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

12-1-1913 Volume 31, Number 12 (December 1913) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 31, Number 12 (December 1913)." , (1913). https://digitalcommons.gardner-webb.edu/etude/32

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the ETUDE

REQUIS1TESF0R "the====52 New Publications MUSIC TEACHrq Chaminade Album Two-Part Songs New Rhymes and Tunes m.thodS FOR THE PIANOFORTE to yield you a l«£t ),*,££' Pro,"«ul TOR WOMEN S VOICES ior Little Pianists CC*SS AND ACCOUNT book a MONTHLY JOURNAL FOR THE MUSICIAN. THI Price. 50 Cent* Price, 75 Cento A .ollection of bright, 10- ludlou* and By H. L. CRAMM A collection of the most popular pieces MUSIC STUDENT. AND ALL MUSIC LOVEKS by the celebrated French woman composer, Edit'd l.v JAMES FRANCIS COOKE aiUpiral f..nrUr7n M-lmob., seminaries, for Including such favorites as (>ir“ e • " Copyright. IMS. by Theodore PrB For Violin and Piano bers, well within the range of the average I Oo. For the Pianoforte singer, and specially adapted for recital REWARD CARDS, litho in Colon, art d Compiled tad Arreaged by F. A. FRANKLIN purposes, with a tasteful but not difficult By E. NOLLET. Op. 43 accompaniment. The volume will contain 15. 50c. Price, 50 Cent* some interesting literary matter regarding MUSIC WRITINC PENS. Per desea lie. Rome of the gems of classic melody Price, Si 50 Indians, their customs, music, etc., with PROFESSIONAL OR VISITINC CAPOS CONTENTS selected from the works of all the great mas- pictorial illustrations. 50 for 35c, 1 00 for 50o, 500 forlUl Fifteen splendid studies, similar In style “ THE ETUDE"— December. 1913- ter* and arranged In playable, but effective and grade to Heller's well-known Op. 45, Neatly printed in the four moot popdei nun form, for amateurs and students. This vol¬ hut more modern and far more Interesting of type. ume will serve as a preparation for more in musical content. Each study is In itself RUBBER STAMP AND INK PAD. 0« extended study of the classics nnd afford a charming ples-c of music, but each one 30c, two linen 40o, three line* Mb ealuable practice In ensemble playing. All exemplifies some important feature in ,rl, the selections are la admirable taste. Old Fogy publishers, el e. It prove* piano-playing. These studies are carefully His Opinions and Grotesques edited and fingered. ROLL BLACKBOARDS. Edited and with an introduction by 2*:ift.,Sl .SO'^XxiPj.Sl.SOi 11 »*■» JAMES HUNEKER Price. $1.00 CHART PAPER RULED. sheet. 32*14 containing four stave, d *»” Popular Recital Repertoire .Some years ago the name of Old Fogy For the Pianoforte Operatic Selections commenced to appear In the musical maga¬ ADHESIVE LINEN TAPE. If, zines as the nom de plume of a writer of paid, 1 2 oente. Ked, blue and I »• • Price, so cent* For Violin and Piano power, individuality and imagination. Hun¬ A new recital or drawing room album, Compiled mad Arranged by F. A. FRANKLIN dreds wondered who the writer was, but ADHESIVE PARCHMENT P*Mt;. containing standard and original modern up to this time his identity has never been parent.) Perpa.ka«e, P°* l»|,l '®<; ',„ , works, every number s gem. Such pieces as Price, 50 Cent* revealed. We may say that he is one of the 12 yards In a roll, postpaid, I Ooj tl» Dvorak « "llumoreske" and Schutt's .4 fa most successful and highly lauded of all yards In a roll, postpaid, Be. /Hen Hw.r are Included, together with The violin is essentially a melodv Instru¬ the music critics of the present day. many other piece* by popular Amertran and ment, hence the many beautiful melodies to In the character of Old Fogy he has writ¬ PtoV"bn*'*mi.lcI,U"‘h'lSS2r J? *- European writers, ju«t surh things as one be found In the standard operas nre espe¬ ten his most intimate thoughts upon mus¬ music, height 3% inchea By«pn-.aar wants to play. The pieces lie chiefly In cially suitable for violin,, transcriptions. ical subjects. These have to do with the grades four and five. Mr. 1- ranklln has selected some of the Im¬ great masters of to-day and yesterday, paid, 26o up mortal melodies of the great composers and their works, their lives’ and their ideas MANILLA WRAPPERS. „ arranged them In a manner both attract've upon teaching. and playable. All are within the range of the ordinary v.olln student. The piano The New Organist ii!r,,,„1Hls", a",ea8y to play but effective A Collection for the Pipe Organ ody° Instnunent.11* g0°d 8UPP°rt t0 ‘h“ m°' Mastering the Scales and medals, now,B-p-taj*°;.:;r,* By GEORGE E. WHITING »r‘*ht' .•OTKt ‘S.^Hd.Vs. Price, $1.50 piATIIBOTVPEPOir^^^^ Arpeggios 5c enoh, SOo per k- r. tlom. by Mr. Whiting, as well ns tranship. Choir Book for Women’s Voices By JAMES FRANCIS COOKE *m1. arrangements from standard work* by classic and m.slern masters. They A Collection of Sacred Duel*, Trio* and Quartet* Price, $1.25 mTel^lmet^onomeb^a.--^ sre.sr.fully pmlajed sad registered through This book enables tbe teacher to start £H'hi7 ! 1 ,,h\ "’wnllal eilltlng, thor- Edited by E. E. HIPSHER scale study with very young pupils and carry it on to the highest degree of pro¬ vrint'o. tin r»ry ?fhlttng "are':m<>D* th* P«-es Price, 50c. ficiency with advanced students. It has M.rr f'rHud# la r minor; I»ontluf|r In a- Pan- original features contained in no other Transportation, •«« tj.no* in ► ; lWiuflo in C. Tlip transrrT^. work. Including a preparatory section, tonal¬ noine*. 80c. „ ..*,nn**rl»n March" hr Ho?. r«teM,rs.,r»^r£ ity exercises, radiating exercises, velocity MUSIC "OLLS. n.m r » ' ... ,w itSth from ; Hymphoojr NX r* r>v exercises, the story of the scale, complete "VlaC. brown IMhorra, K«»manxr by Mozart '*-\dAfrW Alt' arpeggios. el .«t. Mme. liar. i in re are twenty numbers In nil The ni„n„ Tills work contains all the standard scale *ehorIr«d Ir„r ?,"‘,\,rl0 °r nunrtet wo'rk. or and arpeggio material demanded for leading SZ. 16. All postpaid Seri oirt* An or tvL? or four conservatory examinations, making it by far MUSIC POLIOS..,h"iJ2rfSS£fcK .ln threp the most comprehensive and thorough tech¬ 8Sc. Theaamemtnd«'n awpA' it *„th * han,i«,"re'y nical work of Its class. It may be used eontrlbutetl toVl^voTume'd,rPct"r'i havp with any system or method without Inter ■BJSsfevSSr*'"?„ $4.50. I-oetpaU. ' ^i • MUSIC CABINETS. S10 COR SALE AT LOW ADVANCE PRICES ^ ^ PRESS MUSIC STANDS. 84etn»> ,°’ NEW ANTHEM COLLRCTIOK SEND FOR BULLETIN s^end for lint F.,.Tr IN.STRI'CTION BOOK. E. D. Wag. 1'A?ART OF 1 ITALIAN OVERTURES FOR FOUR VKW HP* ORGAN BOOK. VOCAL ALBUMY,I,C* J‘ F' ( oolt,>- HA NOS. salon album for piano solo. (URRATIC FOUR HAND .ALBUM. 1 Vol. I, ,h*r Sn,or"*Oton about New Work, !„ pre„ lee " Kituier-*!/mi>*o»V 'Publisher'* Note*” Theo. Presser Co.t Philadelphia, Pa.

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Indispensable Music Works The awards described below are unquestionably OUR MOST POPULAR PREMiuST the most substantial we have ever been able to On« Subscription j Two Subscription* (Cool*dl offer to those who assist us in obtaining new Etude Your Own Subscription Free friends. Every music lover has several music loving friends who would readily subscribe if shown the THE ETUDE DECEMBER, 1913 immeasurable advantages of receiving The Etude 1M Alba* of Lyric tl f n , a or one >car each. This is the most VOL. XXXI. No. 12. egularly. popular offer wc make to our subscribers. ConditicConditions —Subscriptions must be for one year the full price of $1.50 each. They must be sub¬ we may prevent it. When the first little bit of trouble sets up a scriptions other than your own except when stated *, lI -™ u,tr*t,oMudhu CHRISTMAS CHEER FOR MUSIC WORKERS. discord that lasts in your soul for an hour, a day, or a week, the otherwise. 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The designs shown here I When you think of the cheeriest holiday of all the year, what readjust our discordant lives by making us less self-centered, by were selected for simplicity and frame and easel covered with attractiveness. plush. This is one of the hand¬ is it that defines the festival for you? giving us faith and putting us “in tune with the infinite,’’ It takes No.486—2 subscriptions. Solid some articles found only in first- Do you seize the symbol and evade the spirit of the day? us away from the humdrum and shows us the clear blue sky. We gold,with large amethyst and four class jewelry store*. Do you put on the habit of Christmas as a disguise for your recommend it heartily to Etud£ readers who wish to keep in tune. small' pearls and one large baroque pearl. The pendant measures one , real self or do you admit Christmas to your soul and make it a part What is simpler for the musician than to turn to his,music and Silver Bon-Bon Dish and one-quarter inches. of you ? by playing as he did when the first glow of art enthusiasm came into No. 688 1 subscription. This No.996— 3 subscriptions.Unique ' Let us hope that you are not in the place of the little boy in the his work, retune his whole character? Even if it does no more design (not shown here). Ame- silver bon-bon dish will be excep¬ New York tenement who could only remember Christmas as “the than make you forget for an hour or so it will help you. Throw k thyst, one small pearl and large tionally- useful. It is of novel and J baroque pearl. attractive design in Britannia day when the janitor smiled." your whole soul into it. Enjoy it to the utmost. All the time your No. 997—4 subscriptions. Un¬ luadruple silverliver plated. 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A Haydn sonata or a lovely Schubert 10-year case, 7 jewel, Swiss lever It was not Custom which made Christmas the feast of giving— song may be worth far more to you at some crucial moment in your movement; plain polished case. for giving is the veritable symbol of Christmas-the highest ideal . lifeThan all the algebra, astronomy, or Latin verbs you have ever iiNo. 1009—12 subscriptions. studied. If the mucic in our schools can contribute this to our 20-year case, 7 jewel, si' in the life of Christ. , , pendant, plain polished, et Boundless generosity, limitless kindness, the ambition to help everyday life, why is it not as necessary as learning the depth of \ Cwtot. Op. T*. Coaiplrtfc i turned or engraved case, the Pacific Ocean half way between Kamchatka and the Straits No. 988—2 subscriptions. Set of 2 beauty pins. Pop¬ others in all stations, the forgetting of injuries atiduijustices-these 1 No. 1011—15 subscriptions. ular chased design. Solid gold. Mm- of Magellan? Can we not sometimes realize the wisdom of the I Same as 1009, with single, gen- . the dimensions of Christmas-alas, that it should endure for No. 999 —3 subscriptions. Set of two beaut)- pins Oriental who, having two loaves of bread, sells one to buy hyacinths and one large bar pin. Design same as 998. e white diamond. I •? j for his troubled soul? The education that merely gives us bread No. 635 Premo Junior, WT Dutch Alarm Clock °n,y ZX ^H-year Christmas with the P-p. “~er Solid Gold Stick Pins and makes no provision for the simple beauties that bring the glory These pins are suitable for either lady or gentleman. Model B 4 subscriptions No. 620 — 3 Subscriptions. || ye would that men should do to you, do ye even so ,, into life is a very poor education indeed. Overloaded stomachs and All are solid g1 Is of the bca t; pc with uni¬ Height, 7 inches; width,9inches. I this wonderful idea we are made alive to our oneness wt^ all °toer versal focus lens,the simplest - Solid o.k esse, reliable move 1 souls out of tune mean a miserable people. instrument for picture mak¬ ment, entirelv enclosed in metal case. Black figures, E . It would make ing devised. Produces excel¬ ivorv-white dial, brass centerpiece. Sent byexpressor | not a festival of sermons and sentiments. #Slle J?’ are like lent results. Size of pict ures, freight, collect. . ( 1 2}4 x inches. Loads in charities, deeds of goodness done for the joy o m ’ ble by daylight with the Premo-film Fountain Pens Brownings -grand orchestral silence of the ^«« ”°bte 1 pack. Sent by express. far than those acts of which the public ^ay without the giv- No. 636—Premo Junior No. 640-2 Subscriptions. This pen is of a veiy F It is difficult for those who have never written or composed No. 3 — 7 subscriptions. attractive desiitn. being especially suitable • There is something tragic in thejP™trof your to comprehend how eagerly creative workers seek propriety. 1 he Made bv a celebrated manufacturer of fountain pen?- j Pictures, iyix4\4 inches, ing of the love which should ST’"1'' S', doy..wha, everybody eternal fitness of things seems to be very easily grasped by some Has 14 kt. gold pen, with two gold bands. otherwise same general con¬ workers with the pen. Others who have the fatal shortcoming of struction as No. 635. Sent No. 641 -3 subscriptions. Self-filling fountam pen, ; character, your integrity, your ” la „e cire|e of friends by express. the self-filling attachment being very simple else is doing?-- The mnsreran nattra% to a Wg. ^ just missing the word or the chord which good usage and fine No. 999. No. 1000 Ho. 1002 operate. No possibility of getting ink on the hand, [ taste requires are those whose works escape greatness. 2 subscriptions 2 subscriptions 4 subscriptions and Christmas offers bun a sP!en^jJ • ^as remembrance shall be? 14 kt.gold pen. No. 1015—2 subscriptions. Plain but effective. At¬ Music Cabinet How shall he decide what his Cl ‘ , . give that will The making of strong and enduring pieces of literary or musi¬ tractive red stone. Traveling Bags No.585—15 subscrip¬ Simply enough. Let him ask himse ^ wiU realize that the cal composition is a process that defies accurate description. Just No. 1000—2 subscriptions. Plain circular effect, that is now very much in vogue. tions. Height, 41 bear with it a message of human lo . g love wm grow m as the foam of the sea is tossed up in countless different shapes width, 20 in, ; in and colors so words or tones are thrown up in the mind of rhf crea¬ No. 1001—3 subscriptions. Very brilliant, pointed more friends he can find to reman own Christmas will be. The flower pattern, with small center stone and five pearls. depth, 13 Jaj in. Choice eling bag, 16 inch, tor His sense of propriety informs him what is most beautiful No. 1002—4 subscriptions. This pin is unusually leather lined. Has his own heart and the more glorious timent but if it is the of mahogany or oak top and he records that if he is fortunate enough to catch the fleeting attractive. Has four large pearls and brilliant amethyst. and front. Sent by French edges and cor¬ musician’s gift may be only a song or ^ ^ reaj Christmas ners. Sent charges inspiration. Training may develop his sense of propriety but the freight, collect. Solid Gold Bar Pins collect. measure of his bounty and is sen receiVed with the natural talent must be there to develop. It is not possible to show in the illustrations the un¬ No. 647 — 11 sub¬ Cheer radiating from the donor s ea . time than at any Mendelssohn in his Songs Without Words never tried to make usual value of these bar pins. They are solid gold of Ladies’ Writing scriptions. English joy that binds real friends closer at Chnstm very attractive design. Size 2}4 inches; safety catch. traveling bag, 16 inch, them anything other than what the name implies They are al¬ Desk other time of the year. nTTR FRIENDS “THE BEST No. 482 is in old rose finish; No. 980 is brilliant finish • cowhide; plaid lined, ways Songs. Some of them were published as Melodics or Ro¬ No. 981 (not illustrated) is all chased design. Select No.584—15 subscrip¬ high sewed corners. AGAIN WE WISH ALL OUR **** any one for 2 subscriptions. Sent charges collect. »' w-- mances but those who know them realize how much better the title tions. This attractive CHRISTMAS EVER. “Songs” fits them. They are unostentatious never seeing extrav writing desk has been Music Satchels aEngland one of the most popular Xre they attained such great popularity, their very Simplicity premiums offered by Half Sheet-Music Size keeping IN TUNE. _____ and lack of the style which panders to lower tastes kept them on The Etude. Interior No. 563 4 subscriptions. Cowhide, smoo Color*: s the music once- compartment contains unlined, with handles; the shelves of the music dealers for years. In fact, only 114 copies a number of pigeon black, brown and tan. of the first book were sold during the first four years, while thou¬ J grain, sa«« sizc *' holes for stationery,etc. No. 564—4 subscriptions. ‘ but few have any idea how spiritually. It « sands of pieces long since forgotten were then being sold. Men¬ Ladies’ Gold Cuff Links Furnished in mahogany e—mentally, morally, 5 “„e. 'we arc not l.vmg m COl®r’' Full Sheet-Music Si*e ^ j in tune- delssohn’s sense of the appropriate was what has kept his works Jid gold but of excellent gold or golden quartered thing in the world to ge the day’s work can ea - filled stock, and will give satisfaction, besides being neat oak. Height, 40 inches; • No. 565- 5 subscriptions. Seal gram. « |v.lB ’ easiest t.... alive for over half a century. ’• and the strain that comes with ^ ourselves so that in appearance. width, 28 inches; depth, handles and leather-bound edges. Bla ^ a paradise No. 1003 1 subscription. Plain gold, dull finish. IS inches. Sent by No. 1004 1 subscription. Chased design. No. 566- 6 subscriptions. and brO*»‘ freight, collect. handles; holds music without folding, blacK S50 THE ETUDE

SZ&fszss. V..Vlv^\01 ^5^t &\i*.\ ysS> Concise Index of The Etude for 1913 (Only a few Leading Articles are Given Below) jenny Lind, Artist and Woman

