chopin. Preludes. Number eleven reads: “A salary of 400 24 piano pieces. -' ~-d Album of Favorite Compositions. Alfred Wooler, winner of Interna¬ Beethoven. Easier Piano Compositions. 1 florins to he received quarterly is hereby tional anthem competition. Iff It THESE TEACHERS ADVERTISING _.A1F5S‘Peer:G^t'suite, Op. 46. • bestowed upon the said Vice-Capell- Chopin. Complete Walties. rateT'corapesera' MSS.'cortvcied. ON OTHER PAGES OF THIS ISSUE Album of Easy Pieces. Engelmann. : 5aydn1S^1nmas.<'P2evo>i1' Either volume. meister by his Serene Highness.” ALFRED WOOLER. Mot. Doc VOCAL TEACHERS compositions. Number twelve: “In addition the said 322 W. Utica St., Buffalo. N. Y. I The Standard Album of Favorite Pieces. Engelmann. s. 25 piano pieces, Mendelssoh s Songs Without Wc (Com- Joseph Hayden shall have board at the EASTERN plete.) officer’s table, or half a gulden a day in Modem E twing-room Pieces. 23 pia Whir1R>ronof Cunurie^uf-Hee'tSPWy * ^ lieu thereof.” ^ PAG5V 010 CHADWICK STOCK. T. H. C. A. Bldg., Hew H.v.n, History of Music ard Compositions. W. S. B fantasies, Impromptus and J In all there are fourteen articles in the k riliN'x ^ i. 1, Grade 1, to Vol. 7, Gra. agreement, and there were duplicate 1 ORGAN SCHOOLS By JAMES FRANCIS COOKE copies made and exchanged at Vienna, ce: M E NT EASTERN Ithaca Conservatory of Music :™rt Beethoven. Either volut (Kohler). Vol. 1. May 1, 1761.—J. S. Watson. Price $1.25 Transcriptions fr Popular Parlor Album. 23 pleasing piano VIOLIN SCHOOLS certlflMt7 nna the o® PubUo Sl ' °Pe/„a.9'r r Hands. •s In the Lyceum held. A The Basis of Hundreds of Popular'Recital Repertoire. 31 piano < EASTERN OhlDtinR end dramatic a positions. ire Albun bnu«.pac»nhi. MENDELSSOHN ly. A T( STIRRING AND TIMELY Successful History Classes B. Schumann. Album for the Young for B< —The Regi.lrar, 1 DeWilt ’p>tk^ikusf^?§'. , Ops. 15 s arv H. A. Clarke, and Rhvmes (with - dmund J. Myer. J Every enthusiastic teacher aspires to have the best advantages 14 selections, Vocal Instruct! -ords). s in Voice Culture, Op. for every pupil, f With the Standard History of ftlusic the teacher ‘ ‘ : Master! ,dUFt0\V. ] Stand by the Flag! may g.ve the same course that is now being given in many colleges S£LSni',b,,2m7 C°2rPOf- OrganVelodies. C. W.'Landcn. 47 pie Schools and Colleges and conservatories. If The Standard History is so complete, so clearly Standard Opera Album. 15 sitions. Easy Violin Method. K. U. Aiqoum. PATRIOTIC MARCH arranged, so simple that any intelligent teacher may form a class at Twentieth Century Dan, PENNSYLVANIA AND NEW JERSEY « thee GreenwGreenwood. ' Mathildc Bilbro. FOR THREE SUBSCRIPTIONS once at any tune of the year, without previous experience in teaching .duets for foui By R. M. STULTS Vh Album ior rour na. PITTSBURGH MUSICAL music history. If All pupils are delighted and inspired by this text Operatic Four Hand Album. Leschetizky Method. fi-SZ Vi. PIANO SOLO. Price, 50c PIANO DUET. Price, 60c iNOMALCONSHMIORf book that is as interesting as a romance. Standard Duct Players' A1 INSTITUTE, Inc. TWO PIANOS—EIGHT HANDS. Price, 85c MILITARY BAND. Price, 50c ORCHESTRA. Price, 80e 4259 Fifth Avenue Pittsburgh Let Us Help You Form a Musical History Class First Studies m "’fv r-r fdacher. T. Tapper. Music department of the bluer of Facts About Music. M. G. Evan, The°Masters md Their Music. W. S. B. A rousing patriotic number introducing motives from national melodics, full of fire Catalog and Bulletin* upon Request We shall be glad to furnish you gratis with certain materials that will ft Spelling Book. Adele Sutor. _ and go. Just the sort of a number with which to raise to enthusiasm an) audience Methodical Sight Singing, Part I, The Be- Descriptive Analyses of Piano Works. E. B. or mixed gathering. This march with its rhythmic swing, will surely set one s fee- help you immensely in forming a class. These come without cost or in motion. The. Trio section has a striking original melody wait a patriotic text for Singer’s ^Repertoire ^*36 "sonus StorTesyof Standard Teaching Pieees. E. B. obligation of any kind. Just say “Please send me your History Class Standard Vocalist.’ 