Personal Recollections of the Great Singer Wlsdbm of Mendelssohn. ..July, 471 Seharwenka. X., iturcarolle.. Leading Articles Missed Lesion Problem. { July! Wisdom of Schumann. Schmoll, A„ Hack ng ■ Echo'.'..f"" By GEORGE P. UPTON I Aug., Wisdom of Wagner. Scliotder, D. | ■■' $ [Editor’s Note: Owing limitations ol Modern Masters in Russi Wooler, Dr. Alfred. is not possible for us _ ■rive ah entire_ /flcuv’s Memories of Liszt. - .-„ ..valuable .^iubuic «IUil iueejesLiuginteresting MoSZKOttSK Schubert, F. -| Impromptu No. »' ;les that appeared in The Etude during the flog*** *“ . . Ross, May, 220 [ HomCHt Htioicnl ’ 'ear. The following index-includes mainly MUSIC Schuler. G. S., Th, - „ the (reader is likely to w . , „ Piano—Two Hands schuman (ETi'tJE readers arc fortunate u, having for perusal, and refer again and again.] Musical i’ennu ship..If. f imervation so excellent a descriptive and biographical Song; and the W/lctmt to America, the text writtei Andrus H. J., Light Hearts..... ■ irticle as that which Mr. George P. Upton has prepared by Bayard'Taylor, ^nd the music hastily conuu-,.! f., Accent...... , . :A. Batchellor, Feb., 100 Names, of Fam< 1. Parris, Apr., 255 (Cunning Cupid.Sep., m them. The article, together with the b'cautiful Etude Accompanist, The Long-suffering, Natural Progri Anthonv, 15. K... < Fairies’. Carnival. .Mar., mier of this month, makes this issue one which all music the occasion by Benedict. She als(J sang »ut, Brim Annie, Pdtterson, Nw., 780 Ur*orir» ,./ Aprfap. May, \uers will seek■ to preserve. Few indeed, are the critics who Altschuler, Modest, i remember Jennie Lind, Mr. Upton, despite the fact that in the duet, Per fiiacer alia Si^ra, from Rossini' Mar., 167 ’ .June! 404 Armstrong, W. it is now in his eightieth gear, writes with a fine rigor Il Turco in Italia, and in a selection from Mexcrbct r' ;eur String Quartet..//. I). Hewitt, Oct., 745 qi-i vinlins ,1 which ana- younger man ; might be proud. His life¬ ireat Pianists NervouAJ. C. Hadden, June. 398 onlv the Best ''' Camp in Silesia, for voice and two Uutes. During he VPlVht. Dr i I? far III .Inn 1.1 J ' T?e £?ht * * *_: i. B. Perry, Apr., 254 like of experience as an author and in almost every branch Operatic Plano Transcript ,r, editorial work, from that ot the reporter -* first tour, under Mr. Barnum’s management, die san, R. law. May, 319 lial of edit"ir in-chief*“...__ tf...J t_ large daily” paper\ 1 The Violin iniIjj" givena,,,,. h,„... a kind Oj universal outlook up. in the following cities in the order named: \c» Vorl infallibly pure and t #ll' o/ which contributes to his interesting articles. Bach’s Simpler Works J. Decnee, May, 332 A. S. (Sarbelt, May, .. .- We Boston, Providence, Philadelphia, Baltimore. Washing charm." And I.ablac 2 The Viola and Berger, E., Berceuse. M to impress upon our readers " Jt this article is a flack, Physical Drill fo ’. N. Bunker, Oct., 694 Bischoff, J. tV., The Garden ol Girls. foe pne—Editor of The Etude.] heard anything like I Borodin on Liszt... . July, 477 ’Cello.. ton, Richmond, Charleston. Havana, MaUttza-. Vcn 3 Woodwind . .July Bizet-Lange, Habanera . Bowman, E. M., Death of.. BiOSe, J. M., L’Allegro. Orleans, Natchez, Memphis, St. Louis, Nashville. 1.- ,.ii ■ Butt, Clara, on Concert Sii&ing.... Feb., 4 Brass .Aug., 5 Percussion ..Sep., Brounoff, P., Piper in the ll’ooifa. ville, Cincinnati, Wheeling, Pittsburg. Philadelphk Cahier, Mine., on making a European L’afrefio, T.. Springtime. 6 Complete Her songs will ever sound in my heart." And McndcU- Career... Sep., Orchestra. Oct., ( Prelude, Op. 28, ” •' Baltimore and New York. After cancelling her cor Camp, John Spencer...... Feb., Orchestral Music ...L. S. Ashton, Oct., Chopin, F.-J « •• •• sohn: “She is as great an artist as ever lived and the Chopin Preludes.Mrs. R. Chance, Aug., tract with Barnum, whose managerial method-, wet . Demarest .Mav, greatest 1 have known.” Surely these should know. Chord Analysis.T. tapper, Apr., . L. Erb.Sep., ristiani, E. F., false Impromptu. distasteful to her, she gave sixty-two concert-, betwee Class Teaching.C. Q. Hamilton, Mav, i. B Gaul.Julv, June and December of 1851. The various premium dub Entertainments.. ..4. J. Eastman, Nov., . C. Hadden.... Feb., C'ommoftsense Helps. Crosby. M„ Frolic in the Woods... paid for first choice of seats durin-; the fir-i tour wet JENNV LIND AND ADELINA PATTI. .. A. Mansfield. .June, Decevf-e, E. J , La Fiesta .’ Maxson .Mar., In making a comparison of Jenny l-ind as a singer — . 628 . M. Wild.Nov.. Dplmetseh, V., Petite Berceuse '... j". Flagief-Ferber. Military as follows: New York, $225; Boston. $625; l’u . composers ana ronucs-A.Harris Nov., 772 ;s... L. C. Elson, Dee., : Dreyschock, a., Tender Colloquy... . Godard, B.. Bercrm with one of our time ihc name of Adelina Patti mcvit- Confidence in Public Playing, dence, $650; Philadelphia. $625: Bal’imore. ?1«Ki; Nc ' m-Aug., Dvorftk, A., false Gracieuse. . . Heins. {’., (Htana.. ably suggests itself, and the comparison is all the more E. P. Westlake, Nov., 778 I In a Black Forest " >rvath, (!., Hunger ■ July, | Orleans, $240; St. Louis, $150; Nashville, $200; Louii Consecutive Fifths.J‘. B. Herbert, Feb., 97 b Tonal Colors Eggeling, C... -i Spinning Boom. apposite because Patti, when she was a girl heard Jenny Kelly, F. J., hrst Reg, men t March.. ..Dec., fe ville, $100, and Cincinnati. $575. Correcting Waste..4. Judson. Sep., K95 L. C. Elson ( Danse Piltoresque. Knelling, t’.. Hungary.Nov., 794 Lind sing anti imitated her, and when Jenny Lind heard Curative Force of Music. .Mary War loir, May, Apr., Ehrich, Barcarolle... Landing,’ .- A. Concert Polka.May, Sjfl Curiosities of Terminology, —.-Expression.. r.., fD Dashingashing TroopersTroopers..Aug., ■ahr Espagnole.Dec., 580 JENNY LIND’S VOILE. Patti she predicted she would he a great singer. If F. //. Bond, Apr., 257 renal, anu \\ nat it Does, Tile, { Mountain Roman,e... .Oct., Mexerbeer. Shadow Dance from not the greatest artist, I*atti was unquestionably the Decevce, E. J. July, 484 II. D. Wilkins, Nov., Engelmann, Sweethearts Ever.lune, What of Jenny Lind, the singer? She had a '■ ! Despondent and Over^sanguipe pupils, Pedal Practice.J. Barms, June, Under the Orange Bins- S.. So .Surrender.Aug-., 862 supreme vocalist of her day. The difference between M. Brower, July, 475 Persinger, Louis; on Violin Study... .Jan., mu. Hungarian March. Min., 86 of exquisite purity and brilliancy and at the same tin’ the; two singers was principally that of personality. Developing Brain For E. E. cAyrt- Farnsworth, . _ ... .Sep., m sympathetic in quality. Its tone was so pure that In Patti had perfection ami facility of execution, her tone Doorstops to Fame.. T. Tap, 17 Phrasing .Dr. Hugo Biemann, 4 Ferber, R., La Roulette.Mar.. mn 'idyl. faintest pianissimo was distinctly audible in the large Dreamers, Sects and 5 .. A\- AilJtAej, Sep. Frysinger, J. F ,A Mazurka Impromptu .June. .June, lie clear nd s ■PBL-- — —, the Cuckoo. Rubinstein, A., Trot de Covalerie... .Mar.. 188 concert-room and at the same time so full and powc DvorAk as I knew Him. .11. B. Shelley, Aug., 541 Piano; Things to. Know.. C. C. Taylor, Sep.. 656 GSnschels, C., Festive Bells.Mar.. Schumann. R- Knkcht Ruprecht.Mar, 342 ful that she could easily cope with the strongest <> Ears that Hear... .Auberline W. Moore, July, 478 Plagiarism’ in Music.F. Cordet, May, 321 Gillis, A., false Coracteristiquc.Oct.. Wachs, P., Capricorn■.Feb., 11! Educator*: Herbart.El E. Ayres, Jan., 23 Playing for Friends. .,1. II. Lienhard, Julv, Ai8 Glinka, M., Last Rose ol Summer. .. .Mar., chestraL accompaniment. Her upper regiMcr was urn ■ Herbert Spencrr.Feb., 105 Positive vs. Negative teaching. j Giuck-Ferber. Gavotte Ironi "Iphincvii sually rich and effective, hut her lower did not < Efficiency in Piano Playing. E. II. Pierce, Jan., 23,] i„ Aulis” .‘.May, 337 Bischoff. .1. W., Good Night, Sweet ) P. V. Jervis. Feb., 93 Preserve Your Best Ideas.Feb., lllj Greenwald, M„ Chimes at Christmas... Dec., 882 Dreams .JIar., JK respond in quality—a defect which possibly may has fHDIlc. 3cnng CinS's Ensemble Playing... ..If. .4. Go dlpiugi. May, 823 Presser Co., story of the.Jan., _«63 Grieg, E.. March oj the Dwarfs.lune. 4d8 Brahms. J., The Little Dustman.Jan., ,51 been caused by the temporary l"‘s of her voice whr Errors in Print.L. S. Athlon, Feb., 94 Puono bn’’ Daily Practice.Nov., <75 Hahn, H. D„ pledge of Lore.Aug., 572 Cadman. C. W., The Shrine.Au»., i‘> Etude Jubilee: Special Issue..:.Jan., Pupil Who Argues, The she was studying for the operatic stage, and yet In quo n®nde1, C!; F ' Dead March from Camp. J. S- Too Late.Fen., lg Expression, Terms of. .0. 3- M ait fit Id, Mar., 172 U. M. Brower, Mav, 117 Chanman, G„ 11’ftVs the Angels Caff..Apr., blending of registers was so skilful that THEKD } First Lesson after Vacati Reed Organ Pupils..C. L. Chamberlin, Feb., 4S5 Coombs, C. W., Bedottin Love Song...Dee., Organ Studv._. f Jolly Bio was noteasily noticed. There have b licet of S. Watson, Jan., 71 . . .C. W. London, Sep., Doweev. K., Alone.Mav, IH SJ.Q’SUZ DKV.ZZ--. Reminiscences of Jeniiy Lind. 645 Ellsworth, O- Come Plhy with t’s....Dec., M greater power hut not of greater purity, mete imw G. P. Upton, Dee- Hi s7ir Getting a Start in Europe,. I July, 439 804 Galloway. T. B- The King of Dreoma..|uh', (N been singers who may have excelled her in this or » Tlirtia.i I tunluv, KfjilewWr IJih, IHjtt. Ceritr Ayres, I Aug., 548 Road to Soecess (cartoon).Oct.. Hemaiin, C- The Spini Getting New Business-..1. J. Eastman, Sep., 617 Rubirtstein and Tschaikovksy.Mar- IS »■"">- v- v- ttrssdJ? *?:&* that feat in musical pyrotechnic*, hut never one wlv. Codow, KV, Leopold, on the Place ’ol Iltissian Composers: Biographical LiSt.Mar., Ilinbky,' A- ’ Berceuse. i ii-> Hazelton. W. B- Twos the Fragrant ■ used technical display more judiciously and inulh- Russian Pianists on Piano Study_Mar.. Janon, C. _„I Morn.. 660 summer Time ../..June, * Goodson, Katharine, on Mendelssohn’s Russian Piano Composers. f Mar., Jensen, A., Elfin Dance. .-,74 Hildaeh. E- My Sweetheart is a it fever .Jan., 4* gentlv. for she never indulged in these feats of voca Rondo CapricelASo... .Dec., 865 J. de Zielinski, [ Apr- k ern c \V i Crystal Spring. . •..Feb.’. skill for mere show or to win applause. She mtrodui<•ti* Wf; 1 Jonas, Alberto, on Pianistic Progress. .Jan., 21 Summer Vacation Work.June, I false Piquant. Songs .apr” 515 Sure-Fingered Piano Plating. I ua'ns tt,y oiiie peerless singer. In the words of George .. .July, Mendelssohn, ’.. Rondo Capriccioso.. . . Violin and Piano -J. am .Li i. - _, o Study, Feb., 91 „ D. G. Mason, Julv. . . Feb., ■Dec., t *'jlliam Curtis, which lie wrote, when Jenny Lind was so With -such mAlluencc }| ^ cinb0i|i.l,mcnt Law, F. S., Passing of..July. 483 Syncopation...E. Hanson, Nov- Bach, J. i— Ot . .July, * Left Hand Technic. J. S. van C’.evf, -Apr. ... Mav, Djtntier-Molloy,Dltmier-Molloy. Low’sLow's OldDid Sweet sof.g.y a memory: “The youth of her day have borne lier fit into'ihk so"* » \ a,I)W jls charm tha. 250 Teacher’s Attitude, The. 5. .Jan., 47 ISrahtne-Joachim, Hungarian Dance, No. » Lhevinne on Piano Playing in Rtfesfa Mar., Jq’c - Anne G. Mahon. Mav. J ln their hearts across a generation and their hearts Pfrfect that she sustained Lifting the Fingers. . . .F. RosrnihJU, Oct., tan Temperamental Playing. .E. R. Iiroeger, June, I S’'H rise at tile mention of her name as Le Gante 11 Lully, Romance of... .. A. Clippinger 'r 'r supporting arlists being Sir Julius Benedick b ^science of her mu Rubinstein £ ^ S,gnor Belctti. baritone, and Ktcbard Hoffman, rich, musical fndownient v Schubert ... 251 Voice Departm Schumann .. t., P'au'st. who was specially engaged in New Z ,he tour. Her numbers on the program of the , and Mutilated Diction - ■ T^niC? concert were the Casta Diva, from • r ; J. Towers. Aug- 682 Wltpn to „„ - ime and its t'scs.-B. B. Pierce, July, 483 Wisdom of Liszt. S50 THE ETUDE

Concise Index of The Etude for 1913 (Only a few Leading Articles are Given Below)

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have eclipsed Adelina. In all roles requiring grace, ele¬ It was stated at the time that Barnum’s flamboyant HOW TO COUNT TIME. gance and ornateness of vocalization, either Terlina in methods of management were very distasteful to her. T Don Giovanni; Rosing in The Barber of Seville, or Upon one occasion her husband, Mr. Goldschmidt, was BY AMOS N. WAYNEt - ! Violetta in Traviata, Adelina was incomparable. Theo¬ reading to her and came upon the word “humbug.” dore Thomas once summed her up in his terse way to Puzzled by it, he asked her what it meant. She hesitated Teachers are almost unanimous as to the H • me: “Patti’s voice was of delicate quality and great a moment, then Suddenly smiled and said: “Oh! I of counting, and counting aloud Verv f?"ra% clearness, easy in delivery, and true, like the song of give their pupils an idea of how to count have it. It is what Mr. Barnum is.” I do not think she Thoroughness in Music Study a bird, but it expressed no more soul than the song of place the counting should not be shoutine the firsl ever fully comprehended why people were so excited a bird.” Therein lies the difference between the two teachers seem to imagine. Shouting the co,™ man! An ii.terview obtained especially for The Etude by G. Mark Wilson with the Greatest Living French Composer artists. It was the personality, the temperament, the about her, though she enjoyed the excitement in a child¬ annoys the pupil. One of the best wavs „ l-otl) indescribable charm of quality and nobility of soul— like way. teach counting is to take the pupil beside Ihed*! CAMILLE SAINT-SAENS in a word, the woman behind the voice that fascinated Jenny Lind had none of the modern sensational ad¬ the room ,n which the piano is situated anrlh, , you in hearing Jenny Lind sing. With all her vocal pupil count several measures. 1 used to *** iKmtor's Note : To mention the name of Charles Camille vertising methods so many singers employ for self-ex¬ nt-Saens to an expert musician is to elicit immediate theless, I was engaged in teaching sufficiently long to the pupil is not to be blamed. The pupil should re- ability and abundant resource it would have been im¬ ploitation. She was a very simple, practical, domestic the pupil had counted for five or six minutes ^! Smations of delight in the modern French master’s have been able to form some well-determined opinions mcnilK-r that no step is a step ahead unless it is at¬ stopping. This gave an idea of evenn^c S Wlthou! Serb"...L-h workmanship.wr nr Irma nshiD. TheTb pianist is equally enthusiastic over possible for Adelina Patti to sing / know That My woman, fond of children and domestic duties, and took tl „ i i , ca oi evenness-regulari*evennpcc_ ._i . 5, ahllitv at the keyboard and those organists who recollect upon the subject of teaching. I believe that a teacher tended with real mastery, Progress is not determined Redeemer Liveth, for instance, as Jenny Lind sang it, her sewing with her when visiting friends. She had all Then 1 usedd mental pictures to help the childWchiM’, Paris, Oct. pupil is growing and changing all the time, and it is energy in real study that they have spent in throwing Happy those who can remember both. I hope I have menageries, no oddities of dress, none of the press brought up by bis mother and a great- the part of the modern teacher to observe these the music around and in banging the keys when they — a count upon a few notes played at irregular inter mint18The latter* was-- -very musical and gave **—the 1boy— an— made the difference between them clear. vals. but rather that the note was hunt .wplient ground work. latter he studied with Stamaty and changes and train the child as the horticultural expert have become a trifle exasperated they would accom¬ 2. j— veil.* *’■- -«— »—•.— Lind was a lark that soared with the upon the count. After this the pupil would train a delicate plant. At the very outstart the plish far more with less effort. Many an excitable « the I'aris of other days. Among his pupils was Gotts- student has injured his nervous system permanently blue with her song; Patti was a delight¬ taught— o. to count..R..iany, ‘“internally,” as one ' ftulfc the American pianist. Saint-fcafns was sufficiently far method employed should be so carefully graded that ful warbler among the flowers in the new principles are introduced very slowly. The trained l»y not controlling outbursts of temper when results my little folks expressed it. I would take jr^agl^W^enTe^wLlw^ve^e0 S«oS“ have not been immediate. If you are one of the un¬ garden. out my watch and count to myself for 1 . l. - worker with children analyzes all his problems and tries to study them from the angle of the child mind. fortunate who have not mastered the art of self-con¬ JENNY LIND, THE WOMAN. twenty measures and have the pupil do msefourtecnr anSd* the first organ prize when fie was sixteen What seems simple to the adult is often very difficult trol watch yourself and your work very carefully and the same thing, I keeping time by the his attempts to capture the great Prlx de Rome resulted in What of Jenny Lind, the woman? I failure Some of his friends have stated that his defeat had to the child. The teacher who does not think may the next time you feel tempted to explode stop work¬ watch. Then came a comparison tlui first saw and heard her on the evening the effect of making double his energies and desire to become present the child with a most indigestible mass of ing and go for a walk, or read a few pages of a hook. was often surprising. the greatest French musician of his time, and what seemed t>f October 7, 1850, at Providence. I was I a. misfortune_ at..t- the timeHum provednrovofl a greatsrrpnt hpn*»fiLbenefit tot.n t.h«the vonnizyoung difficulties and then expect the little one to assimilate In a short time you will find that your mind is not a Freshman then in Brown University The pupil should not count aloud it all at once. Difficulties should not only be presented only more receptive, hut that your fingers, which seemed It seems somewhat surprising that Salnt-SaSns should have beyond control, will untangle tire .most complicated and the whole student body had caught the time. A certain part of the lesson filled in winning the great French musical prize, as he bad one at a time, but the teacher who takes a pride in be¬ rhythms and harmonies. The slow, quiet worker is the the Jenny Lind fever. No artist in musi¬ should be devoted exclusively to listening already written noteworthy works, and had had a symphony ing thorough will see to it that the pupil remains suf¬ to the tone at the piano keyboard. In no performed with success when he was sixteen years of age. one who makes the most rapid progress. Piano play¬ cal history ever received such a popular His victorious rival was one I-gonce Cohen, whose name is ficiently long in the company of the conquered dif¬ other way can the pupil develop a musi¬ now practically unknown. In 18o3 Saint-baens settled down ing is largely a matter of nerves and nerve control. ovation. It can only be compared with ficulty. That is, the pupil should not pass at once to cal tone, or if you prefer, a musical to the life of the routine music teacher and organist in Parts, another principle after having mastered the one upon Students give a great deal of attention to muscular the reception of Kossuth, when he visited dirt of his time was spent in Niedermeyer's Esole religleuse, touch. Nobody wants to listen to playing part as organist in the church of Saint Cecils. This was which he has been working. On the contrary, he development as though the muscles could be set into this country as the champion of Hun¬ that is not characterized by a line tone the -make or break” time of his life and, although he was should remain with the first principle and lie given motion without any assistance from the nerves. garian liberty aqd of General Grant when burdened down with routine work he still made time and quality. found energy enough to produce works, which enabled him abundant practice material so that complete mastery he returned at the close of the Civil lu rise above his condition and step up to real mastery. In THOROUGHNESS IN PEDAUNO. I$58 we And him as the Organist ofor thetne MacMadeleine,™, vue ua will result. When, at the very first, the teacher is War. She was escorted from the pier in France. Although Saint- working with hand positions and Unger positions Hr One of the most evasive branches of pianoforte HOW THEY PROTECTED AGED lie most enviable positions *- -- aim,™.*, New York to, her hotel by thousands of wens nas written much dramaticHe music his Samson et g|,onjj see to ;t that nothing in this connection is study seems to !>c the one which is studied with the MUSICIANS IN THE SEVEN¬ Mila has been so successful that it has eclipsed all other people, under triumphal' arches erected compositions by the master. His opus numbers run consid¬ left undone or uncomprehcnded before passing to the least thoroughness. It can not be learned by rule in her honor. The stores were full of TEENTH CENTURY. erably over one hundred. Saint-Sagns Is distinguished as a next step. A correct understanding of notation, clear although one must, of course get a comprehensive idea musical c ritic and he has also given a great deal of atten¬ ideas upon musical tone production (touch) should of the scientific basis of good pedaling. In this, the Jenny Lind bonnets, gloves, coats, hats, In the Regulations of the Saxon Col¬ tion to the special study of astronomy. In 1892 the Uni¬ jewelry, bric-a-brac, and fineries of every versity of Cambridge gave him the honorary degree of Doctor all be developed in turn. Nothing leads to so much sciences of acoustics and harmony are joined to S knowl¬ lege or Union of Instrumental Musicians o( Music.] description. Her portraits were in every dismay, impatience, or discouragement as the very com¬ edge of the structure of the piano and most of all a JENNY LINd’s FIRST CONCERT AT CASTLE GARDEN. founded in 1653 there is an altogether ( mon fault which some teachers have in trying to give highly developed aesthetic senac. By a developed aesthetic shop window. The choice dishes of hotel unique provision made for the protection THE AWAKENING OF TALENT. pupils too many things at one time. sense 1 re fer to the particular study of tbearti«ic mean* menus were a la Jenny Lind. There were Jenny Lind agent’s tricks of the trade. If not extremely good of its older members. This organization had its regu¬ The awakening of musical talent in the child is one of making music lieauliful from the higher interpretative stages and steamboats, cafes and coat rooms. All the lations ratified by the Emperor (Ferdinand III) looking, she looked good, as some one said, and that of the most interesting moments in the entire hie SLOW WORK. BUT PROGRESSIVE WORK standpoint. Some people seem to be born ^th an in¬ girls of that day imitated her coiffures and costumes became very powerful. It regulated the fees its me* career of the individual. With some music is mani¬ tuitive feeling for the ai*propriatc use of the pnlals. goodness drew every one to her. She was “Jenny” If the teacher establishes a habit with the pupil that bers might receive, the education of the young musi¬ Most people, however, seem to assume that they have and many of them sought to imitate her gait. One with every one, not Signora Lind, or Mile. Lind, or festly a gift. Those who knew me when I was little -- - i work with conglomerate —““ cian and even determined the boundaries of the moral an intuitive sense which will guide them to the cor¬ enterprising hardware dealer advertised “Jenny Lind Miss Lind, but plain Jenny Lind. At this Christmas more than a baby say that at the age of two and one { speciali2ing upon c»»cnti»l points, conduct of its members. Its main object was to raise half years I commenced to display a great interest in of work instead of speciaitzmg I rect use of the pedals without study. This is a great teakettles, which, being placed on the fire commence to season it is pleasant to remember that she was full of the standard of the musician and music. How it musical sounds. This, it seems to me is one of the mistake. There is no greater proldem in all piano sing in a few moments.” And this not only in New the Christmas spirit, though it was not confined to the cared for its older members is indicated in the fol¬ surest indications that music was, in a very definite playing than correct pedaling. The students who de York but all over the country. season. Her life was a continuous record of charitable lowing regulation: *ay, quite natural to me. Those who have oppor¬ pend upon their intuitions to guide them usually pedal deeds. Her first American tour, under Bamum’s man¬ “Since also one might dare to bust an old master ot tunities to examine children continually notice that at random with what often proves very disastrou* agement, netted her $150,000, which she contributed results. The worst use of the pedal is that of employ¬ HER PERSONAL APPEARANCE. our art out of his office, by what way or means, or tin¬ while there are cases where the child becomes excited for the founding of a hospital in Stockholm. She also der what semblance or pretext, it matters no}, and t or pleased when it hears music, there are very few ing it a. a kind of shroud to conceal faulty technic insinuate himself into his post, therefore any mao ^ _^_^_^ | Better leave the pedal entirety alone than use it to When that red letter night came, the staid city of founded a hospital in London, built a new wing for whose interest goes beyond being entertained. Natural- make a jumble of meaningle»s sounds. Using the one in Liverpool, in 1849 raised $50,000 for charity by seeks his own advancement by the above mentioac- . j'' have ire nonQ rrecollection'e°”y^on ofQf my ov“wn musical1 beginnings,u~ Providence was in a condition bordering upon delirium. pedal mrrely to increase the volume of tone is one of her concerts, furnished a scholarship to London, in unseemly means, and ousts another, OUR college but if I maymay jjudgeuc]ge thethe reports ofc others I seemed to The hall was jammed and'thousands stood outside hop¬ the infallible signs of the bungling amateur. dispossess, him and his assistants who ought to an intuitive grasp of certain eiemcms « - ing to catch a glimpse of her and mayhap hear her honor of her friend, Mendelssohn, and her last appear¬ him, and he shall no longer be suffered in it- form and harmony. Of course I did not know tne ance in concert was at her home in Malvern, England, HOW HARMONY HELP* voice. I see her now as. I saw her then, a girlish figure, much as venerable age, if accompanied by wea technical terms, but the essentials—or if you chose to when she sang for charity. She contributed a large medium of height, with fair hair and light blue eyes, easily falls into contempt (all the former 1°"? cull them principles, stood out clearly and sharp.y the It is almost impossible to pedal effectively without amount in this country and in England and Sweden gowned in velvet, wearing a rose in her hair, and de¬ of great labor, pains and service being forgot moment I heard music. This power of inner percep¬ a knowledge of the rudiment, of harmony The jwdal void of any other ornament. Her features were plain to private charity and no appeal was made to her gener¬ youth generally preferred above it; if such. $ ts* of musical problems is after all what people de¬ sustains sounds at long as the vilirations of tHej«*n., and somewhat coarse, and in repose there was a lack osity that remained unanswered—if it were worthy. and impotency in a musician of great age, * j scribe- as„ musical talent.taient. oumcSome people possessr— . ^ \, system by which chord* follow each other before tin* of symmetry, but while singing her face was most fas¬ Her married life was a happy one and she died at appointment, should be so great that he can t ^ naturally,tutiirally, others have to have it very definitely pointed Malvern in 1887i in her sixty-seventh year. his duties, or only with much difficulty, anu , out to»o them ♦throughv.-^.,,.i, *»,„the interminable iheoreticaltheoretical books sustaining implement may he employed The student cinating. Her whole figure seemed expressive and a who ha* a knowledge of harmony should tag hr con¬ Such was Jenny Lind as I recall her and as musical service of God and other attendances must nece* ^ ‘"at make rules only to break them in the next instant. serene look of goodness irradiated her countenance. tent to observe the pedal marks placed in hit editum. history records her. It seems to me that in a rare be provided for; in that case some one sna jar: ’j°od theory books are necessary, however, even in Her gait was grace itself, especially when compared powered to serve as a substitute for theS^ He should go over tlu-m. analyte them. »ee wh> the manner she combined religion, art, love, goodness and case of the talented, since the talented pupil is with the hobbled feminine waddle of the present time. nevertheless the ojd man shall enjoy half o [iwly to have his musical information in disorganized w genius, and that she was actuated by the lofty pur¬ upon them. After that it is a fin* pUn to She seemed to float rather than walk up the stage to the and his share of the profits, and all ““ a, si- "«ps rather than in systematic order ready for im¬ pose of using her gifts for the good of others. practice the pedal separately, counting just a* though footlights. There was music in her very looks and days of his life he shall be diily respected y ^ ^ ' mediate use. "Her music in my heart I bore you were playing and hearing the music menially, as motion. Her presence, ks she quietly and modestly ac¬ stitute or coadjutor, who shall in all tlling (j, mi though the actual sounds were coming from the in¬ Long after it was heard no more.” knowledged the applause of the audience, gave the im¬ precedence: to tnethe oiciold man, if he^is. ..,* 1^c doe5 WHATwt THE- TEACHER_ _ SHOULD DEMAND. ft strument. Later the left hand may be pmcticed with _—Wordsworth. await the pression of womanly dignity and grace combined with sume vears spent in teaenwg c—. - , the pedal and then thenght hand and then Mdh and kindly for the old man snan ."tijeb a child-like naivete and enthusiasm as if she enjoyed irt jftrf 14i1- resolvedyars that !pent I should - develop ”myd natural’*** w- bands togtber. This work should proceed so slowly and regarded by everyone, and God Mos n fflts »> composition, and therefore I devoted the bet‘* the scene and the privilege of singing. While delivering Mme. Nellie Melba, one of the greatest of Jenny surely one day reward him and repay h1*11- of my time after that to writing music. Never- her songs her face seemed to be transfigured and to L.nd s successors, has given The Etude her valuable gain a beauty which was not manifest in repose—beauty advice upon the matter of the training of the singer of soul and reverence for her art. There was no dis¬ Among other things, she relates a method whereby the A man in the tempest of his passion lir--r tortion of face or exaggerated mannerisms of any kind. singer may know whether her teacher is training her the bounds of order and moderation; y lu¬ She sang with a serene look of goodness and most win¬ right. This exceptionally interesting conference will scious in his rage, and the tone-picture ^ CAMILLE SAINT-SAENS ning smile and her reception of the almost frenzied en¬ appear in the January “Holiday” issue of The Etude his exceptional state. But as the pa- ^ thusiasm of her hedrerS was modest in the extreme. It is one of the very best articles of its kind we have ever be held under some sort of con r • sine- ever secured and rue which should be very helpful to Modesty, indeed, was one of her strongest characteris- music, even when depicting the rnoSt. aw| na¬ singers, entirely apart from the great cclcbritv of Mme. tions, be subordinate to artistic Propr'e ‘ ajn offend the ear, but should still please an 854 THE ETUDE the etude 855

the constant trials • melodies by Meyerbeer—the shadow-song fro CHARACTER. Take for instance, the Song to the Evening Star, ni ~ First of all, you must be on really intimate terms orah, the page’s song “nobil signor” from The hn.««> - With a few musical pieces of different sorts before we play the entire melody with one fjnger alone. iwts or "Quand je quiftais la Normandie* front Robert BY CARL G. SCHMIDT. can consider the matter at all. Do you know, for in¬ le Diahlef Perhaps not. for Meyerbeer is rather for¬ stance, that all music divides itself into two distinct gotten now, though once highly esteemed. W ell. nearly classes—simple and complex? No, I thought not, but all his tunes are conventionally constructed, but with “As a man thinketh.' *> is he,” runs the proverb. >*ou know at least that poetry is roughly divisible into so little skill that, once one’s attention directed to the Some would even go further and say that a mans two classes, that whjch lies in four-line stanzas (lyric fact, one cannot endure them. For instance, take the appearance, his mode of dress, his use of language, work) and that which is in more elaborate forms and baritone song from Diuorah which lias suer bis taste are merely the outward mirrorings of his soul. Try to bring out the full tone (with the use oftfe ( tuns straight on (heroic versp or blank verse). Again, ful first line: In other words when we look at a man we see the ,edai if you will) placing the finger squarely* you may not know that it was poetry thqt gave shape kind of man that that particular individual has built irmly upon the key, thus giving the finger not out to music, but it was so, and the two arts work on up in his own mind as his ideal of a man. A man he physical responsibility hut. the whole emoW very similar lines. That is to say, music may consist looks pretty much as he wants to look. If this is so nterpretive responsibility as well. Play this m | of either a series of short “sentences,” each of whiqli we must regard our own musical taste with care and vith each finger on each hand; in turn transposing» comes to a definite. full stop, or it may consist of por¬ have it of such a kind that it wili express a character Saint-Saens and His Late Confrere, Massenet tions of indefinite length, anything like a full stop nto the bass for the right hand, and into the treb of which we may be proud. king as far as possible avoided. The uninitiated wt he left. Play it with different touches, too. [ There are several thoughts suggested by this subject. not comprehend how this natural tendency of music of the sen!! that it surpasses literature to which it is rou do your scales; arpeggios and exercises, Wf.1" . First, what is character,'and. again, how may musical closely allied because.it. is not tangible, because it has [o leave off when it-has said its say can be resiste , taste direct or reveal it! All teaching and this does ■very finger at hotfle on every note in'everji to the hundred-fold greater interest of diverse interpre¬ But if you reflect you will remember that the upeducatec not mean school work alone, but includes home influ¬ tation, that as each bne!s joy or .sorrow .is different so jerson can only 'frame short and simple sentences in ences as well, tends to the formation of character. The The melody of hymn limes also suggest esette speech, while the cultured orator has no difficulty in is there an expression-in music which ivifl-fitAfcat 'joy love, kindness, gentleness, courteous consideration of iractice for this special feature of musica j. titering lengthy and well rounded periods which worn or sorrow. Again the student of music! How often the home are the foundation stones in the building of rent Trying this for a week or ^ k fill nearly a whole page of print. A very mo era e cjo we as students go over a composition aimlessly, just character. The love of nature, flowers, brooks, moun¬ in hour each day to “independent P***?'^, amount of education teaches one how to join c auses merely playing it, watching every' note and expression tains, sea and sky arc objects which God spreads before stowing a little extra attention on the f d ^ and sentences together and how to use the comma a us to soften and beautify character. Then comes the mark and yet remaining an absolute stranger to the fingers will surely wake marvels with stiff semicolon instead of always the full-stop. school where life is taught, independence fostered, the real thought of the composer to whom the composition ‘ Well, the primitive biusician can only frame simp e mind guided, ambition aroused, defeat encountered; suc¬ was an expression of his innermost life. ^ Remember always the words of the great Ru^ musical sentences, which we call Tunes, and it is tne cess achieved; all these qualities go toward the making Our*mtisical taste is cheap because we make it so, It is only with tears and pain, bitter .as A ^ , pbject of -musical education to teach him how, y of character. because we do not search for the hidden meanings, the artist arrives.at perfection, and icehour*3 means of “half-closes” and “interrupted cadences, The one greatest element demanded of men! the because instead of going over a composition first, men¬ that every earnest effort put into your p fliese may be extended into less common-place me o le ■ only thing which is permanent and which gives to one ially trying to interpret each phrase, we immediately and farther, how by cutting off the end altoget ler, the real riches of the Universe; the quality with which be rewarded. rush to the piano with it and if it does not strike our Sentence can be dove-tailed ihto another. ese man becomes master, without which bis life is useless, fancy we discard it; because when we hear a song cheap void and passes away unthought of, unremembered, processes are closely akin to the use of the semic in sentiment, frivolous in melody and "really not fit to ' Good-natured and char as the Chevalier jSj, forgotten, is CHARACTER. But our Creator has given 4nd the comma in literary composition and ton he called a m usical composition, we do not stop to to us more than Nature, love or learning to ennoble in all other relations of life, he >>ec0™f' **„>. » fhief resources in building up what we ca consider whether it is worth while to take it into our stands at the conductor’s desk, the v nass;0n, »usic.” But to employ thqse processes skilfully « character. Tie has given to us the works of man, ■ lives, if it will leave an impress for rood or add a slightest error puts him into a towering P* ^ m , literature, painting, sculpture, architecture and music. mands long-and difficult study, which only ' -j )■ bit of loveliness to our character, hut we simply absorb in the strongest language. Twenty , -asfogeW] These give to man the uplift which comes by direct few have-the power to master: tile vast "ta jonty it. I fancy that if v/e were told that the fragrance of a times does lie demand the repetition < |,eist(t| association with the finer things of life, the work of musicians consider themselves composers when certain flower was poisonous we would slum it, and yet the most skilled orchestral executant: ht ,aye, fltie Iw; rain of verse. It did not take much gen • arts because the most subtle. So good musical taste does reveal character, does intervention of the etnperor, wt only k's *11 For hundreds of years men struggled to catch sounds build up and beautify life, does cifcoble manhood and you know, he doesn’t mean it t it » whe# W* I Spiration to invent such a line as: and in some way confine their meaning to paper. It womanhood, and. they who never learn this lose just Artists, moreover, require double P . _ enouf*1 * ' was a long and strenuous effort which we, who look so much of uplift and strength. . . . . orchestra. No fortissimo can ie pj;s tnicr, , with so much indifference upon our printed pages of Tt would he well then for all who teach emusic to no pianissimo weak enough for h ■ . n5 w>hC ) music, know, and in most instances care very little about. tell of its history, of its great men, of its real worth. gesture when conducting reflect e . gentle Nevertheless it would add immensely to the interest This can he given to everyone, not merely, voice or the music; now it is wild, now soft ^ ^ „f all music students anyl lovers of music if they would pianoforte pupils. Let us always associate with beauti¬ anon sorrowful. He lives and es . igenia, a' learn something about the history of our great art, ful tilings, great music, God’s out-of-doors, good books he rages with Achilles, weeps w,t!l back|S • _ ...— throws riirnsv the difficulties encountered in establishing its notation, and refined .people, to partake of their loveliness and the slow contrapuntal development of musical thought, enrich otir character. .... 856 THE ETUDE THE ETUDE 857 SIMILARITY IN FOLK TUNES. deprived of it when he lost his oolitic l •. i Whether it bfe. Hungarian, Russian or English, you Saxon England its use at banquet wL nghtl lj - mark of gentle breeding; and when ,! "ec«tarr ‘ find each an appalling monotony of rhythm, such a 3 wearisome^ similarity of outline, that you wonder, at Bede, who had neglected music for his ^ VUkraine. This Russian district, ac¬ times, it is said, the strings were arranged inV‘ a theatre, where they play almost anything. Why is cording to his article, is especially rich in folk-music, rows, with chromatic intervals in the middle’ and r this? Why do tunes of simple scope seem at one which is sung by the peasants on nearly every possible this tr,pie form came the "arpa doppia- or JS time charming and at another flat and dull? Here occasion. The songs often reflect the original Greek harp, or Monteverde. r comes in, I think, (Stir own mentality—our own feeling modes, the Ionian being most common, while the Lydian In the 17th and 18th centuries, when the for music. There exi&t a few persons of dull minds who and Dorian are sometimes found. ing minstrel of the Middle Ages had disappeared! are content, like little,children, to read the same book, These modes were sufficient to express the dignity Irish harp was taken up by a number of profession^ or hear the same turie, over and over again all their players, who still traveled about, but were moreZ of tradition in tones, but other influences entered in the [EniTOB’s Note.—Mr. Lieurance has been In the West for which it is harmonized. The Sioux Indian* have : modern virtuosos than ancient bards. They showed , considerable length of time studying Indian music at lives, but the vast majority of those who are only Middle Ages. Turk and Tartar- hordes overran, the of perfect intervals and their love songs arc the n some resemblance to the itinerant musician of todar Sr-t hand. Mnny attempts have been made to save the slightly musical, realize the limitations of art and must country, and finally it came under the despotism of mu'gic of the American Indian, but as many of these have melodious of all to our ears. have the Same thing said a little differently, or their Russia. Its music shows some Oriental qualities, and going from place to place; but the harp was carried bn been made by anthropologists rather than musicians the appetite becomes jaded. It is not till you have made contains also examples of the Magyar tetrachord (A, B, servant, and the performer sometimes came of a re¬ results have Often been disappointing. Mr. Charles Troyer lived for a long time with the mystical Zuiil Indians of the the experiment mentioned above and placed before C, D-sharp), originally introduced by the Turks, it is nowned and noble family. Such a one was Arthur South West and came back with some marvelous themes yourself a large number of tunes that you can com¬ claimed, but now very characteristic of Hungary. O’Neill, who lived from 1737 to 1816. On an early which he has adapted to modern notation. Sir. Lieurance prehend the fact that we never invent; we only vary. trip, he came to a banquet given by Lord Kenmare to had a sympathetic fondness for the music of the Indian and Especially popular are the so-called dumi, a class of has made many extremely effective settings of native tunes. melancholy songs of almost epic dignity. They differ those related to the ancient Irish chieftains. After He has made liberal use of the recording phonograph and LANGUAGE INFLUENCES TUNES. in style from almost all other folk songs, because of being greeted with enthusiasm, O’Neill took a humble then analyzed the records at his leisure.] This, then, is the way in which tunes are made. The their wonderful flexibility in the hands (or voice) of seat at the foot of the table; and when the host ex- person fond of music perpetually turns over in his the singer. Their melodies are not very strongly ac¬ pressed his regret for this, the harper replied, “It is no When I first became interested in this subject I mind, consciously and Unconsciously, the phrases that cented, but are called “invertebrate” in character, be¬ matter, for the place where an O’Neill sits is always studied the Indian songs only with a view to finding he knows and as his mind tires of them he alters cause the long notes, which would ordinarily be ac¬ a place of honor.” themes for musical composition. I at once realized them or strives to make others something like them. cented, usually fall on a weak beat. In a way this In his time, public competitions were instituted, that it would be a life work to know the Indian and the Some of these variations must be better than others and gives an apparent lack of variety, but in reality the somewhat like the Welsh Eistedfodds. At the first oi relation of his songs to his worship, his pleasure, and there will be a kind Of survival of the fittest in the singer can change his effects very easily, altering the these, the chief prize was awarded to Charles Fan¬ his toil. For the sake of accuracy I made phono¬ musician’s mind just as there is if ever his tunes come expression greatly from verse to verse. The time ning, whose poverty, as shown by his clothes, won the graphic records of those songs which I wished to to be printed. The rhythmical skeleton of a tune varies also. A printed example of these “Grief Songs” jury’s sympathy, while O’Neill, who had arrayed him¬ transcribe. The manner of procedure was most in¬ depends upon the accept of our language and is very consisted of five measures with the rhythm of 3/4, self in his best, had to be content with second prize. teresting. The singers, with their drums and flutes, limited; thus an American could evolve Yankee doodle 5/4, 3/4, 7/4, and 7/4—surely changeable enough to al¬ At a later competition, where he was again second, ht were arranged about six feet in front of the record¬ but could not possibly make a tune like: low the minstrel full liberty of effect. An occasional suggested a collection for the non prize-winners, who in'* machines. The leader and timer of the songs chromatic effect near the end often adds to the climax. were mostly so poor that a trip to the scene was a sat in front, rehearsing the singers, humming low, great expense; and as a result, they went away with These songs have been collected and set with excellent before each record was made. The war chief, with greater gains than any of the prize-winners. judgment by the composer Lissenko. his interpreter, was there, inviting himself to find out Most of the harpists were connoisseurs in the na¬ Until recently these songs were sung by the cobsars, what it was all about, to sanction or prohibit the re¬ tive. brand of whiskey. Even the women players in¬ who were blind musicians traveling about from village cording of songs he wanted or did not want sung. to village. These wanderers had to go through a full dulged to some extent. A certain Rose Mooney had a which only the Hungarian language will admit. What After recording a song we reproduced it for the sing¬ apprenticeship before they became qualified, and were servant who would sometimes pawn the harp for suf¬ are called t the Cadences of a tune, the ends of the ers, to know if it was properly recorded. Near the usually very gifted performers. They used for ac¬ ficient liquid inducement, and Rose herself was sea phrases, are also very limited in their scope. When operator was an educated Indian boy, acting as an in¬ companiment the stringed instrument called the ban- enjoying various beverages when a warehouse of spir¬ these things are fully understood it will be seen that terpreter. The record-making ended with a feast and dura, known in Italy as the mandola, in Spain as the its at Killala was sacked during a revolt But the melodic possibilities are by no means infinite—in fact playing over all of the songs recorded. Writing the bandolon, and in Turkey as the tambura. These in¬ harpists were not any worse than others in this re¬ that their limitations are discernible. struments are said to be of Eastern origin, and it is spect. At entertainments it was usual to find opu Indian’s songs exactly according to our scale is an im¬ possibility, as he uses intervals which are not found in A COMPOSING MACHINE. claimed that they are the same as the “pandoura” whiskey-casks, with a hospitable cup attached to each; mentioned by Pythagoras. Early pictures of this type and sometimes, to save the greater price of food, i a scale of whole and half steps. There are, however, Many years ago I wrote a fanciful article about a of instruments have been found on Egyptian and As¬ host would purposely ply his guests with the exceptions to this statement, as in the love songs of man who invented a machine that would compose music. syrian ruins. The bandura of the Ukraine has twelve liquid. No doubt the open-air life of the harpers en¬ the Sioux and in melodies played on the flute. I have Some time later a casual remark of Arthur Sullivan’s— strings, six long ones attached to pegs in the neck, abled them to indulge in excesses that would now « chosen a number of the love songs and flute melodies that he would give me a thousand pounds if I could as themes for composition because they harmonize well while the other six are clamped to the finger-board by justly condemned. . invent a. machine'^ that would carry out a figure of studs, and have no frets. The lower strings, starting One Thaddy Elliott was so fond of his “potheen and are often beautiful. Music is the principal medium hy which the Indian communicates with the unseen. accompaniment to save him the trouble of writing it— up from the lowest line of the bass clef, are tuned to that for a quart of it he promised to indulge u> G, C, D, G, A, and D, while the upper strings give He hunts, fights, plays his games, and worships, with set me thinking and I found that it was quite practi¬ ribald trick of playing “Planty Connor" whlle acc,^ diatonic intervals from one-line G upward. The latter cable to make a machine that would “compose”—by panying Mass «t Navan. The priest was naturaly ^ song. His one instrument, excepting the drum, is the exhausting all the possibilities—music of a simple kind, which may be tuned to suit the mode, are used for the native flute made of two pieces of cedar hollowed out. melody. rifled, but the lively air broke in at a , such as chants and hymn-tunes. I have, in fact, church custom forbade his speaking, and Elliott glued together with pine pitch, and tied around wit The cobzars, or kobzars, were very popular, and sure sketched out the plans for such a thing. But it would his wages unhindered. He was summarily disns sinews. He blows into it from the end and has from of their welcome among the natives. In recent years, four to six tones of the scale. Semitones are produce cost a good deal more than five thousand pounds to however, they came under the ban of the Russian and another harpist engaged; whereupon proP ^ make, and where would be the use? To do once and club and awaited his successor in ambush. 8 , hy cross-fingering, at intervals, and between government, since the patriotic nature of their songs he blows a trill or tremolo on the lowest tone. e for ever what is being done as required does not seem would have it, the priest passed at the Psyc. ^ acted as a powerful spur to the Ukraine people. For a Indians are good listeners, but poor demonstrators. a very useful object, and—observe this—the most diffi¬ time the Russian officials hounded these minstrels moment, and received the blow meant for Some have exceptionally good voices, and like to sing, cult and complex portion* of such a machine would be about from place to place, until at present the latter comer; for which Elliott had to do public pe hut they prefer to have a drum or something to beat have almost wholly disappeared. But the peasants But many of the harpists were good musl!:l . f- the least useful; that, is the critical part Out of 60,000 uPon. It is strange that the drums are used very 8e have not forgotten the songs, which remind them that took a high place in their profession, even P a possible single chants a large proportion would be dom to beat the tempo of the s ng they sing, but to they were formerly a free people. royalty. The most gifted of them was Turo _ perfectly uninteresting—though technically correct. roark the dance step. They will beat a straig t The humah mind that conceived these would discard clan, bom in 1670. It is said that on aivlS' . T;0t: Rmpo, then s:ng the song in an entirely different tempo. IRELAND’S ROMANTIC HARPISTS. iniani he heard the latter play Vivaldis ^ them instinctively, but how could the machine be made Parts of their songs have words, and for the ba to do so? And the higher we rise beyond this simplest In the Revue of the International Society, S. Mac- concerto; whereupon he took his harp an ^ Owen treats of more familiar minstrels when he re¬ »We they will ure a “Hi, hi, hi." For a lullaby an form of n.elody the more subtle does the necessary the entire work from this single hearing. , views some newly published matter about the last of Indian woman will sing “We. we. we,” all through criticism become, till we see that the operation which adds that Geminiani gave his visitor a the Irish harpists. Ireland has been claimed as the Vh« *ong, excepting where she sinys a direct sentence n other concerto, purposely filled with error*! * fror goes on so incessantly in the composer’s mind—the heme of the harp. Its name is said by some to have 'he papoose. Many of the songs have no words at ait the harpist went through the work, and wi ^ making permutations and combinations of notes—is come from the Roman village of Arpi, but it is cer¬ and represent the feeling, imitation, etc. ing of the trap, suggested a correction for the least part of the real making of music. The fate tain that the returning legions of ancient days brought Below are given interesting Indian themes. of Charles Babbage’s famous Analytical Engine which a native harp back from Britain. The Assyrian and take. The first is n iove song, sung 1y Frank Double-the- ruined its inventor "shows us how futile is the attempt Egyptian instruments must have been earlier, but prob- “°rsc. a Sioux. This is a beautiful melody and splen¬ ably the harp had an independent origin in Ireland. At to supersede the operation of human intelligence by e divine fire of the artist is something . ^ | did for purposes of composition. I have harmonize* any rate, we know that the Irish people, like the Welsh, machinery. ■ The little live machine in the head of quite be inflamed to white heat in the cruet ^ •t for the piuno. The text of the poem i* entitled - were wholly devoted to the many-stringed instrument an ordinary human being does not cost much to set up /% Silver-throated Fawn.” Eva Sun, a Crow girt. so favored by the bards. . It may be said of great musicians W i ^ nor to kedp , colngv but its capabilities are infinite and ” 'he Indian maiden who merits this appellation ine History tells us first of the early Welsh and Eng¬ it, “Most wretched men are era e . tfA'» it has this advantage over machinery: it can create Phonograph recorded the song in the same key t lish harpists, and the value attached to the instrument. rong: They learn in suffering what m . something out of nothing. In \\ ales, it was the badge of a freeman, who was 856 the etude