50 songs.' singing. The piano solo, and the four- and eight-hand arrangements are all of inter¬ S H E PAR n standard Organist. 43 pieces for pipe organ. lfowlo Play Well Known Pianoforte Solos. mediate difficulty, about Third Grade. The Band and Orchestra arrangements are Operatic Selections. 13 pieces for violin and splendidly made—not at all difficult, and with brilliant parts for all the instruments PIANO SYSTEM U (Special price in quantities) Tl^Organ'P^" P-'W- Orem. 33 pieces uallty. sincerity This is one of the best marches of its kind ever published. lulps the teacher = Selected Classics. 19 pieces for violi i^ J MAT 1917 Page 860 THE ETUDE Magazine Bargains for May Valuable Premiums ! ~ Greatly Needed Books for Active Music Workers Given for Etude Subscriptions Selected from the Latest Publications of Theo. Presser Co., Philadelphia 1917 The saying that there is no time like the present, applies with equal cacv OCTAVE STUDIES FOR GODARD ALBUM force to getting ETUDE subscriptions, as to other activities. We FOR THE PIANOFORTE THE ETUDE] ^ To One | $300 EASY THE PIANOFORTE Everybody’8 . give many useful and beautiful articles, as rewards to our readers who Comprehensive Teaching Material Price, 75 cents ] Address j Save $1.50 "J**-* by THEO. PRESSER Delineator J spend a part of their spare time in securing Subscriptions for the ETUDE. Umpn™ 75 nts You are missing something good if you do not take advantage of these difficult CHILD’S OWN BOOK OF GREAT WELL-KNOWN PIANO SOLOS i American >V1 Matin, l ul*e cnromanqur, ra«f Magazine offers.' You will be pleasantly surprised at the liberality with which we MUSICIANS AND HOW TO PLAY THEM SS&r. _j and reward subscription workers, and if you write for our thirty-two page FIVE Woman's illustrated premium catalog, you will see all the articles listed therein. To One Address \ THE / Companion The following are but a few of the many ETUDE Premiums. SSSSS PICTURES FROM STORYLAND Yon Sere $2.50 ETUDE '.To One Address ho«ShDtoneTwhfSleesa[o By DAVID DICK SLATER Price, » cent. SOLID GOLD LA VALLIERE msmm THE ETUDE.)$02? CAMERAS NEW PIANO METHOD ModTB0-4nSu°b! B,A. sgrsfa zmi h eHHSSSEi' ?o blV. . THE ETUDE.'.' ' SUTOR’S NOTE SPELLING STANDARD STUDENT’S MASTER AND SCHOLAR BOOK CLASSIC ALBUM By C. K . *335 A morirsti addreBa/. j Save $1.15 the 00mpawi or nve voman'sworid:::::::::::::)$ooo THE ETUDE... ■Main and Fancy N’dlew’k ( *+— ‘3^ THE ETUDE... $3^ THE ETUDE THE ETUDE.... $220 One Subscription. Shirtwaist set of three pins-a bar pin, 2K inches in length, THE ETUDE.' McCall’s. \*2* Every Week.j THE ETUDE.] 1$2?2 . Il.Sx.sL' Christian Herald.j HARMONY BOOK FOR Attractive Vocal Music for Every Occasion BEGINNERS THE ETUDE.] l$250 Musical Leader. ( “ - FOR Ml ALU vuiuw equally foi J1 Sava $1.50 WomM^Home Comp...:! j 'TiiSI — :!2r iSKSa jhe ceciuan gwnt THE ETUDE.) Ladies’ World. $2M Mother’s Magazine. ,lMy ,M Price, 50 c.nt. ANTHEM TREASURY THg MEN’S CLUB COLLECTION _»."?«! 'gS^'3 collection for General Wowh.p GLEES AND PART SONGS ^ hym and ,r (or Illustrated World) J s*~« oo SILVER THIMBLE ORGAN MELODIES oaer*1 compiled and^rranged" FOUNTAIN PENS The Convincing Test for the Pipe Organ W. LANDON Price, $1.00 y* || P^Mnted ai gifts an appropriate gift-card *• ■eTlt to the recipient, provided, of course, the donor ao specifies when placing order. add to any club at prices opposite * •Juuacnpuons. inis Den is of T vonr oftr uood Housekeeping.. suitable for ladies. Has 14kt. gold pen with two sold ha Ladies' Home Journa Three Subscriptiotions. Self-filling fountain pen, tl Country Gentleman.. verj simple and e Hearst’s Magazine.... ,tion. We will gladly send you any of these gran, .^ Saturday Evening Post OUR MOST POPULAR PREMIUM SEND ORDERS ONLY TO thus ol^atn your own'subscription 'FREE. ^°r «*«*&»* You ^ Preparation. Co7l712 CHESTNUT STREET, PHILADELPHIA, PA. THE ETUDE. PHILADELPHIA. PA. THE ETUDE, Theo. Presser Co., Publishers, Phil* Pa. THEO. PRESSER Please mention THE ETUDE when addressing our advertisers. Records are a living library of the world’s best music grertest°Ird«raS, 'nhe interpretations of the world the^Mai k ft ^^82* obSsrbXK £** “ ii’teraTujran th d v ly accesslble for every home lisS _ ^ctor Migsgsg g|iI§P Supremacy I^HSi