deprived of it when he lost his . SIMILARITY IN FOLK TUNES. Saxon England its use at banquets ^ ^ \ Whether it be. Hungarian, Russian or English, you mark of gentle breeding; and whm , 4 find each an appalling tnonotony of rhythm, such a Bede, who had neglected music for hi,lhe V'°'n* wearisome- similarity _of outline, that you wonder, at studies, found himself unable to plav i! f*41 V last, if there is Such a .thing as originality at'all. Yet gathering of notables, he was constrain-iir^^i each of thttse tunes, when it had its day, was thought to rise and leave the hall. ed by b,s ^ quite brilliant. Fiftyjyears ago there was a German- French violoncello player named Jacques Offenbach. The lT**h harPs were mentioned in the A. the first Norman invasion. In the time of H For about twenty years he poured out a flood of spark¬ the harp became the national emblem 0f K* . ling tune^—mostly harmonised on two chords, it is was placed on the flag. Mr. MacOwen true—that kept ajl the world smiling. Nothing is more St* Insh harp as wholly diatonic, with dreary than to look over his hundred or so operas and INTERESTING RUSSIAN FOLK MUSIC. strings; but some authorities ascribe more, ■ ** operettas to-day. The sparkle has gone out of them In the Musical Standard, F. S. Bartlett writes on the times, it is said, the strings were arranged“M and we cannot eVen endure them between the acts at folk-songs of the Ukraine. This Russian district, ac¬ rows, with chromatic intervals in the middle- a theatre, where they play almost anything. Why is cording to his article, is especially rich in folk-music, which is sung by the peasants on nearly every possible this tr,ple form came the “arpa dohbia"' this? Why do tubes of simple scope seem at one harp, or Monteverde. time charming and at another flat and dull? Here occasion. The songs often reflect the original Greek comes in, I think, dur own mentality—our own feeling modes, the Ionian being most common, while the Lydian In the 17th and 18th centuries, when the for music. There exist a few persons of dull minds who and Dorian are sometimes found. ing minstrel of the Middle Ages had disappear,/' are content, like little.children, to read the same book, These modes were sufficient to express the dignity Irish harp was taken up by a number of profil players, who still traveled about, but were mot or hear the same tune, over and over again all their of tradition in tones, but other influences entered in the IEoitok’k Note.—Mr. Lteuranc* ba* been in tba W lives, but the vast majority of those who are only Middle Ages. Turk and Tartar hordes overran, the modern virtuosos than ancient bards. They fa ■ rou.lcl.ruM,- kofftb of time studying Indian mu some resemblance to the itinerant musician of t„ ■ret band. Many attempt* have been made to aa< slightly musical, realize the limitations of art and must country, and finally it came under the despotism of BD«le of tbe American Indian, but a* many of lb.- have the Same thing said a little differently, or their Russia. Its music shows some Oriental qualities, and going from place to place; but the harp was carried!,' I*rn made hv anthrupologUtn rather appetite becomes jaded. It is not till you have made contains also examples of the Magyar tetrachord (A, B, servant, and the performer sometimes came of.V mult* have often been disappointing. Mr. Churl** 1 nowned and noble family. °—'L - lived for ■ long lime with til* mystical Zufll Indian* the experiment mentioned above and placed before C, D-sharp), originally introduced by the Turks, it is i one was .Ink Doaih West and earn* baelt with tome marv luus I yourself a large number of tunes that you can com¬ claimed, but now very characteristic of Hungary. O’Neill, who lived from 1737 to- - On as ori thieh be tin* adapted to modern notation. Mr. 1.1* trip, he came to a banquet given by Lord Kcnnsrts ui a sympathetic fondness for the mu«lc of the IndU prehend the fact that we never invent; we only vary. Especially popular are the so-called dumi, a class of m„de many extremely effective setting* of native melancholy songs of almost epic dignity. They differ those related to the ancient Irish chieftains. Af lit ba« made liberal lise of the recording pbol LANGUAGE INFLUENCES TUNES. in style from almost all other folk songs, because of being greeted with enthusiasm, O’Neill took a he Ifctn analyz'd tile record* at hi* leisure.] This, then, is the way in which tunes are made. The their wonderful flexibility in the hands (or voice) of seat at the foot of the table; and when the host i person fond of music perpetually turns over in his the singer. Their melodies are not very strongly ac¬ pressed his regret for this, the harper replied, ‘It i, lun I first became interested in this mind, consciously and unconsciously, the phrases that cented, but are called “invertebrate” in character, be¬ matter, for the place where an O’Neill sits is a!rr itodied the Indian songs only with a view to finding he knows and as his mind tires of them he alters cause the long notes, which would ordinarily be ac¬ a place of honor.” themes for musical composition. I at once realized them or strives to make others something like them. cented, usually fall on a weak beat. In a way this In his time, public competitions were it_ that it would be a life work to know the Indian and the Some of these variations must be better than others and gives an apparent lack of variety, but in reality the somewhat like the Welsh Eistedfodds. At the firs: relation of his songs to his worship, hi* pleasure, and there will be a kind of survival of the fittest in the singer can change his effects very easily, altering the these, the chief prize was awarded to Charlti h I toil. For the sake of accuracy I made phono- musician’s mind just as there is if ever his tunes come expression greatly from verse to verse. The time ning, whose poverty, as shown by his clothes, woe * raphic records of those songs which I wished to to be printed. The rhythmical skeleton of a tune varies also. A printed example of these “Grief Songs” jury’s sympathy, while O’Neill, who had inscribe. The manner of procedure was most in- depends upon the accept of our language and is very consisted of five measures with the rhythm of 3/4, self in his best, had to be content with second pi resting. The singers, with their drums and flutes, limited; thus an American could evolve Yankee doodle 5/4, 3/4, 7/4, and 7/4—surely changeable enough to al¬ At a later competition, where he was again sectnl fc ere arranged about six feet in front of the record- but could not possibly make a tune like: low the minstrel full liberty of effect. An occasional suggested a collection for the non prize-winnen, I machines. The leader and timer of the songs chromatic effect near the end often adds to the climax. were mostly so poor that a trip to the scene w it in front, rehearsing the singers, humming low, These songs have been collected and set with excellent great expense; and as a result, they rforc each record was made. The war chief, with greater gains than any of the prize-winners. judgment by the composer Lissenko. S interpreter, was there, inviting himself 10 find oot Most of the harpists were connoisseurs in lie * Until recently these songs were sung by the cobsars, hat it w :« all about, lo sanction or prohiliit the re¬ tive. brand of whiskey. Even the women p!ayer> r who were blind musicians traveling about from village ading of songs lie wanted or did not want sung, dulged to some extent. A certain Rose Moonc; he i to village. These wanderers’had to go through a full her recording a song we reproduced it for the sing- which only the Hungarian language will admit. What servant who would sometimes pawn the harp fee e apprenticeship before they became qualified, and were S. to know if it was properly recorded. Near the are called, the Cadences of a tune, the ends of the ficient liquid inducement, and Rose herself wu it usually very gifted performers. They used for ac¬ •error was en educated Indian boy, acting as an i«- phrases, are also very limited in their scope. When enjoying various beverages when a warehouse of g companiment the stringed instrument called the ban- rpretcr. The record-making ended with a least and these things are fully understood it will be seen that its at Killala was sacked during a revolt. B*1 dura, known in Italy as the mandola, in Spain as the aving over all of the songs recorded. Writing the melodic possibilities \are by no means infinite—in fact bandolon, and in Turkey as the tambura. These in¬ harpists were not any worse than others in thb» idian's son -s exactly according to our scale is an im- that their limitations are discernible. struments are said to be of Eastern origin, and it is spect. At entertainments it was usual to find ¥ Mtibility. as be uses inicrvals which are not found In claimed that they are the same as the “pandoura” whiskey-casks, with a hospitable cup attached to a* A COMPOSING MACHINE. scale of whole and half steps. There are. howrvefi mentioned by Pythagoras. Early pictures of this type and sometimes, to save the greater price of f«- Many years ago I wrote a fanciful article about a exceptions to this statement, as In the love songs of of instruments have been found on Egyptian and As¬ host would purposely ply his guests with * the Sioux and in melodics played on the flute. I haw man who invented a machine that would compose music. syrian ruins. The bandura of the Ukraine has twelve liquid. No doubt the open-air life of the harpm* chosen a numlrer of the love songs and flute melodies Some time later a casual remark of Arthur Sullivan’s— strings, six long ones attached to pegs in the neck, abled them to indulge in excesses that would “* ss themes for composition because ibey harmonise well that he would give me a thousand pounds if I could while the other six are clamped to the finger-board by justly condemned. *nd are often lieautiful. Music is the principal medium invent a machine ^ that would carry out a figure of studs, and have no frets. The lower strings, starting One Thaddy Elliott was so fond of bis t— by which the Indian communicates with the unseen. accompaniment to save him the trouble of writing it— up from the lowest line of the bass clef, are tuned to that for a quart of it he promised totoWt* He hunts, fights, plays his games, and worships «itb set me thinking and I found that it was quite practi¬ G, C, D, G, A, and D, while the upper strings give ribald trick of playing “Planty Connor wine •ong. His one instrument, excepting Ihc drum, is t e cable to make a machine that would “compose”—by diatonic intervals from one-line G upward. The latter panying Mass «t Navan. The priest was naturwy which may be tuned to suit the mode, are used for the •live flute made of two pieces of cellar hollowed out. exhausting all the possibilities—music of a simple kind, rifled, but the lively air broke in at » melody. slued together with pine pitch, and tied around wit such as chants and hymn-tunes. I have, in fact, church custom forbade his speaking, and Jg ^ The cobzars, or kobzars, were very popular, and sure sinews. He blows into it from the end and has from sketched out the plfu>$ for such a thing. But it would of their welcome among the natives. In recent years, his wages unhindered. He was fi«r to six tones of the scale. Senvtones are produced and another harpist engaged; whereujAw * g cost a good deal more than five thousand pounds to however, they came under the ban of the Russian by cross-fingering, nt intervals, and between phr**** club and awaited his successor in am make, and where would be the use? To do once and government, since the patriotic nature of their songs he blows a trill or tremolo on the lowest tone. The would have it, the priest passed at t e for ever what is being done as required does not seem acted as a powerful spur to the Ukraine people. For a Indians are good listeners, but poa moment, and received the blow meant a very useful object, and—observe this—the most diffi¬ time the Russian officials hounded these minstrels Some have exceptionally good voicea, — cult and complex portion' of such a machine would be about from place to place, until at present the latter comer; for which Elliott had to do they prefer to have a drum or something to b«* But many of the harpists were good mu the least useful; that, is the critical part Out of 60,000 have almost wholly disappeared. But the peasants «*««. It is strange that the dr— — «»«d vert lel- have not forgotten the songs, which remind them that took a high place in their profession, ■ ( possible single chants a large proportion would be heat the tempo of the they were formerly a free people. perfectly urtinteresting—though technically correct. royalty. The most gifted of them was The human mind that conceived these would discard olan, born in 1670. It is said that on gf them instinctively, but how could the machine be made IRELAND’S ROMANTIC HARPISTS. iniani he heard the latter play Viva is to do so? An^ the higher we rise beyond this simplest In the Revue of the International Society, S. Mac- concerto; whereupon he took his harp ^ Owen treats of more familiar minstrels when he re¬ form of melody the more subtle does the necessary the entire work from this single .eann views some newly published matter about the last of criticism become, till we see that the operation which adds that Geminiani gave his v'*ltor the Irish harpists. Ireland has been claimed as the other concerto, purposely filled with err • goes on *0 incessantly in the composer’s mind—the h me of the harp. Its name is said by some to have the harpist went through the work, an making permutations and combinations of notes—is come from the Roman village of Arpi, but it is cer¬ the least part of the real making of music. The fate tain that the returning legions of ancient days brought ing of the trap, suggested a correct! of Charles Babbage’s famous Analytical Engine which a native harp back from Britain. The Assyrian and take. ruined its inventor shows us how futile is the attempt Egyptian instruments must have been earlier, but prob¬ to supersede the operation of human intelligence by ably the harp had an independent origin in Ireland. At The divine fire of the artist is ®offle* of machinery. * The little live machine in the head of quite any rate we know that the Irish people, like the Welsh, *1 only be inflamed to white heat in t e ^ an ordinary human being does not cost much to set up were wholly devoted to the many-stringed instrument so favored by the bards. ience. It may be said of great nor to keep go:nv, but its capabilities are infinite and History tells us first of the early Welsh and Eng- puts it, ‘‘Most wretched men are cr it has this advantage over machinery: it can create lish harpists, and the value attached to the instrument. by wrong: They learn in suffering something out of nothing. In W ales, it was the badge of a freeman, who was song.” ■ 856 THE ETUDE THE ETUDE 857

similarity in folk tunes. deprived of it when he lost his political rights. In Saxon England its use at banquets was a necessary Whether it be. Hungarian, Russian or English, you mark of gentle breeding; and when the Venerable find each an appalling monotony of rhythm, such a Bede, who had neglected music for his great literary wearisome-' similarity of outline, that you wonder, at studies, found himself unable to play in his turn at a last, if there is Such a-.thing as originality at all. Yet gathering of.notables, he was constrained by his shame each of thffse tunes, \yhen it had its day, was thought to rise and leave the hall. quite brilliant. Fifty (years ago there was a German- Saving Indian Music From Oblivion French violoncello player named Jacques Offenbach. The Irish harps were mentioned in the chronicle of the first Norman invasion. In the time of Henry VIII For about twenty years he poured out a flood of spark¬ ling tune^—mostly harmonised on two chords, it is the harp became the national emblem of Ireland, and was placed on the flag. Mr. MacOwen describes the true—that kept all the world smiling. Nothing is more Irish harp as wholly diatonic, with thirty or forty By THURLOW LIEURANCE dreary than to look over his hundred or so operas and INTERESTING RUSSIAN FOLK MUSIC. strings; but some authorities ascribe more to it. At operettas to-day. The sparkle has gone out of them In the Musical Standard, F. S. Bartlett writes on the times, it is said, the strings were arranged in three and we cannot even endure them between the acts at folk-songs of the Ukraine. This Russian district, ac¬ rows, with chromatic intervals in the middle; and from a theatre, where they play almost anything. Why is cording to his article, is especially rich in folk-music, this triple form came the "arpa doppia,” or double this? Why do tubes of simple scope seem at one which is sung by the peasants on nearly every possible harp, or Monteverde. time charming and at another flat and dull? Here occasion. The songs often reflect the original Greek comes in, I think, our own mentality—our own feeling modes, the Ionian being most common, while the Lydian In the 17th and 18th centuries, when the wander¬ for music. There exist a< few persons of dull minds who and Dorian are sometimes found. ing minstrel of the Middle Ages had disappeared, the are content, like little .children, to read the same book, These modes were sufficient to express the dignity Irish harp was taken up by a number of professional players, who still traveled about, but were more like note.—Mr. Lleurauco has keen in tUe West for or hear the same turfe, over and over again all their of tradition in tones, but other influences entered in the lere'th of time studying Indian music at lives, but the vast majority of those who are only Middle Ages. Turk and Tartar- hordes overran the modern virtuosos than ancient bards. They showed rfad Many attempts have been made to save the some resemblance to the itinerant musician of to-day, 1 of tie American Indian, but us many of these have slightly musical, realize the limitations of art and must country, and finally it came under the despotism of 1)V anthropologists rather than musicians the going from place to place; but the harp was carried by a have the same thing said a little differently, or their Russia. Its music shows some Oriental qualities, and Bntare flften boon disappointing. Mr. Charles Troycr appetite becomes jaded. It is not till you have made contains also examples of the Magyar tetrachord (A, B, servant, and the performer sometimes came of a re¬ tflWa long lime with the mystical XuM Indians of the the experiment mentioned above and placed before nowned and noble family. Such a one was Arthur EL West and came back with some marvelous themes C, D-sharp), originally introduced by the Turks, it is alii be has adapted to modern notation. Mr. Lieu ranee yourself a large number of tunes that you can com¬ claimed, but now very characteristic of Hungary. O’Neill, who lived from 1737 to 1816. On an early ilirnnpathetlc fondness for the music of the Indian and prehend the fact that we never invent; we only vary. Especially popular are the so-called dumi, a class of trip, he came to a banquet given by Lord Kenmare to SiXimmy extremely effective settings of native tunes. those related to the ancient Irish chieftains. After Httas made liberal us,, of the recording phonograph and melancholy songs of almost epic dignity. They differ »analysed the records at Ids leisure.] LANGUAGE INFLUENCES TUNES. in style from almost all other folk songs, because of being greeted with enthusiasm, O’Neill took a humble This, then, is the way in which tunes are made. The their wonderful flexibility in the hands (or voice) of seat at the foot of the table; and when the host ex¬ I When I first became interested in this subject I person fond of music perpetually turns over in his the singer. Their melodies are not very strongly ac¬ pressed his regret for this, the harper replied, “It is no died the Indian songs only with a view to finding mind, consciously and unconsciously, the phrases that cented, but are called “invertebrate” in character, be¬ matter, for the place where an O’Neill sits is always !mes for musical composition. I at once realized he knows and as his mind tires of them he alters cause the long notes, which would ordinarily be ac¬ a place of honor.” them or strives to make others something like them. cented, usually fall on a weak beat. In a way this In his time, public competitions were instituted, kit would be a life work to know the Indian and the Some of these variations must be better than others and gives an apparent lack of variety, but in reality the somewhat like the Welsh Eistedfodds. At the first of Nation of his songs to his worship, his pleasure, and there will be a kind of survival of the fittest in the singer can change his effects very easily, altering the these, the chief prize was awarded to Charles Fan¬ ik toil. For the sake of accuracy I made phono- musician’s mind just as there is if ever his tunes come expression greatly from verse to verse. The time ning, whose poverty, as shown by his clothes, won the paphic records of those songs which I wished to to be printed. The rhythmical skeleton of a tune varies also. A printed example of these “Grief Songs” jury’s sympathy, while O’Neill, who had arrayed him¬ inscribe. The manner of procedure was most in- depends upon the accept of our language and is very consisted of five measures with the rhythm of 3/4, self in his best, had to be content with second prize. Ming. The singers, with their drums and flutes, limited; thus an American could evolve Yankee doodle 5/4, 3/4, 7/4, and 7/4—surely changeable enough to al¬ At a later competition, where he was again second, he were arranged about six feet in front of the record- but could not possibly make a tune like: low the minstrel full liberty of effect. An occasional suggested a collection for the non prize-winners, who i«3 machines. The leader and timer of the songs chromatic effect near the end often adds to the climax. were mostly So poor that a trip to the scene was a at in front, rehearsing the singers, humming low, No. 8. great expense; and as a result, they went away with These songs have been collected and set with excellent Wore each record was made. The war chief, with judgment by the composer Lissenko. greater gains than any of the prize-winners. i interpreter, was there, inviting himself to find out Until recently these songs were sung by the cobqars, Most of the harpists were connoisseurs in the na¬ vlat it was all about, to sanction or prohibit the re- who were blind musicians traveling about from village tive. brand of whiskey. Even the women players in¬ cording of songs he wanted or did not want sung. to village. These wanderers'had to go through a full dulged to some extent. A certain Rose Mooney had a which only the Hungarian language will admit. What apprenticeship before they became qualified, and were servant who would sometimes pawn the harp for suf¬ After recording a song wc reproduced it for the sing* are called _ the Cadences of a tune, the ends of the usually very gifted performers. They used for ac¬ ficient liquid inducement, and Rose herself was seen m, to know if it was properly recorded. Near the phrases, are also very limited in their scope. When companiment the stringed instrument called the ban- enjoying various beverages when a warehouse of spir¬ nptrtitor was an educated Indian boy, acting as an tn- these things are fully understood it will be seen that dura, known in Italy as the mandola, in Spain as the its at Killala was sacked during a revolt. But the mpretcr. The record-making ended with a feast and melodic possibilities are by no means infinite—in fact bandolon, and in Turkey as the tambura. These in¬ harpists were not any worse than others in this re¬ Pitying over all of the songs recorded. Writing t e that their limitations are discernible. struments are said to be of Eastern origin, and it is spect. At entertainments it was usual to find open Indian’s son.-s exactly according to our scale is an im¬ claimed that they are the same as the “pandoura” whiskey-casks, with a hospitable cup attached to each; A COMPOSING MACHINE. possibility, as he uses intervals which are not found in mentioned by Pythagoras. Early pictures of this type and sometimes,' to save the greater price of food, a ,i scale of whole and half steps. There are. howe\ Many years ago I wrote a fanciful article about a of instruments have been found on Egyptian and As¬ host would purposely ply his guests with the fiery , deceptions to this statement, as in the love s0"S* man who invented a machine that would compose music. syrian ruins. The bandura of the Ukraine has twelve liquid. No doubt the open-air life of the harpers en¬ ’lie Sioux and in melodies played on the flute. I have Some time later a casual remark of Arthur Sullivan’s— strings, six long ones attached to pegs in the neck, abled them to indulge in excesses that would now be diostn a number of the love songs and flute melodies that he would give me a thousand pounds if I could while the other six are clamped to the finger-board by justly condemned. “themes for composition because they harmonize we invent a machine'^ that would carry out a figure of studs, and have no frets. The lower strings, starting One Thaddy Elliott was so fond of his “potheen" “dare often beautiful. Music is the principal me t up from the lowest line of the bass clef, are tuned to accompaniment to save him the trouble of writing it— that for a quart of it he promised to indulge in the ly which the Indian communicates with the imsee • G, C, D, G, A, and D, while the upper strings give set me thinking and I found that it was quite practi¬ ribald trick of playing “Planty Connor” while accom¬ diatonic intervals from one-line G upward. The latter Be hunts, fights, plays his games, and worships witn cable to make a machine that would “compose”—by panying Mass at Navan. The priest was naturally hor¬ which may be tuned to suit the mode, are used for the ,!w?. His one instrument, excepting the drum, is t e exhausting all the .possibilities—music of a simple kind, melody. rified, but the lively air broke in at a time when 'five flute made of two pieces of cedar hollowed out, such as chants and hymn-tunes. I have, in fact, The cobzars, or kobzars, were very popular, and sure church custom forbade his speaking, and Elliott earned Aied together with pine pitch, and tied around wttn sketched out the plans for such a thing. But it would of their welcome among the natives. In recent years, his wages unhindered. He was summarily dismissed, ■***• He blows into it from the end and has from cost a good deal more than five thousand pounds to however, they came under the ban of the Russian and another harpist engaged; whereupon he procured a ,w to six tones of the scale. Semitones are produceu club and awaited his successor in ambush. As luck make, and whfere would be the use? To do once and government, since the patriotic nature of their songs v CrosS‘finccring, at intervals, and between P ^ would have it, the priest passed at the psychological for ever what is being done as required does not seem acted as a powerful spur to the Ukraine people. For a f blows a trill or tremolo on the lowest tone, m a very useful object, and—observe this—the most diffi¬ time the Russian officials hounded these minstrels moment, and received the blow meant for the new¬ ‘“'bans ate good listeners, but poor demonstrators. about from place to place, until at present the latter comer; for which Elliott had to do public penance. cult and complex portion* of such a machine would be Wie have exceptionally good voices, and like to ’ have almost wholly disappeared. But the peasants But many of the harpists were good musicians who the least useful; that is the critical part Out of 60,000 "“they prefer to have a drum or something to have not forgotten the songs, which remind them that took a high place in their profession, even playing for possible single chants a large proportion would be !P511, It is strange that the drums are used very they were formerly a free people. royalty. The most gifted of them was Turloch O’Car- perfectly uninteresting—though technically correct. ^ to heat the tempo of the s ng they sing, hut The humah mind that conceived these would discard olan, born in 1670. It is said that on a visit to Gem- the dance step. They will beat a straight «- IRELAND’S ROMANTIC HARPISTS. them instinctively, but how could the machine be made iniani he heard the latter play Vivaldi’s fifth * i * * * v>0(BI*'"K then ring the song in an entirely different tern to. In the Revue of the International Society, S. Mac- to do so ? An{f the higher we rise beyond this simplest concerto; whereupon he took his harp and repeated Owen treats of more familiar minstrels when he re¬ ' *"» of their songs have words, and for the * the entire work from this single hearing. The story form of melody the more subtle does the necessary views some newly published matter about the last of ffe they will use a "Hi, hi. hi.” For a 1ul1*^ . adds that Geminiani gave his visitor a copy of an¬ criticism become, till we see that the operation which the Irish harpists. Ireland has been claimed as the woman will sing “We. we. we,” all hrm« other concerto, purposely filled with errors; whereupon goes on so incessantly in the composer’s mind—the heme of the harp. Its name is said by some to have csong, exceptin ' where she liny* a direct sen e making permutations and combinations of notes—is come from the Roman village of Arpi, but it is cer¬ the harpist went through the work, and without know¬ I W,e. Many of the songs have no word, at all ing of the trap, suggested a correction for each mis¬ the least part of the real making of music. The fate tain that the returning legions of ancient days brought represent the feeling, imitation, etc. a native harp back from Britain. The Assyrian and take. of Charles Babbage’s famous Analytical Engine which d°w are given interesting Indian themes. ruined its inventor shows us how futile is the attempt Egyptian instruments must have been earlier, but prob¬ Jhc firs> is a love song, sung by Frank ' to supersede the operation of human intelligence by ably the harp had an independent origin in Ireland. At any rate, we know that the Irish people, like the Welsh, The divine fire of the artist is something which can J!5' a Sioux. This is a beautiful melody and -P machinery. ' The little live machine in the head of quite were wholly devoted to the many-stringed instrument only be inflamed to white heat in the crucible of exPfr” > Purposes of composition. I have harmou ed an ordinary human being does not cost much to set up so favored by the bards. ience. It may be said of great musicians that, as Shel.ey fee Piano. The text of the poem ts entttlcd. nor to keep going, but its capabilities are infinite and History tells us first of the early Welsh and Eng¬ puts it, “Most wretched men are cradled into poetn i, * Sdver-throated Fawn.” Eva Sun, a| Crow U it has this advantage over machinery: it can create lish harpists, and the value attached to the instrument. by wrong: They learn in suffering what they teach tf ,h{ Indian maiden who merits this appellation- something out of nothing. In Wales, it was the badge of a freeman, who was song.” 1 °Pograph recorded the song in the same key 858 THE ETUDE MENDELSSOHN’S HAPPY CHRISTMAS scale work. This scale can be played first in'two oc¬ old ones. Each tribe has a different language, and the SPIRIT taves, then in three, and finally in four octaves, e only way all can talk is with the sign language, which exact speed being ascertained and maintained throug Mendelssohn’s name is associated with so much is universal among the tribes. They are great socialists, the use of the metronome. The speed obtained should that is delightful and fairy-like that it is not sur¬ live together in villages, divide with one another. be recorded occasionally in the pupil’s notebook, and prising to find the wintry Kris Kringle and the com¬ The chief is not a rich man, but a leader. The only Our Humble Beginnings in Music if a distinct progress is not shown within three months poser of A Midsummer Night’s Dream music on the grafter among them is the medicine man. He has the or so, there must be something wrong somewhere. friendliest of terms. The following letter from his By LOUIS C. ELSON right to claim anything for a cure. The “special scale” practice should also include exact sister Fanny to Klingemann gives a good idea of the knowledge of the lingering. This can be tested by a Mendelssohn household. Mendelssohn was at this HELPS IN SCALE PLAYING. series of questions, which the pupil should answer time nineteen years old, as the letter is dated Decem- j without placing his fingers on the keyboard, or bet¬ ber 25th, 1827—the year, it will be recalled, in which j jjnl tcrmnii tome oj hit mo si wonderful wort*.] BY ALICE M. STEEDE. ter still, with his back to the piano. The questions Beethoven died. , , . I will run somewhat as follows: ’ , “The Christmas-candles are burnt down, the beauti¬ “Which notes are played by the third finger? Which ful presents stowed away, and we spend our Christ¬ Not many teachers have escaped encounter with the by the second?” “Which by the thumb? By the mas day quietly at home. Mother is asleep in one pupil to whom scale playing seems unmitigated drudg¬ fourth finger?” corner of the sofa, Paul in the other, Rebecca absorbed | ery, and who consequently avoid it until the last ten And then, “What is the name of the third note of in the Fashions, and I am going on with my letter. 5\h dLS-“musicb is absolute.""k '^The •gnatest feat that* minutes of the practice hour. Then the pupil scrambles the scale?” “Of the sixth?” “Of the fourth? .’Play ™«TZ through the allotted scales perfectly satisfied if he On days like yesterday, we miss you more than gen¬ the young ladies of the 18th century generally attempt¬ the tonic chord of the scale.” ~ £££orE”is,s”E"gl”i He**» "«■ can only “come out right’ —that is, end with ‘he right erally; and as ‘generally’ we speak of you every thir¬ ed was to give a “Battle-piccc” upon the piano, in This close study of the scales, if steadily persevered F* ,. -p|iat was the American Colonies, before lingers, forgetting that a musical scale and a problem ty minutes, you may draw the conclusion. Our Christ- h,eai:? a \erylce at St. Mary’s. I am a lover of Muslrk which a few bass-notes served for cannon, and some in, will eventually give the pupil that most desirable, mas-eve however, was very merry and pleasant. Felix ,hc United States. Many proofs of musi- “J n,iaUi ■ was uneas.v thure; and the poAtliug out measures in a minor mode for "the cries of the in arithmetic have not much in common. iwln6 Jn8Jltution of Singing Psalms, by the boisterous faculty of calling up a mental vision of each scale, and P *rtv in the Colonies can be given. In the i, is umi It has been said that Chopin never used correct fin¬ had written for Rebecca a children’s symphony with Organ,Is, that which can never lx? Justified before the wounded.” “The Battle of Rosliach,” composed by effectually prepare the ground for the study of inter¬ FT j| would have been an unheard-of extrava- ’ Religious Ceremonies." gering in playing scale passages. If that is true one the instruments of the Haydn one, which we per¬ Johann Christian Bach, a son of the great composer, vals and chords. Lm supply hymnals or psalm-books to all of the may depend upon it that he obtained h,s wonderful formed. It is very amusing. For me he has before 1760, lias these wonderful effects as well as a *Lion Only the minister and a deacon or two RIDICULOUS INTERLUDES. set of scales which arc labelled “charge of the ca?a!r\," effects in spite of incorrect fingering and not composed a piece of a different kind, a four-part ES the printed music and words. Nevertheless, It will seem almost incredible to what lengths this aT1d some very sedate broken chord* which typify the because of it. In any case it is very evident tha chorus with small orchestral accompaniment on r!hvrans were at first avoided in New England, and ornate “giving out” and slill more embellished inter- rattle of the musketry.” The Mtt ordinary mortals stand a very poor chance ot the chorale, Christe, du Lamm Gottes, I have balms were sung to about half-a-dozen tunes, luding of psalm tunes was carried. Nowadays there imagined anything that he was told to do in those good attaining smooth scale passages unless the finger¬ played it several times to-day. It is most beau- PL ■x v , 0l t{lc congregation was usually familiar are clergymen who fret even at an interlude between old times. tiful.” ing has become invariable and automatic. M*® . every two verses of the hymn, but two centuries ago, The ostracism of the heterodox organ was empha- In addition to the finger dexterity which should The happiness which was Mendelssohn’s in his iwTto the practice of “lining-out” the tune, in London and sometimes in New York and in Vir- sized in Boston, in 1713, when Mr. Brattle, a Puritan home life seems to have in no way deserted him result from scale practice the pupil sho’i1^ acq“'/e • frmnate deacon who owned the book of the ginia, there was an interlude between every line of with music in his soul, left an organ to his church. He through the same medium that sense of key rela¬ after his marriage to Cecile, for after the Christ¬ lhcm line by line t- the congregation, which the psalm. That our readers may not suspect exag- had his doubts about their accepting it, and suggested tions!^) which is necessary for the proper under- mas of 1836, in a letter to Fanny dated December ' jLlin. as it was doled out to them, and then geration in this matter we append here a psalm thus that a man be brought from London to “Play skilfully cfandinfir of music. . . 31, he says: and with a loud Noise,” upon the instrument. If the Uf for. more. Sometimesc.tills this playednlaved havoc with treated. It is reprinted from “The Psalms set full ^t is evident, then, that every teacher of music “Oh, Fanny, this has been such a Christmas for for the Organ or Harpsichord, as they are plaid in church rejected the gift it was to be offered to the -sense of the words as well as of the music. Thus, should exercise all his powers in making scale me! I have never seen anything like it before, Churches and Chapels, in the manner given out ; as Episcopal Church in Boston. The Brattle chu L deacon read, (as he certainly would tn this case) playing interesting. The pupil s expectations and never shall again. I have been spending the also with their Interludes of great Variety, by Mr. joctcd it very curtly. tin ■ tti«-i led i “We ::separate lines of the following sentence- should be aroused and his interest kept alive y most glorious time, the most perfect days, in Danl. Purcell.” ,hink !' Pf.°«,cr to UM ,he " every legitimate means, and finally scale work J the Cot which the mere fact of existence is enough to fill like Lord will come and ho will not The music teachers, in these early days, had earnest ship of God. sai will become an exceedingly interesting part of Keep silence but speak out, e forth wild shrieks of denunr one with fresh joy and gratitude. I cannot work to make both ends meet. Their advertisements Cotton Mather gas the lesson and, consequently, of the practice hou . L would be a rather violent contradiction in each ion against the iniquity of its bri The connection between the scale and even t describe it to you as you do not yet know my Cecile. How I wish you did!” But it was used, nevertheless, simplest piece of music must be «tabl.shed and THE ORTHODOX BASS VIOL. [ the distinction between scale and key empha it must have l>rautifird the trrvici i la New England there was a vio¬ WE CAN LEARN FROM OTHER THINGS. la prejudice against supporting SiTdhe meaning of the word “key” is perhaps best and mellow, even If it was not m A voices in church with an organ, explained by taking some well-known tune, larger than a full-sized cabinet lythe forefathers allowed the vio- gan of to-day. The instrument America, for example, and playing it inj various ARTHUR SCHUCKAI. keys, calling the pupil’s attention to the black -;tllo (bass viol) to creep in can- :lie explained, but that instrument mouth, ami the present writer keys used in the transpositions. Or the teacher My teacher once told me to watch a cat. I did had the pleasure of playing upo mav require the pupil to sing the scale of C ii in the odor of sanctity, while watch a cat and learned many surprising things— and can certify to its charm. When that has been done the next question will .organ was distinctly heterodox. about piano playing 1 For • instance, I was ex¬ >1 more often there was no instru- be “Now can you sing the same tune a little OUR PIRIT COMPO«RR» tremely awkward—extremely so. It seemed im¬ M at all to lead the flock, and one higher, beginning on D?” If the pup. can do Tlie first composers of Ami this correctly, the notes can then he played on possible for me to go ’round a corner; I was . the deacons usually flung himself a the breach and “set” the tune, the piano, and the pupil’s attention directed to the built on square lines. If I knew my lesson ever It had I wen the custom in the necessary F sharp and C sharp. so well I was sure to spoil it by mere clumsiness. ais,hegave the pitch and started century, to t«»rrow whatever t In giving any fresh work to the pupil the first Now a cat is nothing if not graceful. A cat '* first line. This was not always question to be asked is, “What key is this piece never knocks anything over. Her every move¬ perfect success, if we may trust England. written in?” It is almost incredible what an amount ment is pure grace, and as I watched her my i diary of good old Judge Sewall, t the King." and "Hrarti i. Wired ,o n,.ke .hi. clear ,he playing began to lose its stiffness. I no longer writes— mind of the average pupil. If one sharp should held my wrist like an iron rod. md F icis Hopkit I preaches from l’s. 06. ^Bor^but stand in the key signature, the reply to the ques¬ Then again I always played in a hurry. I «e to set the1 Mtune. I. Intendedn.-ssto.u Wtodsor but motive music, The for tion as to key, in nine cases out of ten, will fie thought that was the way to show I knew hym i-tunes, but tl« latter wr> 'RANGE RECORDING, INDIAN MELODIES. my lesson—by playing fast. And I would air. White to set it.” . . . dancing, arithmetic, that Ml created . ^he pupil must be constantly reminded that drive away with great energy, leaving a world ^ was not the only time that the P'°us g bring in a few do ar versatile in a similar should examine hi* song, the keynote of the scale containing the sharps or • ' -J “ little later Ttl„ parlv music stores were versat.^ ^ Finally the pupil should be accustomed to name the of dust behind and whole blocks of dead notes, and my havoc with the music, for we read wondrous Free,” in Oscar <> . flats of the signature is the “key” of the piece. Th£ Car'd otw'finds^oceries and"dry goods notes of the scale in order. At first he will be obliged, r and one nnus 5 , «« d-itnc «of the Lyon and Franci* Jf.qikinwin Opinions will, no doubt, differ as to at what stage teacher—half stifled and helpless in his chair. Now a * ,1k same diary— no doubt, to refer to the keyboard, but in a short time article such as thi*. to pay U of progress scales should be introduced but it is prob¬ cat is never in a hurry. She never makes mistakes. otb, 1*13, Mr. Stoddard preaches P. he should become independent of that crutch. His r«KLow Lauras. .i Trlod at search which Mr. Sonneck h ably safe to sav that the average child of over ten ’ She may be going ever so fast and yet she seems to attention should he called to the fact that each of the ter of early American music. years old, can learn to play the major scales, the hands creep. A cat very seldom shows mental haste and fc a “accomplishment that ?°M»lelpMa, the catty concerts were seven letters of the alphabet used in music must occur Rut much more typical ,h« separately, in one octave, during the first year of study. Boston, tat not“^Tbali. once, and once only, in each scale. confusion. She calculates. In all this there was a les¬ .^colonies from England. In Shakespeares the first native eottiposer, the The next step will be to take the scalestwo oc¬ The scale of F sharp or G flat among the majqr son for me. Clemen of Verona," Lucetta says to Jl,‘ia ^^‘'Bos‘°nNcw5 to devote himself entirely to taves in graded rhythm on the lines laid down by W. scales affords the final test of accuracy, the E sharp Of course I didn’t think of all these things by ; Mldntgbt sing It. madam, to a tune^ i,. Naturally he nearly stai S. Mathews, when the scales will immediately take on J"” of April ^ (lw of the one, and the C flat of the other, making the myself. My teacher pointed them out to me. But , , mp a note; your ladyship ran set. -This Is to give notl-tb*'* m^Ick.^^tnjeoU^; Billings. He *»* bom *" 1 new life and meaning. . difficulty. In the F sharp scale the chances are 10 realize now that the lesson he was trying to teach me NS that Julia had the ability to P'tchca.ntU"i The pupil should make a list of the major scales thus. there in !**•• H* *** 1 * to 1 that the pupil will call the seventh note not E VrT’> ^ay^orc^’s “Introduction to the C-no sharps; G-one sharp F; D-two sharps F, C; was this: just as I learned something by watching wildly enthusiastic for mu« sharp but F. He must be reminded that the seventh “ 1664, we read about this matter— .trtngs. reaas »«* e A-three sharps F. C, G; E-four sharps F, C, G, D, the cat so I should examine everything that came while he was a tanner s appr note of the scale must be raised a half ; tone, and B-five sharps F, C. G, D. A; F sharp—six sharps F. my way and try to learn something from it. I re' harmony cxeretse* wit ^ also that if that note be called F and not E sharp, sAK.'gSsi'Sa.-- C G, D, A, E. Then a similar list of those with flats member this surprised me very much. You see he When he i that the letter E will have been omitted, and both F suss ,?«.. «• —- ««^ out every • else i should be written out and committed to memory, until and F sharp included which, like Mary’s lamb, “was wanted me to think of my music even when away thev become part of the texture of his musical mind. fessed that t tm against the rule.” from the piano! So many students never think o ,**» » .. which Jatet Scw-aiJ the ' The pupil should be thoroughly tamiliar with all the unin, ent i°n; He lov The C flat of the G flat scale will be an exactly their music until the practice time comes (or some jdhere <0. yet he certainly persevered, f or 'vCl. g kept a bo^d,"j h^,h larding and major scales and able to play them in any order, with¬ old A»ei similar difficulty, and will be similarly explained. A one calls their attention to the fact that the practice f ater He states that he set “Windsor "* { Mrs. En { accommodated Mustek and fugal constructi' . they out hesitation. . few repetitions will probably be sufficient to fix this & «r«.se may be found for the I sorts of Neeaic-work „1K ... which one vo.ee The lessons may be varied by opening a volume of time has come) and they straightway forget all about Ui'll s. Anyih in the mind of the pupil. ,f measure war called * music (Bach’s Preludes and fugues, for instance), and it when the period is over. It seems to me the goo J,and Puritan against using the organ u> ^ ' taught all so a couple 1 omitting minor keys for the present asking the PupA student—well, he can learn a lesson from almost any¬ ^ (and even in America) there was. *** Danctng etc- FIBtDS. tune of th'» kind which s Ia* most senseless and tasteless dtsp^y ^ kEyeOARD B (few and far : fo themselves. entire practice: All little difficulties are surest, quickest, of the music. This helps to establish the connection 4 nts made during the interludes and m,,5ic that t1,rsc .[ possesses several and most permanently overcome if their fundamental a good student like a good watch? Of course that between the daily scales and the living music. I of tht. tune upon tha, instrument W What was ^ prcitttt writer pc element is at once made a thorough study in all its too easy—but suppose you try to make some riddles It is also a good plan to select a particular scale ,)y uo means an opponent of good J* betvvCcn) studie-t bearings.—Kullak. like that. each week for special study, in addition to the regular I 1,3(1 a spmet in his own Boston home, o 858 THE ETUDE

scale work. This scale can be played ?irst in two oc¬ MENDELSSOHN’S HAPPY CHRlSTMit old ones. Each tribe has a different language, and the taves then in three, and finally in four octaves, the SPIRIT S only way all can talk is with the sign language, which exact speed being ascertained and maintained through Mendelssohn’s name is associated with „ is universal among the tribes. They are great socialists, the useof the metronome. The speed obtained should that is delightful and fairy-like that it is „<\niacil live together in villages, divide with one another. be recorded occasionally in the pupil s notebook, and prising to find the wintry Kris Kringle anrl a SUr' The chief is not a rich man, but a leader. The only if a.distinct progress is not shown within three months poser of A Midsummer Night’s Dream music n'T grafter among them is the medicine man. He has the or so, there must be something wrong somewhere. friendliest of terms. The following letter fr !/ ■ Our Humble Beginnings in Music right to claim anything for a cure. The “special scale” practice should also include exact sister Fanny to Klingemann gives a good ideaTf 7 I knowledge of the fingering. This can be tested by a Mendelssohn household. Mendelssohn was 7 By LOUIS C. ELSON series of questions, which the pupil should answer HELPS IN SCALE PLAYING. time nineteen years old, as the letter is dated n. ““ I without placing his fingers on the keyboard, or bet¬ ber 25th, 1827—the year, it will be recalled, in ‘ ter still, with his back to the piano. The questions im. it io ws BY ALICE M. STEEDE. Beethoven died. Ttrrt tlnutUH Oratomo, Esther, Christofori per/ect*. «. xsunjtpUmoJorU ^ . ’ ,nwn llund'l pruiur will run somewhat as follows: “Which notes are played by the third finger. 'Which “The Christmas-candles are burnt down, the beauti Not many teachers have escaped encounter with the by the second?” “Which by the thumb? By the ful presents stowed away, and we spend’our Christ pupil to whom scale playing seems unmitigated drudg¬ mas day quietly at home. Mother is asleep in fourth finger?” • ery, and who consequently avoid it until the last ten And then, “What is the name of the third note of corner of the sofa, Paul in the other, Rebeccaabsorbed Once upon a time (since some of this article will minutes of the practice hour. Then the pupil scrambles the scale?” “Of the sixth?” “Of the fourth?” ‘/Play in the Fashions, and I am going on with my |ettcr liis wife frequently played; but even lie was utterly of the old Instruction book* and the absence of all through the allotted scales, perfectly satisfied it he On days like yesterday, we miss you more than gen¬ read like a fairy story) there was a country Where repelled by the florid style of the treatment of the classical music is absolute. The greatest feat that the tonic chord of the scale.” music had a very barren existence and where a spinet can only “come out right’’—that is, end with the right This close study of the scales, if steadily persevered erally ; and as ‘generally’ we speak of you every thir¬ psalms by the organists in England. He writes from the young ladies of the 18th century generally attempt¬ fingers, forgetting that a musical scale and a problem or a piano was a sign of such luxury as to be quite Oxford— ed was to give a "Battle-piece" upon the piano, in in, will eventually give the pupil that most desirable ty minutes, you may draw the conclusion. Our Christ- remarkable. That was the American Colonies, before which a few bass-notes served for cannon, and some in arithmetic have not much in common. faculty of calling up a mental vision of each scale, and mas-eve, however, was very merry and pleasant. Felix “I heard a service at St. Mary’s. I am a lover of Mustek It has been said that Chopin never used correct fin¬ they became the United States. Many proofs of musi¬ to a fault, yet I was oneaev there - and lh. ..lit measures in a minor mode for "the cries of the effectually prepare the ground for the study of inter¬ had written for Rebecca a children’s symphony with of the Institution of Singing Psalms, bv the U.lsterous gering in playing scale passages. If that is true one the instruments of the Haydn one, which we per¬ cal poverty in the Colonies can be given. In the Organ, is that which can never l» Justlll.-d before the wounded." “The Battle of Rosbach," composed by vals and chords. great Master of Religious Ceremonies." may depend upon it that he obtained his wonderful formed. It is very amusing. For me he has churches it would have been an unheard-of extrava¬ Johann Christian Bach, a son of the great composer, effects in spite of incorrect fingering and not composed a piece of a different kind, a four-pan gance to supply hymnals or psalm-books to all of the before 1760, has these wonderful effects as well as a RIDICULOUS INTERLUDES. set of scales which are labelled “charge of the cavalry," because of it. In any case it is very evident that chorus with small orchestral accompaniment on congregation. Only the minister and a deacon or two It will seem almost incredible to what lengths this ordinary mortals stand a very poor chance of possessed the printed music and words. Nevertheless, and some very sedate broken chords which typify "the the chorale, Christe, du Lamm Gottes, I have ornate ‘‘giving out” and still more embellished intcr- attaining smooth scale passages unless the finger¬ since hymns were at first avoided in New England, and rattle of the musketry." The auditor very obligingly played it several times to-day. It is most beau¬ luding of psalm tunes was carried. Nowadays there imagined anything that he was told to do in those good ing has become invariable and automatic. all the psalms were sung to about half-a-dozen tunes, tiful.” are clergymen who fret even at an interlude between old times. In addition to the finger dexterity which should every member of the congregation was usually familiar The happiness which was Mendelssohn’s in hii every two verses of the hymn, but two centuries ago, The ostracism of the heterodox organ was empha¬ result from scale practice the pupil should acquire with the music. home life seems to have in no way deserted him in London and sometimes in New Vork and in Vir¬ sized in Boston, in 1713, when Mr. Brattle, a Puritan through the same medium that sense of key rela¬ This led to the practice of lining-out the tune. after his marriage to Cecile, for after the Christ¬ ginia, there was an interlude between every line of with music in his soul, left an organ to his church. He tionship which is necessary for the proper under¬ The fortunate deacon who owned the book of the mas of 1836, in a letter to Fanny dated December words, read them line by line to the congregation, which the psalm. That our readers may not suspect exag¬ had his doubts al»out their accepting it, and suggested standing of music. . 31, he says: sang each line as it was doled out to them, and then geration in this matter we append here a psalm thus that a man l>e brought from London tci “Play skilfully It is evident, then, that every teacher of music and with a loud Noise," upon the instrument If the “Oh, Fanny, this has been such a Christmas for paused for more. Sometimes this played havoc with treated. It is reprinted from “The Psalms set full should exercise all his powers in making scale for the Organ or Harpsichord, as they are plaid in church rejected the gift it was to be offered to the me! I have never seen anything like it before, the sense of the words as well as of the music. Thus, playing interesting. The pupil's expectations Churches and Chapels, in the manner given out; as Episcopal Church in Boston. The Brattle church re¬ and never shall again. I have been spending the if the deacon read, (as he certainly would in this case) should be aroused and his interest kept alive by also with their Interludes of great Variety, by Mr jected it very curtly, the other accepted it. *‘Wc do most glorious time, the most perfect days, in the separate lines of the following sentence— every ligitimate means, and finally scale work Danl. Purcell.” not think it proper to use the same in the public wor¬ will become an exceedingly interesting part of which the mere fact of existence is enough to I “The Lord will come and he will not ship of God," said the Congregational church, and Keep silence but speak out,’ The music teachers, in these early days, had earnest one with fresh joy and gratitude. I cannot Cotton Mather gave forth wild shrieks of denuncia¬ the lesson and, consequently, of the practice hour. there would be a rather violent contradiction in each work to make both ends meet Their advertisements The connection between the scale and even the describe it to you as you do not yet know my tion against the iniquity of its bring simplest piece of music must be established, and Cecile. How I wish you did!” used at all in Boston. the distinction between “scale” and “key empha- THE ORTHODPX BASS VIOL, [j But it was used, nevertheless, and In New England there was a vio¬ it must have beautified the service of The meaning of the word “key” is perhaps best WE CAN LEARN FROM OTHER THINGS lent prejudice against supporting iod greatly, for i explained by taking some well-known tune, the voices in church with an organ. and mellow, if it arger than a full-sized < America, for example, and playing it m various Why the forefathers allowed the vio¬ ARTHUR SCHUCKAI. J t*-day. ~ keys, calling the pupil’s attention to the black loncello (bass viol) to creep in can- not be explained, but that instrument j exists, in St. John's keys used in the transpositions. Or the teacher mouth, and the pi Mv teacher once told me to watch a cat. 1ndon, a choice T""" ” h,« Viola, violin., The pupil should make a list of the major scales thus: difficulty. In the F sharp scale the chances are 10 realize now that the lesson he was trying ^ Musick,” 1664, we read about this matter— slating Of Book, of Instruction, there in 1800. He was the first American who was C_n0 sharps; G—one sharp F; D—two sharps F, C; to 1 that the pupil will call the seventh note not E was this: just as 1 learned someth,ng by « ^'.'ll’thw Instruments ah.err tn«itl<*ed : dancing tancht wildly enthusiastic for music. He laugh, himself, A—three sharps F, C, G; E—four sharps F, C, G. D; sharp but F. He must be reminded that the seventh the cat so I should examine everything , r y.jur Plain Song youthat equalln..,th ?.itf I^nltn0B tCpUch of0tyour while he was a tanner's apjiremice. ami wrote his first B—five sharps F. C, G, D, A; F sharp—six sharps F. note of the scale must be raised a half tone, and ™Jee, that when you eome to y> '• hl?h_MJL“?!toteywithmout harmony exrrci*cs with chalk re Bn- Billings was a true patriot, and when his beloved Personal.,. I can never sec why it i, tha, ...» him to confound or to startle.” Boston was in the hands of the British he withdrew dr» "i v shoev belts, etc., should 1* wora These are not mere unauthentic anecdotes. One need BY FANNIK EDGAR THOMAS. in anger to Watertown, six miles away. Here he took recitals Mtrrl> playing in public requires the only to turn to the memoirs of Chopin’s friends and revenge somewhat similar to that which Wagner took ease m wrist, neckline, waist, armhole and aC? pupils, to read his letters, to find upon every page proofs of the detestation which he had of that brutal on France when he wrote the “Siege of Strassburg. Perhaps the chief value of the pupils’ recital is the rcct. not to speak of the precious attention invotl •' strength, of the repugnance which he showed to that Like Wagner, too, he wrote his own words and music. possibility of establishing confidence in playing in public preparing new clothes when all the available a*,!:”1 mere rhetorical audacity, which many virtuosi consider Billings composed a paraphrase of the beautiful 137th It opens’up a wider horizon before the student than needed 111 preparing the work in hand. ® K How Chopin Played Chopin indispensable. Psalm. He began it— can be attained by playing merely in the home or in As for those “bouquets 1” Why cannot young artis1, Interesting Opinions of Modem Critics “He seats himself at the piano.” writes Chopin, amr “By the rivers of Watertown we sat down : the studio, enabling him to perform at his best under accept them with grace and dignity instead defi Yen we wept when we remembered Boston. circumstances that might otherwise be trying and novel a visit from his countryman. Sowinski, "strikes here u»K at them as if they were the last flowers on eJsi and Famous Contemporaries and there, crosses his arms without knowing why. and And then he let loose the full tide of patriotism I have seen the most timid, bashful and nervous hoys W hy not accept them softly and gracefully, *jth ' pounds the poor innocent keys. He has enormous with— and girls transformed into reliable players by means of quiet impcrs.-nal manner as if they were a tribute! lingers made to hold a whip and drive a wagon some¬ , "If 1 forget thee Ob Boston- - a regularized systeip of little concerts or recitals before the beautiful music and to one’s self’ \Vb„ ° Then let my numbers cense to Bow, where in the Ukraine. If 1 had no notion of the Then lie my Muse unkind. a small circle of guests. leaic them to beautify the platform in the mountebank style of this artist, 1 would have found it Then let my tongue forget to move To attain the desired end. however, it i* highly those who have been kind enough to send them to out at this moment. With stricken ears 1 walked to And ever be confined. essential that everything of a distracting or disturbing Let horrid Jargon split the air you > One of the prettiest sights 1 ever remember is and fro in my room.” And rive my nerves asunder, nature should be avoided. The performance at rectal Let hateful Discord grate my ear. this connection was when a soloist, singing win, It, therefore, appears an error when many ot us As terrible as Thunder." should be made a matter of course like the music lesson orchestra, received a lovely lx.uquet of carnations. At imagine that we give plastic shape to Chopin when We Poor Billings! He was poor, uncouth, not over- itself. Nerves, temperament, looks, and all disquieting the next numlwr every member of the orchestra had use our muscles. In art physical strength is a very excitement should lie treated as if they did not exist, cleanly, and deformed. The Boston boys made fun a carnation in the lapel of his coat! How much non The country boy who comes to the city to make his ardent admirer of Chopin the pianist, used to say: relative idea. Athletes are not worth much in art. and music should be made the all-important subject of Mere breaking of piano keys is about as inconclusive of him. They hung a couple of fighting cats under his that sinner gained by this graceful action than in sw¬ fortune usually does so with a lively hatred for his "No one can play Chopin’s compositions as he can.” sign—“Billings’ Music.” A seemingly earnest young the hour. ing a bunch of dusty, withered flowers in her room a “home-town." He has found it dull and stupid; he has If Poland's great singer could rise from his grave a proof of beauty of interpretation as the brilliant illu¬ man once called upon him with a serious face as if day or two after There is a wholesale distribution of ; his festival polonaises with thei- mination of many German restaurants is a guarantee TRAINING IN SELF-CONTROL. ttpiored all us hidden1 ' 1 ’ mysteries,~ystcries, and Inshis eager young to oring to our ears nis iesuvai -y upon an important musical mission. After Billings had flow ers at some pupils’ recitals that resembles a charity mind stretches forward to the starry lights of the great knightly qualities, his ballades in which sorrow .ul of the quality of the cuisine. Both have but one object, promised that,he would answer any musical questions As a rule there is altogether too much excitement Christmas-tree more than anything else. Dailv he hears the endless trains rumbling on, phantoms in national costume defile past us, his -0 draw the public. Muscular strength may be of use to pianists for i that might bd put to him, the stranger asked—“Can attendant upon pupils’ recital concerts Amid it all the No! Let us omit the “fuss and feathers* Let ns „'on laden with produce and merchandise for mys- mazurkas which picture before our eyes the happy and Muscular sirei.gm , you tell me, sir, whether snoring is vocal or instru¬ true purpose of music is almost lost sight of. Why so remember that the business of a recital is to pvt Sfimen and women, who have no part in his life the melancholy dances of the country people, and, Liszt rhapsody but strong ^ mental music?” Had Billings possessed his wits he much fuss? The work to he performed bv the embryo students and young artists an opportunity to become or experience—who are doing incredible things for above all, his nocturnes, his waltzes, his impromptus, to fall heavily on Chopin Jh»" transparent would have given the obvious answer—“It is to be artist is familiar to him; he has practiced it well, and accustomed to public appearance so that they can at fabulous rewards. It is only after po;nt iacc 0( this ornamental fabric, classed as Sheet music,” but he only raved and swore. it is one which has—or should have—been selected and all times and in all places deliver the divine message '■PWf!i;-ami turn makinc -upir:',■ For all that the Bostonians laughed at him. and in arranged expressly by a kindly, intelligent, sympathetic of music to the best of their ability without thought ; i 1C ! im.iann 1U .,1 : ' i. .. - spite of the fact that Ritter in his History of Ameri¬ teacher whose object is the training of the pupil mind of self, without thought of audience, without thought of ■?--pBt•■ n,. . \ ■ •. can Music dismisses him contemptuously as “Bill in self-control and self-mastership. anything save the highest ideals of the art we all sene. •i ■Tj&jfr■ ■ 'MSsIseIIfMffSfn,n 11u<■ i> >-n.i.: Billings,” the man had his grandeur too. No man who iturally The presence of strange people • * n'/« is deeply in earnest is wholly ridiculous, and Billings quieting factor for the voting sti was very much in earnest. There is the true ring in his almost the first time in puhlic. 1 uld be lines— the only one. Many such affairs a SHOULD THE AVERAGE PUPIL STUDY Xpr'; ' “Let tyrants shake their iron rod. such a blaze and blare of fuss an that it i PIANOFORTE PLAYING. Let Slavery clank her galling chains. We fear them not, we trust In Cod. astonishing that they come off as wi New England's God forever reigns." result of all this excitement is eitl His hymn of “Chester” is still sung, and in revolu¬ student gets scared «mt of his life, tionary times it was heard around many a Yankee an astonishing vanity, as if the A rrsiark frequently heard from the lips of parents camp-fire. The poverty of the man is shown by an ap¬ centered round his bedecked little |x whose children ar,- taking pianoforte lessons is; “My peal of a Boston committee to the public to subscribe the victim of nerves, tears and “tern child has no talent, and I wonder if it is not a waste COmrasi. - e-e— - . for one of his works (published in 1729). “Because of to be petted and coaxed into playi or else he de¬ of money to continue his lessons.” To be sure, then is “surely just a little outrf," as is. mann. declares that the playing of his master was always very quiet, and the distressed situation of Mr. Billings’ family.’’ He velops a boldness and effrontery that fer from arc those who cannot distinguish one note from an¬ Liszt with his grandiose rhapsodies that the incomparable poet of the was buried in the old Granary Burying-ground, in an alluring. other General Grant once stated that he could recog¬ Schumann is slated for putting phil¬ pianoforte seldom had recourse to a unmarked grave, and as with Mozart, no one knows Two kinds of excitement surround pc die perform- nize two tunes; the first was The Star Spangled Ban¬ osophy to music, and thereby making fortissimo. Thus, in playing his Pol¬ where his body rests. ance. one conducive to strength and the other to weak ner (of which he felt certain because the listeners himself obscure and vague; Mendels¬ onaise in A flat major, for example, One could carry the tale of our beginnings still ness. The first is the true artistic joy of feeling and sohn, on the other hand, is criticized, arose and stood > and the other wasn’t But the he did not use that thunder-like further. One could speak of a good musician, an expressing emotion through music. The second relates because he is too clear, too precise, tone-deaf jiervms are as few as the color-blind. Those power to which we are traditionally oboe-player, coming to Boston and founding the first wholly to personal considerations—the fear of breaking too understandable. The explanation who can recognize tunes, and whose hands and bra® accustomed. Chopin began the cele¬ permanent American orchestra there, and. Gottlieb down, the novelty of being looked at. the pride of new of all this is doubtless that we are are not abnormal or defective, can learn to play th' brated passage in octaves quite pian¬ Graupner, too, was obliged to do some heterogeneous living too close to them. We have clothes, the flurry’ of being part of a crowd all stirred pianoforte There are many degrees of accompli® issimo and continued to the end work and some lively hustling to get his meals regu¬ up and “fixed up." the comparing of things, the watch¬ mem. finally culminating in the great concert irt* lived under their shadow too long. without any very striking dynamic in larly. He taught piano, oboe, double 1 ass, and a few ing who gets applause from teacher or audience, and hut comparatively few reach the top rung of the Mfltr It is the more surprising, therefore, crease. He especially avoided vocif¬ other instruments; he engraved music; he directed the then that aw ful flower fete with its greed anti grab and in any of life’s endeavors. .. to find that Chopin has escaped this erous efforts and artistic fireworks. Philo-Harmonic Orchestra; he gave concerts; he kept disappointment. All these things arc anti-artistic. One must rest content in occupying a hum!* peculiar phase of human criticism. "He hated all exaggerations.” says a music store. Truly the paths of the beginners of The fear of breaking down may be in a great measure sphere if his capacities are unable to cause wm f Hec isIS likefiKe BeethovenDeem oven in that the CHOPIN PLAYING wk - mshis puyn,pupil WWWWHFriederich Streicher,-- “and-- our music were thorny, and yet, to-day, not two cen¬ overcome by concentration—the power of holding in reach the point where his name is included . further we get away from him the . t demanded that we always observe the strictest rhythm turies later than these primitive efforts above described, check all thought save that relating to the playing of elect. And so. one may study pianoforte playing » closer he seems to us. We look over Victorian which portray his innermost life, his s"u, s0 "y g ; |[ ?ie (lctcsu,i all distortion.” And his friends, his pupils, the United States spends more money on music than over and beyond the inflated grandeur oi the V.cto^an J ion< he would certainly be rece ved with «*« he accentcd ,ightJ>, just as in con- the piece in hand. Also a thorough knowledge of the reap cnnsidcrai le pleasure and profit in doing ’ . d the inflated granueur ui - any other nation in the world. -..J find in his heart-tearing restlessness the patno^ piece is needed—the power of being able to play it [hough he may he limited in his ability. Study * age, and find in his heart-tearing restlessness the pathos applau9e. “How^beaut, ul that with distinguished people. . and the poetry of our own chaotic day. Like the 0 - accurately in varying speeds before the teacher or any direction is a valuable mental stimulus, an beautiful!” we would say; hut it is not t . w;gh only to indicate, to suggest.’ said Chopin on willing friends; one should be able to play the piece practice the pianoforte encourages cottccntnMffl town” to the sophisticated “country hoy, .as e the true Chopin.” nrPfipnt-dav interpreta- one occasion, “and leave to my hearers to complete the come a “tradition.” In fact, this is so much the THE SECRET OF GOOD STACCATO much faster or slower than the required tempo, thus accuracy as well as **«hctic and emotional • ” 5 STS^tSU ,‘icture. Why .held on, .,„.y. *** - • **-<<*>' that Chopin stands in- danger of becoming the leaving a margin for whatever may turn up The ment. Then there is a strong influence e«ra» PLAYING. of "tradition.” F.very new pianist that catches Sa!rfanPacrobalicvirtuo.ily.lKi»a!»oh;t,1y“Chopm'. .up,,!.’ Uia <»y". "»*• •» diMingui.htd attitude of mind of the performer should he one of the proper appreciation of that whtchji M ^ intense pleasure at being able to give to others enjoy¬ of the public prides himself on knowing how BY FRANKLIN TAYLOR music One who studies music find* that j Chopin.” In discussing this side of the p.amstm art, ment that be himself appreciates keenly and is able prince. His appearance guggcsicu .. - it is a matter of constant growth. ‘“”^5 Wanda Landowska, herself a great Chopin P derful splendor of color but of so fragran, and delicate to offer at its best. forte recital, in .order to ascertain how In all staccato playing, the way in which the key is recently made an attempt to break through t e a texture as to be torn apart by the slightest touch. quitted is as important as that in which it is struck. artists interpret compositions with whic" ^ of tradition in which the Polish genius is cntangl , His friends could not reprove lum often enough in THINK BEFORE PLAYING. Staccato on the pianoforte is made possible by the come familiar in his studies. His tnterttt order to find out how Chopin mmscu•himself playedf-z— h.s-- ownf. big.leSw 0Uld? On what do sudi persons base t etr con regard to this reserved character, this too proud hold¬ action of the dampers, which fall upon the strings di¬ music is also aroused, and he- i»,competent » Taking time to think before beginning to piny is a __ eotlATOt ing aloof from others. .... , rectly the key is loosed, and stop the vibration, and great help. Think; imagine the first strains; get bal¬ great symphonic work* rendered by * S and^th^Tonoibr taken from to thesis- Chopin ^had ^no fancy ffor ttlic, romanticists.romanticists, be^ liked therefore the sound. But the speed of the falling ance! Give the audience time to get used to you. to chestra,'directed by a master conductor. „ damper is governed by the speed of the rising key. decide whether you are in pink or blue, white shoes he wishes his children to receive le»-knowi of a masterworic "the first con- ^r.M^c"X Z ^.^4 f and if the key were made to rise gently and compara¬ or hlaekl Do not worry about yourself—in fact, don’t instructor of high standing, because he Vhflf tively slowly, the gently falling damper would not worry about anything. It is not such an important that their musical taste will improve a* have sufficient force to check the vibrations instantly, thing anyway, It is probably not the last time in technical proficiency. ^ gifted and the cessation of the sound would be less abrupt your life that you will he called upon to do yourself If only those who arc * do. * than would be the case if the damper were allowed to justice. Take it easy, and think hard about the beauty lessons the teachers would have ,'t‘* * effor, v0 fall with its full force. Accordingly, if in staccato of the music until all else fades out of the way. You they know that by patient and ‘ontl" f vrry ord'"1*1; ‘o his pupils’ pupils. Thus it was the caseofChopi ( heplajedw- g ititious fault. It was far playing the fingers quit the keys rapidly and vertically, may say, “It is easy to talk.” I know that. If I (lid results will 1* achieved by « ;though The end and aim of the study of thorough bass '*ho was unfortunate in regard to his pupil • he efforts ‘" Cor^ct^ V ^ ^ atlyU„ng which the dampers will act with the full force of their not know very certainly about such things from ex¬ ability. “The end justifies the ^«n\^n„in?. J should he the honor of God and the recreation of the springs, and the sounds will cease with corresponding perience I should not be telWbg you ulxiut them end may not he far distant from largely.^ of whom died an earlv death, while the o her we his fundament mind. Where these are not the moving springs there abruptness; while if they are gently drawn from the Some piano plavers fly onto the plat form, perch upon education is a emulative process, and H ^ ^ society people who did not practice music « a c°u d ^mfmacy ^ of the social circle. sa'JLiszt is no real music, hut a devilish jabbering and 1»rrd- keys towards the player, the keys will rise more grad¬ one corner of the piano stool without even finding silts of a bit of knowledge ben 3 L^ve. ^ °r musicians who were not capable of rbopin’s n } .. .how himself, far more than before playing.—John Sebastian Bach. or Rubinstein. Therefore the conceptions of^^op “Chopin cm,Id show namely, an eleg.ac poet, ually. following, as it were, the retreating fingers, and where the pedals arc, and then dash into the piece as if gradually accumulating until it f» ^ ' Hvilial'91’; 1 w°rks as presented by the tw0> masters named ^ ^ great public, m h,s the result will be a softening and quieting of the they expected the piano to melt before they got in the condition of cultured ’"'x’ert1 mcdium rf* staccato.—Technique and Expression in Pianoforte through, or at least as if they wanted to get finished •nwtir n f musical ‘Neoiiffh the Playing. as soon as possible from deadly fear of a breakdown. 862 THE ETUDE the etude 863 lines around the building, and the window f Walls, partitions and floors of concrete and tile"" the edifice thoroughly modern in fire-proof c

Sunlight and proper ventilation have been amol vided. Owing to the fact that the streets run l west and southeast, practically every room will r The Home for Retired Music Teachers the southern breezes both winter and summer i modious porches on both the front and the bad An Interesting Description of the New Building Now Being Erected for the gether with provision for a future roof garden the outlook especially attractive. Presser Home for Retired Music Teachers in Germantown, Philadelphia, Pennsylvania THE ATTRACTIVE INTERIOR. Entering a vestibule of white marble one notes £& Mwr a msr vsr, ft the halls are wide, even spacious. The finishings afti'tsi. ’ ft? 4: all in hard wood, the floors being quartered hard add an air of substantiality difficult to obtain other “—sts a The effective arrangement of the first floor n “oved over Germany like some frightful cata- A provision for a colonial music room and library dvsm, leaving in its track poverty, misery and despair. THE FIRST BUILDING OF 1 The Etude has occasionally given short notices of ished in white. The dining room is large and ch The peaceful art suffered most and the cond' ' the Presser Home for Retired Music Teachers, now Here and there cosy fireplaces will be found. Lo< located in Germantown, Philadelphia, Pa. We take was secured at 236 South Third street, Philadelphia, and through the music room surrounded by the porcl pleasure in giving our readers an outline of the origin one month later the Home for Retired Music Teachers may gain a beautiful vista straight from the mail and purpose of the Home and at the same time present bad its actual beginning. This very comfortable dwell¬ i of the 1 ne in the r an idea of the building now being erected as it will be ing house was occupied until July 11th, 1911, when the >nd floor ar when completed. home was moved to the corner of Jefferson and John¬ Despite this and other cases of poverty and i the family of Bach survived to produce It is needless to tell our readers that the founder. son streets in Germantown. Here, in one of the best Mr. Theodore Presser, is also the founder of The Etude and the business which is associated with this magazine. He had long contemplated the idea of es¬ tablishing a home for music teachers. The idea first One year later Bach went to Weimar as court organist took definite form in an address made before the Music : many delightful hours. This 1 and Kammerinusikiis. This appointment is generally ACTICAL PROVISIONS. Teachers’ National Association at the convention held considered the end of his period of study since hr com¬ in Chicago in 1893, when the founder stated the need 1 comfort mark the arrangement of menced at once to produce works which were marked for such a home and advocated its establishment. His of a new home ctric lights are employed throughout, with mastery. A period of great creative activity com¬ own experiences as a music teacher and later as a i has been made for the use of gas in menced at once and wc arc not surprised that in a publisher brought him in contact -THE REAL BACH 1750 with thousands of teachers, and have a fine reading light. The best Although, unlike Handel, Bach never ventured very far their needs were carefully studied. from home he did make short trip* to Caiscl. Leipsie. The founder had observed cases of ing, insuring an even temperature and Halle and Carlsbad. Upon one occasion in Dresden very gifted musicians who had been all the time, has been installed. The “Anyone could do as much as I have done if I brought to an unfortunate condi¬ equipment of the kitchen and worked as hard.” tion through the sweeping away of laundry is thoroughly modem and uhwisely invested savings as well hygienic. The bathrooms are fin¬ play. When the time for t as. those who through devotion to ished in fine white marble and have their educational work had failed solid china bath tubs. blm to pUjr the noUa- 1 j to make provision for the inevit¬ The highest type of modern pas¬ able wants of old age. senger elevator has been installed 1717 Bach wa. called to Cbthen by Prince U In 1899 the founder of the for the convenience of the guests. American home visited Milan, One unique provision is that of vod one in those days, was $300 a year' Bach b where is located the Casa di Ri- rooms for practice purposes where poso (House of Rest) founded by the guests who so desire may en¬ the great Italian composer, Verdi, joy their music study without re¬ bad'1 Upon the mum in 1730 lie'was shocked to and became more than ever con¬ striction. m learn that his wife had died and had been buried (or vinced of the pressing necessity of Oni the third floor, one a hoqte for music teachers in wing separated from the rest o' America- The Verdi Home is open the house has been devoted to » to musicians in all branches of mu¬ complete infirmary, for the guests of Europe. Bach naturally wanted to meet him an sic, and is not confined to music of the home. Here we find a it is said that the public was anxious to Have ihri teachers alone. At the time of his nurse’s room, diet kitchen, a t compete after the manner of the lime. Inst althoug visit, the home had 200 inmates quate toilet facilities and cvefy Bach made two atirmpts to meet Handel (1719 an and had been opened but a few thing to lessen suffering and a years. to comfort. ,“ Upon returning to America, the founder immediately THE PERMANENT BUILDING. In 1720 Bach attempted to secure the position o ENTRANCE REQUIREMENTS. commenced preparations for the present home. He as¬ As the new building will be completed during 1914 m organist at the “Jacolfi Kirchc" in Hamtmrg Inn owin sumed the entire cost of building, furnishing and main¬ we will consider it in the following as though it were An applicant must be at least sixty-five years to corruption in the church management the posiiio tenance, and in addition has provided for the future already standing. and shall have followed the profession of a e existence of the home through an ample endowment in of music in the United States for twenty-five ; Few edifices built for the purpose will compare with time of his will. The building, when complete, with grounds a sole means of livelihood, and must at the the elegant simplicity of the permanent building of and furnishings, will represent an approximate amount making application for admission be incapacity the Home for Retired Music Teachers. Wliile the of $200,000. The site is sufficiently large to permit the active work of'teaching. An admission fee o home is located in a delightful suburban section of erection of a building double the size of the home charged, and if an inmate must leave for Germantown, near the site of the former temporary three d»F lakcs a generation of a family to regain it? grasp now being erected. This building will accommodate the money will be refunded after deducting “P°n the best in life after the death-dealing blows ot seventy-five guests, providing each one with a separate home at Johnson and Jefferson streets, it is conven¬ lars per week for board during residence at — iently near the railroad and street car lines by means and epidemic. The peaceful calling of the Bach room. Three months’ probation is required from family, the healthful surrounding cf Wechmar. Am- The ajhiosphere of the “institution” has been avoided of which the heart 0f Philadelphia may be reached cant, but the management reserves the rig in a comparatively short time. sftdt, Erfurt and Eisenach had much to do with th- in every possible way. Nothing will be left undone to missal at any time if the person fails to keep Germantown, with its constant historical reminders of convey to the guests all the comfort, freedom and se¬ or proves objectionable to the household gene' £r virility of the Bacffi family, ^'p^^nd our American Revolution, is copiously planted with Everything, within reason, is provided for. curity that the word “retired” suggests. The home is trees, shrubs and flowers. It is an exceptionally fort of each member of the family and the so' a Home—welcome, cordial, and even luxurious. In a healthy section. The home is situated upon a lot many gifts, either personally or by letter, is f°rf>1 statement made some time since by the founder, the times the size of the building and surrounded with rich There are a number of applications on t e above subject was expressed in the following words: foliage. list, pending the opening of the new Home. “Men who have stood high in their profession and The building sets back 100 feet from Johnson street. For further particulars, address Secretary, won an honored name have too much spirit and delicacy founded In the Augustine monks in the thi On the main street the building has a frontage of 154 101 West Johnson Street. of feeling to accept charity, and I honor them for it. Germantown. Philadelpf>hia. fc Zy. H became a town acho.4 in 1543. feet, the southern wing extending 90 feet and the But some recognition of their labors for music they northern wing 138 feet. The architectural beauty of are entitled to, and provision for their old age is no the building is scarcely suggested in the engraving I know that God has appointed me a a ^ ^ , Die Wartburg. Bach’s moffier wtjs more than their just due. Those who enter the home presented herewith. It is three stories and basement knowledge it with thanks, and hope and be \ . jjjy “ Lammerhirt, the daughter of a furrier. His t, will be free and independent. The stigma of depend¬ in height. The exterior is Indiana limestone and gray done my duty and been useful to the w 5 ‘>>e Court and Town musician of Eisenach. ency will be left out.” brick, limestone being employed for the. base columns, others do likewise.—Haydn. 864 THE ETUDE \mmm

was very strict. The boys were obliged to rise at five pupils were his own sons, notably Carl Philipp Emanuel cembalo, spinet, clavichord, violin, ’cello -t 1 in the morning and retire at eight in the evening. Bach. Although little known today, such men as fugues, concertos, suites, toccatas, prelude’s f Tlle The manner in which Bach received his income at this Agricola, Kirnberger, Goldberg, Krebs and Abt Vogler, partitas, sonatas are a treasure mine which ?nUsias- time was very interesting. His salary was compara¬ all of whom considered themselves disciples of Bach, cases is rarely visited because of the difficult* JT' were famed in their time. Bach showed his greatness Mendelssohn’s Rondo Capriccioso tively small, amounting to 100 thalers, but he received compositions and because the style in which th ' in his patience. He never considered himself above in addition free rental, and various perquisites such as written has in a measure lost favor with man^ ** small things. At first it was his custom to give only An Analytical Piano Lesson 13 thajers and 3 grosschen for wood and lights, contri¬ sicians who clamor for nothing but Schumann rl m.U' exercises in touch, in fingering, and in making the move¬ butions from different foundations or endowment funds, Mendelssohn and Liszt. ’ u‘°»i ment of each finger wholly independent. He was fond By the Eminent English Pianist an annual allowance of 16 bushels of corn (wheat?), of writing pieces embodying the technical difficulty upon 2. cords of firelogs,’ and last of all two measures of which the pupil was working. He also sought to estab¬ BACH’S VERSATILITY. KATHARINE GOODSON wine at Easter, Whitsuntide and Christmas, provided lish equality in the proficiency of the hand. Whatever the Composer, conductor, teacher, organist, pianist m, , through the munificence of the church. In addition, musical scientist, Bach was one of the most right hand did the left hand was obliged to do. He was musicians. When he felt the need for an In-tl, of 81 the school fees amounted to something. Twice a week fond of saying, “Anyone who works as hard as I do set about and invented it. He was very much tS W HILE there has been some delay in my being able to eight of the boys ran around town with collection boxes may do as well as I do.” It is well known that he In the construction of the organ and In the ,nX?1 W somewhat formal in these modem limes, nothing can hinder the receiving small donations. In this way Bach’s income processes through which music is printed. n , wrote a kind of instruction book or course for his son. establishing the equal tempered system of fami.fr 2.1 find the necessary time to write this analytical les¬ effect of its healthiness, good spirits, and spontaneity. In these averaged some 700 thalers. instruments was monumental. 8 8“M Wilhelm Friedmann Bach, (Clavier Btichlein), which son on Mendelssohn’s famous work, certainly nothing early years many of the compositions were for the piano, and was never published for popular sale. One notable Bach’s first wife was the mother of seven of his could he more appropriate than the doing of it up here in the work under consideration was probably written about 1R24. BACH’S HAPPY HOME LIFE. feature of this book is the attention given to ornaments children, three of whom. Wilhelm Friedmann, Karl the so-called Hohbuhl Pavilion at Interlaken, where, before my though the original manuscript only liears the date of the month. and scale passages and also the fact that an opportunity Wlille in Leipsic, Bach had much time for composition. Philipp Emanuel and Johann Gottfried Bernhard, be- I eyes, is a tablet inscribed to the memory of Mendelssohn, enu¬ Ignorant laymen continually bothered him with stupid criti¬ was afforded for the son to compose and insert some At any rate, the composer considered it important enough to came musicians. Bach’s second wife was the mother of I cisms so that at one time he felt that he would be obliged pieces of his own as he went along. Bach’s Inventions merating his several stays in this exquisite spot between the give it an opus number all to itself. to leave the city for which he was doing so much. Bach thirteen of his children, six of whom were sons. Of I were written mainly with an educational object. Bach years 1832 and 1847, the last being only shortly before his death was obstinate, and it is known that he continually con¬ these Johann Christoph Friedrich and Johann Christian I tended with one of the rectors. His family life, however, insisted upon his pupils being equally familiar with MEANING AND CHARACTER OF THE RONDO. was ideal. After the death of his first wife he felt the need also became known in the musical world. Wilhelm | in that year. all of the keys, rather than with a few. His Forty- of some one to look after his growing family, and falling In Friedmann was described as the greatest organist in I To be born with a silver spoon in one’s mouth, as the say¬ The word Rondo explains itself, for it is simply the Italian love with Anna Magdelina Wllken, daughter of the Court eight Preludes and Fugues were written to comprehend Trumpeter of Weissenfels, married her on the third of Germany after his father. For a time he lived in Halle I ing is, has not been the fortunate lot of many of the composers word meaning a Round; the musical signification being a piece all the keys. December, 1721. She was very musical, a fine singer, and and was known as the “Halle Bach." He was improvi¬ in which the principal subject returns devoted to her famous husband. Naturally their home be¬ whose names are as familiar in this came the center of the musical activity of the city. Pupils BACH’S PERSONALITY AND APPEARANCE. dent and died a drunkard in Berlin. Karl Philipp i twentieth century as is that of this again and again after one. two. or <-nme to him from great distances, and visiting musicians Emanuel, known as the “Berlin” Bach, was conceded to never failed to call upon him. Altogether, Bach was a very unusual man apart from famous musician. In using the word more contrasted episodes. In the earli¬ his great musical talents. His disposition was kindly, yet he the greatest theorist of his time and was a composer est days of the adoption of the Rondo he could stoutly defend himself in a dispute. He was very of very great ability. His only teacher in music was j “fortunate,” it is perhaps doubtful if BACH’S VISIT TO FREDERICK THE GREAT. pious but could not be called narrow. He loved to travel form in instrumental music, the theme but rarely ventured very far from his home. He was his great father. Johann Gottfried Bernhard Bach was I the affluence, comfort, and generally of the Rondo often returned—after Honors came fast to Bach in his later years. In marvelously industrious. In his fiftieth year he wrote no the organist at Muhlhausen for some time but did not | peaceful environment which surrounded less than twenty monumental cantatas. He was generous the intervening episodes—almost exact¬ 1736, the honorary appointment of Hof-Componist was and hospitable, but at the same time economical. He pos¬ equal his brothers in his musical ability. Johann Chris- j Mendelssohn from the day of his birth, given him by the Elector of Saxony. In 1747 Fred¬ sessed many Instruments including five claviers, and enough toph Friedrich, known as the “Buckeburger” Bach, was I ly in its original guise (as. for exam¬ in the way of violins, ’cellos and other string Instruments were altogether the best for the de¬ erick the Great informed Bach’s son Emanuel, then Chamber musician to Count von Lippe of Buckeburg. I ple. in several of Haydn’s Quartets to provide for concerted music in his home when the op velopment of those deeper emotions of a cembalist (equivalent to conductor) of the court portunity offered. Bach was a strong, earnest worker, Had it not have been for the great talents of Karl I and Symphonies), but as the form de- orchestra, that his imperial majesty would receive dignified in his bearing and yet courtly in his carriage. His Emanuel he might have ranked as the greatest of j which it was hardly his lot to plumb face indicates alertness, a sense of humor, natural vigor vclopcd, composers enlarged their the depths. It came far more naturally Bach at the Palace in Berlin. Bach accepted, and and confidence in his technical security. Bach’s sons. Johann Christian, known as the “Milan- j scheme, until, at the present day. the his visit to Berlin was made an event. He played ese” Bach, was for a long time organist of the Cathe¬ to him—especially in the earlier years theme will lie found, nearly always, to upon all the pianos and organs at Potsdam much to dral in Milan. Later he went to London, where he died. of a remarkably short life—to give ex¬ BACH’S COMPOSITIONS. return in another garb: the more mod¬ the delight of the king. He also improvised a six part He was a prolific composer with tendencies leading him A space equal to the entire length of this biography pression to the lighter and happier side fugue upon themes selected by himself and after his to follow the more or less frivolous Italian style. All ern treatment certainly makes for much would scarcely be adequate to accommodate a complete of things, skirting the hill-tops, or rest¬ departure wrote out one of his improvisations from of Bach’s eight daughters died young except three. increased interest. As we shall shortly catalogue of all of Bach’s works. First in consequence, memory and dedicated it to the king. None showed pronounced musical talent. All of Bach’s ing in the valleys, but seldom if ever see. Mendelssohn adopted in this early considered numerically, are the great number of Can¬ famous sons were given a broad general education, some descending into the abyss. Heavy piece a very simple form of treatment, tatas, of which there are five complete sets for every BACH’S BLINDNESS. spending years at the University of Leipsic. care and poignant suffering were al¬ Sunday and feast day in the year. In addition there which is only what might be expected When Bach was 64, his eyes commenced to fail. are other cantatas both sacred and secular and even most unknown quantities in Mendels¬ from a lad of fifteen or sixteen, who Overuse since childhood had stolen his vision. An comic. One had to do with the craze for coffee drink¬ A BACH PROGRAM. sohn’s life, if we except certain specific was reiving on the models of his for¬ English occulist performed an operation upon him but ing, which overcame Leipsic in the time of Bach. events such as the death of his beloved 1. Fugue in C Minor (Piano) .. bears. brought no satisfactory results. It will be remembered The five Passions, including the immortal St. John 2. Mu Heart Ever Faithful (Medium Voice). sister a vear or two only before his THE GENERAL STRUCTURE that Handel was also afflicted by blindness. In 1750 and St. Matthew, The Christmas Oratorio, the Mass :i. Garotte and liourric in 1 but of these the be**.tori' , written a work at sixteen yea™° when performed toda>, cn- i _:..«n tn avoid monotonv of color, and the cwsecnao i BACH AS A TEACHER. masterly treatment and vvhic , roethod of it may >oun :: If Bach ever suffered from lack joys so much popularity; f°r ev ” of pupils he had but to cast r&srstcafefe around in his own voluminous Sir Hubert Parry’s Saf',JooSf.W, family for another. Without gv*r»«*«s8r»- question Bach’s most celebrated MORNING PRAYERS IN THE BACH FAMILY. the most interesting. following bar should be full, without rising to an f, on the G 18) is persistently carried on giving continuity to the whole sharp; the modulation here (3) through the relative minor to section ; a return is made to die subject, which is repeated note the dominant of the key (5) should here be noticed as being a for note, until four bars before E where a slight modification Andante M. M very melodious example of a very simple thing. is made to introduce the first episode in G major. Up to this CAPRICCIOSO Coming to B there is a slightly agitato feeling in the new point, the touch should be as bright and sparkling as possible F. MENDELSSOHN, Op. 14 figure, which, like (a) what the Germans call “spitzig”. /. <\. pointed, and great care which follows should be taken that the constantly recurring figure (8) should at (6). may f be very clear in the left hand in imitation of the right. The left at this case, as in several others, only be¬ each alternate two bars, as also to the gan the melody on the third beat at A for the somewhat academic and ar¬ PP at (14) with the succeeding grad¬ tificial reason of wanting to make his ual crescendo to /. for neglect of these cadence fat B) come on the first beat can only produce monotony of effect. of the bar. In the last half-bar From the f. the following passage to of the Introduction, at (7). com¬ poco rit.. requires the utmost brilliance. mencing with the note A the notes A repetition follows pp leggiero, and should be slightly separated, but this marking should be given special at¬ Urntiysimo not played The pause staccato. tention. in order to create variety on the final note should not be MISS GOODSON 1 HER LONDON STUDIO. from the previous rendering of this made longer than sufficient to lead purely ornamental material at I. Apart naturally into the Rondo. from its musical value, tin's whole passage (from T to T) presents RONDO. a valuable study to the student in technique and variety of tone- leggiero The construction of this movement i, „uc extremely simple. color. the same style of phrase being played first f and then p. that the following sections will make it quite clear: and requiring the art of listening by the performer to avoid D. . First Subject. monotony to the hearer. At T the bridge-passage which ap¬ E. First Episode in relative major. peared at F in the relative major will now be readily recognized F. Bridge passage, leading to in the tonic major, leading to the final repetition of the first sub¬ G. Re-entry of First Subject. ject in its original key of G minor, not. however, quite in its H. Return of first episode curtailed, in ionic major. original form, though strictly adhering to the material. After I. Ornamental Episode in tonic major. sixteen bars comes a full close in E minor, this close being en¬ J Retu.rn t0 bridge-passage in tonic major, leading again forced, so to speak, bv a four-bars continuation, on the tonic to first subject in original key. chord, of the opening figure. The last two bars, poco rit.. lead K. Short Coda of brilliant character. to Is., a short and brilliant Coda, a somewhat ordinary broken It will at once be seen that the first subject of eight bars double-octave passage, having no connection thematically with is simply four bars repeated, ending on the dominant, bars nine the piece, but serving at least to bring it to an effective con¬ and ten are merely a repetition of bars seven and eight, one tone clusion. which, after all. is an important matter, and when it is lower, and the eleventh bar is again the same as seven and nine accomplished, the means—if somewhat formal, as in this case— only again one tone lower; this should be may be said to justify the end. carefully noted when memorizing, as it is only E3 a transposition of actual notes. The figure ™ 868 THE ETUDE the etude a 4 3 a tempo

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THE ETUDE THE etude 8*5

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CHIMES AT CHRISTMAS - ^ ^ /T\ MEDITATION M. GREENWALD Andante moderato m.m.J = 96 #^fi[ rrrr tg-iftt

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888 THE ETUDE the etude BEDOUIN LOVE SONG BAYARD TAYLOR C.WHITNEY COOMBS § * M Recitando 3 < _ p night hears my cry. , love

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F0±> MISERERE •i . » 1 .? Arr.by GEO E.\... from“IL TROVATORE” G. VERdi

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Copyright 1913 by Theo. Presser Co. 892 THE ETUDE the etude AIR FOR THE'G STRING Edited by E E. Hahn JOHANN SEBASTIAN ] bridal chorus Lento M.M. J=48 G String Arr.by F. P. Atherton from “LOHENGRIN” Violin Moderato con moto m m.J=7» R. WAGNER

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CHIMES AT CHRISTMAS—M. GREEN WALD. INDIAN SUITE 1 his new drawing-room piece by a we" 1.— LOVE SONG (Sioux) Harmonized by introduces the popular device of imiiai chiming of bells. The method employed may Well Known Composers j Largo M.M. J r 63 THURLOW UEURANCE first but the notes given are merely a reproduce the series of over-tones as thrown off by the of To-day Cs themselves. In the bell imitations each chord shou slightly emphasized and the pedal used as marked, advanced Third Grade piece. DANSE PITTORESQUE-G. EGGEL1NG. Danse Pittorcsquc is a pleasing bit of modem acteristic writing. It is in the style of a pie< ballet music and it should be rendered with strong dynamic contrasts and in the orchestral style. This will make a good Fourth Grade recital piece. Under the willow's—Charles lixdsay. No. 1- "Love Song” Under the Willows is a graceful drawing-room (Sioux). piece of the reverie type. It is an exceedingly well written example of this Styh • I j; i, This song was sung for me by Wm. Sylvester, a particularly effective in the middle section. The entire [ Gros Ventres Indian, from Ft. Berthold, Montana. It piece is rather easy to plav and should l*e classed in was composed by a Sioux who was in love with tire Grade III. same Indian maiden. The text was in the Sioux dia- I led, and translated means. “I Want You All the Day.” ROCKY BROOKLET-W. T. WETTACR This should he played slowly and in a very plaintive This is a very useful teaching piece which at the ! manner. It is one of the Indian songs that recorded same time will prove pleasing to the student. It af¬ ! with perfect intervals. The singer is an educated fords particularly good practice in some of the more Indian, a fair musician, with a splendid voice. The familiar arpeggio work, also good chord practice. This number may be used well along in Third Grade work. I phonograph recorded this song in F minor. I trans¬ posed it to E minor so as to be in accord with the COOING DOVES-H. W. PETRIE. other numbers in this suite. This is a graceful drawing room piece with considera¬ ble variety in thematic material. For teaching pur¬ No. 2. “Love Song” poses this composition will prove valuable as a study (Gros Ventres). in style and expression and also in certain conventional | Another song by Wm. Sylvester, his own love song. technical features. It lies in about the Third Grade. He used the Sioux dialect because be did not wish Ins RAINBOW CHASE-SADYE SEWELL own tribal friends to recognize the song, i. e., the This is an easy teaching piece winch should al‘" phonographic record, should it ever be played in pub¬ lic. When I recorded this I promised him that it prove attractive as a recital numbe sages in sixtxeenth notes will afford valuable fin would never be played in the presence of his friends. practice. Pieces of this type must be played with In the left hand the octaves should suggest the drums most automatic precision. Rainbow Chase lies mi<1\ The triplets in the treble being charac¬ between Grades II and III. teristic of the Indian yell, are inserted for effect only, as the love song lias no drum or other grotesque AT PRAYER-F. G. RATHBL'N. mannerisms associated with it. Play in moderate A Third Grade piece of quiet dew • tempo, counting six in the measure. should be played in the organ style. In fact, this pi would make a very good organ number. No. 3. “Tobacco Dance Song” (Crow). THE DREAM DANCE—G. 1. SPU'LDING Mr. Spaulding excels in First Grade teaching pm The tobacco dance is a religious ceremony of the especially those which have accompanying nxis i Crow Indians. Tobacco is burned as an incense during attractive number is from one.nf m« latest vis the prayers and dancing. Count two in the measure, pieces, entitled Our Juvenile Friends. and play the octaves to suggest the drums, not ou< [ or boisterous. This song was recorded on *lic rc,'s THE FOUR-HAND PIECES. reservation at the Reno Lodge, just below the Fuse Valse Esptgnait by Goatav Laganis it an g battlefield during the Indian dances at Christmas ime. duet number which does not come in y • ' >’ ■ ^ > rhythms in the Spanish sty e arc ai*a<■ No. 4. “War Dance Song” and Mr. Lazarus has succeeded in .- ■ _ No. 4 is a war dance song often heard. Its origin brilliant and entertains is unknown to me. as I have heard it many t,mes *" different tribes. The sixteenth notes represent tnc vibratory tones of the singer. He sings v\ ra o a portamento and accents the first of each measure ^ voice. The drums heat eighths in fast tempo. L members of the tribe give a yell of some sigm on the first eighth of each measure. Note.—The intermezzo is not Indian and is oni> tended to link together the several numbers oi suite. I restrained from too much elaboration. I 7' rugfj INTERMEZZO WAR DANCE SONG RONDO CAPRIOCIOSO—F. MENDELSSOHN. . An able analysis of this standard repertoire .!>•«£ ^~J)

should be studied by every piano studertt organi,„ ..... -- V T /j advanced to cope with its technical demand.. rangement taken dolce. > - ./“ . should be borne in mind that pieces of this/ surprisingly gooo • ••••— 4f- -it- .1 -1 I- H- J wd delicate type require a technical mastery registration must « - 1 : ill.—. it '41 J J J— J 'vhat beyond the grade in which they "’oul in THE VIOLIN ' I narily bc classified. Some catalogs give 1 best I J-rade VI. but before taking it up tt w° Gra(k. I for the student to be well on in the Se ^ j technical work and to have developed a bgi I touch. MARCHE HONGROISE-H. KOWALSKI, j . Marche Hongroise, also known hy tlie t‘t e « Pcsth. is a standard concert or exhibition P£ > > JL _ "f lh« best of its type. It gains its “tie ' Jca, stvk J a«er of its first theme and its general rlij celebrate£| . a.. _ . j fn both these respects it is similar'tosplendid Himbanan Rakoczv Match. It will « , . this J stl,dy in octave work and chords. We, would class I "nniber in Grade VII. 7 Copyright 1913 by Theo. Presser Co. British Copyright » 894 THE ETUDE the etude 895

CHmiS AT CHRISTMAS—M. GREEWVALD. INDIAN SUITE in,raWlng;r°0m Picce b-v a well-known writer, LOVE SONG (Sioux) Harmonized by l“CesTf P°Puu,ar ^vice of imitating the chiming fi sJ i i mCth°d empLyed may seem dissonant a. Largo M.M. J= 63 Well Known Composers ! THURLOW LIEURANCE first but the notes given are merely a reproduction of L 7" °f, ov,er-tones as thrown off by the hells of To-day On themselves. In the bell imitations each chord should l,c slightly emphasized and the pedal used as marked. An advanced Third Grade piece. DANSE P1TTORESQUE—G. EGGKLING INDIAN SUITE. Danse Pitloresquc is a pleasing bit of modern char¬ acteristic writing. It is in the style of a piece of ( Descriptive Notes. ballet music and it should be rendered with strong dynamic contrasts and in the orchestral style. Tin- ' BY THURLOW LIEURANCE. will make a good Fourth Grade recital piece. *rtr UNDER THE WILLOWS—CHARLES LINDSAY I LOVE SONG (Gros Ventres) No. 1. “Love Song” Lndcr the Willows is a graceful drawing-room I INTERMEZZO L" Andante moderato M.M. J-=54 (Sioux). piece of the reverie type. It is an exceedingly well | Moderato M.M.J = 72 This song was sung for me by Wm. Sylvester, a written example of this style of composition and it is < Gros Ventres Indian, from Ft. Berthold, Montana. It particularly effective in the middle section. The entire I was composed by a Sioux who was in love with the piece is rather easy to plav and should I* classed in Grade HI. same Indian maiden. The text was in the Sioux dia¬ lect, and translated means. “I Want You All the Day.” ROCKY BROOKLET-W. T. WETTACH p ^\dolce. This should be played slowly and in a very plaintive This is a very useful teaching piece which at the manner. It is one of the Indian songs that recorded same time will prove pleasing to the student. It af- | 4, with perfect intervals. The singer is an educated fords particularly good practice in some of the more | =fe is Indian, a fair musician, with a splendid voice. The familiar arpeggio work, also good chord practice. This 0 phonograph recorded this song in F minor. I trans¬ number may be used well along in Third Grade work. I f * 7tt 7’ t } vf ’M W’T posed it to E minor so as to be in accord with the COOING DOVES-H. W. PETRIE. S'^Fj I ^ 1—""" other numbers in this suite. This is a graceful drawing room piece with considera- I “"IT No. 2. "Love Song" ble variety in thematic material. For teaching pur¬ 7 l? t ^ * 7 ffln i •> .HTH? » i (Gros Ventres). poses this composition will prove valuable as a study in style and expression and also in certain conventional Another song by Wm. Sylvester, his own love song. technical features. It lies in about the Third Grade. He used the Sioux dialect because he did not wish his own tribal friends to recognize the song, i. e., the RAINBOW CHASE-SADYE SEWELL phonographic record, should it ever be played in pub¬ This is an easy teaching piece which should also lic.- When I recorded this I promised him that it prove attractive as a recital number. The running pas¬ would never be played in the presence of his friends. sages in sixtxeenth notes will afford valuable finger practice. Pieces of this type must be played with al¬ In the left hand the octaves should suggest the drums .4 delicate health, and most automatic precision. Rainbow Chase lies midway or tom toms. The triplets in the treble being charac¬ between Grades II and 111. TOBACCO DANCE SONG (Crow) teristic of the Indian yell, are inserted for effect only, as the love song lias no drum or other grotesque AT PRAYER-E. G. RATHBI N. Allegro modl° M.M.J.= 84 vrr. Mr*. Coomb* dc mannerisms associated with it. Play in moderate A Third Grade piece of quiet devotional type which L» tempo, counting six in the measure. should be played in the organ style In fact, this piece would make a very good organ number. bfek- a- No. 3. “Tobacco Dance Song” & (Crow). THE DREAM DANCE—G. L. SPAULDING Mr. Spaulding excels in First Grade teaching V The tobacco dance is a religious ceremony of the especially those which have accompanying " *>*• This ?a!T Crow Indians. Tobacco is burned as an incense during attractive number is from one of hi< latest sets "f fL. the pravers and dancing. Count two in the measure, ff pieces, entitled Our Juvenile Friends. and play the octaves to suggest the drums, not loud nr boisterous. This song was recorded on the Crow . THE FOUR-HAND PIECES. reservation at the Reno Lodge, just below the Custer false Espagnole by Gustav Icarus i' an origin.^ battlefield during the Indian dances at Christmas time, duet number which does not come m 1 "r" • / rhythms in the Spanish style are alwaw a" No. 4. “War Dance Song” and Mr. Lazarus has succeeded m constructing, No. 4 is a war dance song often heard. Its origin brilliant and entertaining composition m « ^ is unknown to me, as I have heard it many times in style is similar to that employed bv .MOMt-wxi, different tribes. The sixteenth notes represent the famous Spanish Dances. . vibratory tones of the singer. He sings vibrato am The First Regiment March by i 1 - j r portamento and accents the first of each measure wi ing military number which has proven mm voice. The drums beat eighths in fast tempo. _ The present four-hand arrangemcn , members of the tribe give a yell of some sigm thoroughly effective, although not « u. on the first eighth of each measure. Marches of this type in due, m arc .. .nil ^ ^ Note.—The intermezzo is not Indian and is oni> i - variety of public purposes as w«u a ,,,rre IS’zC vahr-.i f«.r tended to link together the several numbers oi tainment. . A.mi-ivr suite, I restrained from too much elaboration. MISERERE (PIPE ORGAN-.-IKRU-« ION ; f T t’f ? ’’J If, In spite of the long tmpulaniy J'«\u>cal hy¬ lent to a triplet of eighth notes; the second is divided hands by having them wear corks between the fingers be employed to advantage in doing other thing happens to disagree with her. un¬ mg. 1908): giene must hr dealt with as they ap¬ into two parts and is equivalent to two eighth notes. for an hour or so daily. Use corks that stretch the work, such as: studying languages, piano¬ less, indeed, she is to appear on the stage “I do not advocate smoking; those pear." Even though the context may not always be a safe fingers slightly, but do not wear them too long at a forte, musical history, physical culture, that same day. On the day of public who find themselves perfectly well with¬ Rtsumt. What ever contributes to the guide, it is the only one you rriay have. To quote the time so as to cause the fingers to feel crippled. It dancing, fencing, designing, painting, etc.” performance it is necessary to eat very out, should leave well alone; those who general health favors the health of thr first measure of the passage from Mozart you mention: may be that you are naturally small in stature and “(6) Wearing suitable clothes foi little.” find themselves perfectly well with it, tonsil, and, also, the best condition of therefore your hand is as large as Nature ever in¬ changes of temperature to guard against “Soup is really the best food for sing¬ ditto!” the voice. tended it should be. If so you may be obliged to get colds.” ers, strong soup, well made. Rare beef “Hoarseness attacked me when there The hygiene of the mouth, nose, throat, along with it as it is. The exercises to remedy this "(7) Avoiding invitations that involve is good, fruit and vegetables. Pastry were flowers in the room, particularly stomach and bowel* is favored by gen¬ difficulty given in Mastering the Scales and Arpeggios too many social duties, calls, etc., which and sweets are not good, but arc to be the (to me) deadly gardenia, stephanotis, eral and special cleanliness, fresh air. ave been found useful in practical teaching. waste time better employed in outdoor avoided more because they hurt the com¬ hyacinth, lily, etc." well ventilated sleeping apartments, abundant sleep, or repose, wholewunr exercise." plexion than because they affect the voice “1 was singing at a private party one evening, in which Gardnni, the tenor, a food, regular hours for rating, regularity TIRED BONES. FURTHER WISE COUNSEL. especially.” soprano the daughter of Varesi, and of the bowels and regular hours for ”1. What should be done with a pupil who, after AVOID ALCOHOL. practicing a short time, feels tired and sore in the “Do not he oversensitive in giving others were engaged. I left home in sleeping. bones on either side of the wrist? The pupil, I am weight to gossip about your voice and “What wines may a young singer al- splendid form, and was in the drawing Walking, in moderation, in the ot>en satisfied, holds his wrist very loosely, and hand air is the exercise par ereellenre for position is correct in accordance with the Les- skill. Have contempt for flattery. Have iw herself?” room aliout half an hour before the con¬ chetizky method. After longer practice the cramp patience in your art. Be cheerful. Have “If she really means to succeed, no cert commenced. I liegan to feel rather voice users. extends to the arms. faith in yourself; lie earnest and diligent, ines at all. I don’t believe in wine. It husky. When it came my turn to sing Alcohol is irritating to the mucous 2. Could a person, now seventeen, who began membranes, and, also, for other reasons, practice on the piano at the age of thirteen, and then with indomitable perseverance, jrts the throat almost invariably. Some I almost collapsed, for I could scarcely acquire sufficient technique to become a concert has no place, a* a rule, in the general you will succeed.” iung singers, I know, are not strong, produce a sound. Mile. Varesi was in You will note that the first group might be ambigu¬ performer of note? He is now able to play Men¬ system of hygiene, delssohn's Concerto in D Minor. Will you please "What is good for the general health id doctors prescribe claret for them, the same plight. Gardoni was husky and ous because of the six notes against one eighth note. \t a younger man I felt more inclined mention a few pianists of note who began their is good for the voice. All kinds of nuts, it it is had practice to drink it. For all the others were more or less incapa¬ In the second, however, the bass starts out with a study at a mature age?”—G. S. to be easy with tobacco u*ers. I>ul the because of the oil they contain, should yself, 1 never drink wine. 1 drink water, citated. The concert concluded, 1 wa» triplet, which would make a natural division in the -, jf I need a stimulant, I take water conducted into a room literally packed older t grow the more I see the !«ad ef¬ 1. If, as you maintain, your pupil plays with hands be avoided on the day of a public per¬ fects of tobacco, and the less I am in¬ right hand to correspond with it, and it is at once i'th a little whisky in it.” _ with ’harem lilies' the deadly exhala¬ in an absolutely free and correct position, and correct formance.” clined to condone and cater to the habit followed by four notes in the bass against three in “If you were interested in a girl witn tions from which had penetrated the action, I should say that he was more in need of advice 1. If you would let your reason carry you all the “Drinks, such as hot coffee and tea, or A clean nose, a clean mouth, i loan the right hand. The whole group, however, is played voice would you have her go in for drawing room. I got away as soon as way you would figure out the notes correctly. The drinks that are too cold, taken just be¬ bowels, clean habit*, are condtidve ts* from an expert surgeon, especially if the fatigue is hletics to build herself up physically r I could and had not hem out of the with such speed that the bass amounts to an upward three notes coming exactly on the first beat, naturally fore singing, are injurious.” really in the bones. You would better examine closely “That would be ruinous policy. Ine house ten minutes before my voice was (leaif tonsils and a clean voice. rush in which no rhythmical division can be discerned. all come together. The music is in two parts or voices, “Beware of eating ice cream before and determine whether or not the fatigue is not muscu¬ rl who is going to rank as a singer The third beat of the measure might cause some am¬ as for example, violin and flute. B and C constitute singing.” lar or nervous. When the nerves are affected pain re¬ mst keep out of the gymnasium. She biguity, hut it is at once settled by the fourth beat in “No alcoholic drinks whatever should sults from the slightest effort, and is often severe. The the inner part, and while B could have been joined to in’t fence. She can’t row. She cant which there is plainly a division of one note in the he used by young singers: they, at best, fact that the pain seems to be in the bones make it the stem of the other part, C could not, as it is an de horseback. I enjoy nothing more bass against triplets In the treble. If you will fol¬ likely that the affection is one of the nerves. In regard eighth note played against two sixteenth notes in the being harmful stimulants.” lan horseback riding, and I n* «e!I. I “On two occasions I had pupils, a tenor low along through the remainder of the passage, you to this you would better consult a specialist. other part. Assume for illustration that the time's sed to ride about Mount Vernon when and a baritone, who were to sing. will find that the entire spirit of it is fully in accord 2. I know no reason why a person of seventeen, who 4-8. The second group consists of a dotted eighth on was only six years old. But I base Both of them took champagne, expect¬ with the figuring of this first measure. has been practicing since the age of thirteen and who is the third beat, continuing over the first half of fonrt iven up all that entirely. 1 nes.r nde ing thereby to gain courage. The result In the MacDowell piece there is no question. The willing to devote himself with whole-souled energy to beat, and finishing with a sixteenth on the last ha • ' * u interferes with the firmness and was a rush of blood to the throat and division is settled by the time signature at the be¬ the cultivation of the art of piano playing for an in¬ The inner part has two eighth notes on the third an ,enness( of the voice and gives a neither was able to sing.” ginning. The first measure is as follows: definite number of years, should not be able to acquire fourth beats respectively. Write these two Parts on two staves as if to be played with two hands, and i “For experienced singers, advanced in “'walking is the singers wercisc. Uie note. Of course it is impossible to predicate the a8e, or for singers of anaemic constitu¬ amount of musical temperament your pupil may show, will seem clearer to you. tion, half a glass of good, pure claret is not knowing anything as to his present ability along serviceable as a stimulant.” interpretative lines. If he has been playing since the “Tor further information on diet, I age of thirteen, however, his hands and fingers should would advise all singers to take the be in a supple condition. Even though his progress counsel of a competent physician. has not been so great as that of many who have been working during the same years, yet if his hands are in IMPORTANT SUGGESTIONS. pliable condition, and he can now devote six hours “Singing in open air is permissible only daily to his music. I see no reason why he should As written, it looks to the eye as if there were ln a calm atmosphere.” not make very rapid advancement. The fame that he four triplets in the measure. This notation, however, . ' Singing or speaking in a carriage or may acquire will be largely a matter of individual only indicates the manner of playing, the division be¬ 'n a rapidly moving train is very bad. temperament, and the shrewdness he manifests in the tween the two hands, the right hand taking the first As written in the music the two hands s “To preserve his voice, a singer should management of his affairs. To-day something is nec¬ f exactly together. It is an ad libitum or ca ^ never scream, laugh or speak unneces¬ group and the left hand the second. The rhythmical essary besides the ability to sing or play. This ability division is three times two just as if played by one sage in which time is waived for the ' nv sarily loud.” has become a commercial product, and must be in the uld simply he played as fast as possible w,thcn' ' “Stiff collars and tight ribbons, act hand. Your time signature is 6-8 to the measure. world’s markets where such things are disposed of, and ,lke tight corsets on the throat and are 898 THE ETUDE the etu DE 899

NOTES ON THE BASSO ly died in California. His voice must PROFONDO. have been a superb one. His favorite signature consisted of a musical staff For Nervous Women bearing the bass clef; below the staff was BY FRANCIS ROGERS. the C; above, the F, the limits of his Horsford’s Acid Phosphate quiets vocal compass and his initials. His voice the nerves, relieves nausea and head¬ Many a bass can encompass a manly was of magnificent volume and quality, ache, and induces refreshing sleep. low F or E, but the true basso profondo although tradition credits it also with Best of all tonics for debility and differs from all other basses in this re¬ something of a tremolo. Besides, he was loss of appetite. spect—the lower he goes, the bigger and i a strikingly handsome man and a good more telling becomes his voice. The actor. The part of Sarasto was partic¬ Throat Ease ordinary bass begins to lose his carry¬ ularly suited to his great vocal gifts TheIEtude’s monthly scrapbook of paragraphs worth re-reai in^ selected, perchance. the continent, the latest book, or from som< ing power and rotundity of tone some¬ and yielded him many triumphs in the be, giving our readers the cream of read ng from contemporary ; ROWN’I in all languages, and from the i Bronchial ^ where about his middle C; but this is course of his long career. r tost stimulating book*. For All! where the basso profondo begins to gain Myron Whitney, who died' only a few ( You lift a load like this B TROCHEV in both qualities, his voice acquiring years ago at a ripe age, came upon the Von Billow and the Piano Tuner Bow Verdi Saw Lohengrin FOR THE VOICE more and more, as it descends, the heavy, scene just about the time of the retire¬ A Verpi document of historic Importance Not only your child's throat, but Are used by most singers and public speakers every morning Is described ^ In foreign journals a copy your own also. can be quickly pulsating, all pervading timbre of the ment of Formes. His singing first at¬ piano upon which he played, lie wouldn't in preference to any other remedy. They relieved from strain, imtatioo. or largest pipes of a great organ. tracted attention during his period of allow the Instrument to lie tuned In the Italian words, which was used by Verdi to are effective as well as convenient and per¬ Perhaps you think you walk so little that wareroom, one of his whims being that Russia, according to general report, follow the performance of thai opera In hoaraencM. by using fectly safe to use freely. In boxes, 25c, 50c, service in the Civil War. Later, as so¬ it doesn’t matter if the heels of your shoes GOURAUD’S even a short removal of a piano knocks it Bologna In 1871, and which he •ssplouslv 31.00. Sample free. abounds in voices of this character, which loist with the Christy Minstrels, as mem¬ are made of armor-plate leather, fastened all out of tune; and there’s something in annotated in pencil. It shows no lick of with iron nails. the theory, at that. So I tuned it upon the appreciation for the music. Tile word hello JOHN I. BROWN & SON Boston, Mass. play a prominent and essential part in ber of the Boston Ideal Opera Company platform upon which he .- ‘ —'— incurs frequently, and be has even a belli* the service of the Greek Church (recently "lie s simo tor the dramatic climax of the llrst LUDEN’S and of the American Opera Company Suppose you walk down to your store or agonized whoops and we heard one of them in a concert of under Theodore Thomas, and as bass office—only a quarter of a mile. You take Oriental words, until I coudn't help but laugh in his criticisms. Pm; lie I Menthol Candy at least 440 steps in this short walk. You face. Finally, when 1 had the piano almost slowness of the dec ecclesiastical music given in ASolian singer in countless oratorios and con¬ tuned he gave a few more shrieks and grab¬ Free Band Catalog lift your entire weight with each step. If Hall, New York, by selected Russian certos, he achieved a wide and deserved bing the wrench began doing the job all you weigh 150 pounds you lift the total over again. I let him go ahead and Inside singers which Wagner Cough Drops voices), but the only Russian bass of popularity. As an actor his capacity was sured at other perfo Catalog?. Thousands of 66,000 pounds—35 tons—the weight of of three minutes he had the piano so hope¬ real artistic distinction that we have small, but as a heavy bass singer he was a loaded freight car. lessly out of tune that it took me three If you are a singer or teacher you Allowance for'oldbffitruinenui. Cream hours to get it into shape again. Ilerr follows tne King's pr heard in this country, Chaliapine, al¬ without a rival in the whole country. His von Biilow had to pay double for this little value, and makes the will appreciate the quick, soothing exhibition of temper."—77ie Sun (New though a remarkably fine singing actor, voice was a ponderous and majestic basso VERY ounce of this great Evidently the perfon effect of Luden’a Cough Drops. Best VOrlTIzer E of all. Luden'a are absolutely pure. was not exceptionally endowed in the profondo of the truest type. Many were \ PREPARATION for pre- fective, Verdi notes weight must come down that the tempi were o Take one, or give one to the children, We supply the United St matter of voice. The countries of South¬ the astonishing feats that he could per¬ xl serving, beautifying and Appreciating Bach Offers now being?made. Evt on your heels, as you abominably out of tun at first sign of a cough or cold It may ment you want. Writ* tod*., IBS 80 „„„ ern Europe produce few voices lower form easily with his wonderful organ. How many University students plugging Free Band Catalog. No obligations—Catalog is Free. purifying the skin and complex¬ prevent serious developments than the baritone, and it is probably not Low C was his familiar friend, and he pound along over the flinty away at Ciesnr’s Gallic Warn can see any¬ The Rudolph ffurlitzer Co.. c>',' c'i.i0h1!° ion, and reasons why it should thing of beauty in the book? Who, among too sweeping a statement to say that no used to conclude both Hullah’s Three pavements. Do you think it is those who spend their time looking up the Sold Everywhere, In the handy basses at all come from Italy, the land of be on the dressing-table of every meanings of (he words In the Greek dic¬ appreciative It Yellow Package Fishers and Im tiefen Keller with tionary, regards Xenophons Anabati* his collected song. Edouard de Reszke and Planqon, good for your sensitive nerv¬ Vis*- thosm works hflVP not 8UI cadenzas written to display this mighty woman. erature? Yet these works b: sed surv{vej?’ The Hernial/ I Polish and French respectively, were ous system to undertake such primarily that they might b This shopping list, in c__ note in his voice. W. H. Clarke, the bass iorfor euLim.ee-entrance sueI"*" «“ college. They have of green leather, stamped in Pfcj bass-baritones in quality, although their a tremendous task with heels lived because of their intrinsic literary Faust in Japan gold with extra insert ’ F r that succeeded him in the Ideal Opera lower range was an extended one. BECAUSE it will render the skin boxed with gift card is a Company, relates that he once heard shod with hard leather and like the softness of vq»vet, leav¬ SrThereS'is something of a similar public Pohlson gift that is sure to In America most chorus choirs contain attitude toward the music of Bach. The I Whitney in a huge convention hall in ing it clear and pearly white, lllzatlon and culture please. It is the handiest list _ metal ? usual piano student, in a coMervntog. a theatre strictly ti imaginable. Sent postpaid . at least one “growler,” whose function Chicago emit a low C that penetrated, which is the height of fashion at knows him only through the two and three *.50 together witli our book «—*--*•' 1 part inventions, perhaps the '«"» a theatre with tbc it is to furnish the deepest notes in the full and clear, even to the most distant the present time. of the Japanese soul of “Unusual Gifts.’’ - Remember that every step lug of all his works. He ™n But now the Ja Send for oar book choruses, but his voice is usually rough parts of the great auditorium. One of where near Czerny, or Ci welcomed -.nil. THE POHLSON*GIFT SHOP. Dept. 70, PAWTUCKET,«.I. and unmanageable, and seldom, if ever, means a shock—when your BECAUSE it has stood the test of Heller. "* starting with noth his after-dinner “stunts” was to utter public approval for over 65 years, lingers obey his will, so that be may reaches so high a degree of cultivation as Mirried safely sonorously and repeatedly, without taking weight strikes upon your heel the surest guarantee of its perfec- “THE VOICE INSTRUMENT” to be agreeable to the ear in solo singing. breath, the mellifluous and appetizing the impact is carried directly a. so‘many "that Regards the In,rds.u^ is an invaluable aid to the student of voice, whether Cultivation, too, while developing facility under tuition of a master or obliged to cease from words “pumpkin pie” on the B-flat below necessary to " j'™” a| J£,ult obtained. to your spine; upward to the BECAUSE it is a greaseless prepa¬ regular work. Price-?2.00. Published by in the upper range usually robs the low¬ low C.—The New Music Review. THE REPUBLICAN PRESS, Hamilton, N. Y. er of its sonority, thus proving that the base of your brain; outward ration and will not encourage the masters satisfies hot j,n ^ as h|l voice is not a real profondo, which through every nerve in your growth of hair, a very important “I have worked almost as hard since . feature to consider when selecting grows'oTderi'and bfs musicianship ripen*. would, of course, develop its true char¬ J. ALBERT ALLEN, Jr. my debut as before. A prima donna’s body. a toilet article. fm begins to understand and ,apom ( t acteristics under training. In our musi¬ workings days are never over so long as beauty andn“^fSlfn Tltc XnC Static Urrinr. Concert Pianist and Teacher cal annals of the last fifty years the BECAUSE it is a liquid preparation Nicholas Doi tt, in she is before the public. I am constantly O’Sullivan’s Heels of new, (New York). Harmony and Music Analysis and will remain on the skin until names of only two basso profondos have studying some new role, whether I expect live rubber absorb the shock New Observations on the Chopin taught by mail indisputable right to place in our musical washed off. far surpassing dry Real Nationalism in Music Address P. O. Box 61 to sing it or not. If one does not learn powders that have to be applied Funeral March Hall of Fame—Carl Formes, a German, and relieve you of the strain. ... „ n.iig beuiled people who Imegin- Studio, Steinert Bldg. Providence. R. I. new parts her art is sure to stagnate, and frequently. and Myron Whitney, a New Englander. They are invisible cushions that a national stvle of ,r should progress is the surest way to success in evolved by study ^ clK,p1n, „r. Carl Formes (1816-1889) came to music. Each time I try to do better than of springy rubber which last BECAUSE it is a preparation highly examine the me • . UIlt|onal .-..iiiposer. indeed, of any enlly g ea from Imitation America about the middle of the last before, and in this way my work is made desirable for use when preparing D. A. CLIPPINGER twice as longas leather. They for daily-or evening attire. century, spent many years here and final¬ interesting.”—Mme. Melba. "SKBUr give you an easy,'light, grace¬ ■ Teacher of Singing BECAUSE the fashion of the present ;s; Author of Systematic Voice Training ful stride and the erect carri¬ day requires that the complexion within, is a studied acquirement. Send for Circular age and habit of deep breath¬ of the well-groomed woman shall ^r°eSne^ w^h«- 410 Kimball Hall, CHICAGO be of a snowy whiteness. A Thorough Grounding in Pianoforte Essentials ing which naturally go with as much chances* native*. ™£ry''of VoH* The most important steps for both the student and the teacher a step from which the burden BECAUSE it Is a daily necessity for the toilet of the well-groomed are the first steps. An eminent pianoforte teacher has outlined and strain have been removed woman whether at home or while characteristicK SSsSa“ features. g national SHEA the most modern thought in piano study in the wholesome and traveling, as it protects the skin PARIS. 5. rue Gounod stimulating book As a measure of comfort and health you from injurious effects of the ele- need O’Sullivan’s Heels on all your shoes. sure.craftsmanship. ££*u>g what von feci. VOCAL INSTRUCTION They cost but 50 cents a pair, attached, Harmony and Health Write for booklet: at all shoemakers. Some shoe manufac¬ "The Choice of a Master Lessons in Pianoforte Playing BECAUSE it purifies the skin, pro¬ Co Hand In Hand Voice-Teacher” turers put them on their shoes before they tecting it from blemishes and skm By E. M. BOWMAN. Price, $1.00 postpaid. leave tne factor}’. All shoemakers and shoe troubles. dealers will attach them to your shoes sh0en nothing •* “ anjss?a his eqnallv 4?s3r This work,-written in engaging, non-technical language, consists when you buy them, or at any other time. BECAUSE of its soothing effect on wonderful CSluU * of a series of personal letters to an imaginary student, telling Or, if you prefer, send us 35c in stamps, the skin when sunburned. with a tracing of your heel, and we will just exactly what materials to use and how to use them. It is new musica' ^n^idiw|lty at „f identical with the instruction given by Mr. Bowman in person mail you a pair. Jo ySort '^nade^Se VnmP— and is invaluable to both the teacher and the student. EACHER OF SINGING O’SULLIVAN RUBBER CO., a°.Pl THereVave h^« * £8* Tut W 131 Hudson St. New York Price $1.50 per Bottle. drew. 124 E. 92d Street New York THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. ,n0S(hecn* 'nl’v oneChoDin^Andj^^,^ ,r At Druggists and Department Stores, or For Men, Women and Children direct on receipt of price. By Geo. Chadwick Stock EUGEN d’ALBERT Guiding Thoughts for Singers Second Edition PIANp.RKCITAI.fi. Selected works from the program.. terd. T. Hopkins & Son A book ofif eightyrhty pages,pa( fall of sound, practical information. If you have had difficulty in gaining (^niK»ri[B1,0,11^nt©cs full breath d«levelopmeni 1 - ..... — troi# the breathing exercises alone, given in this book will be of meal- English, French, mid Germa culable ' ) you. rncc, ciom board cover #1.00. , . , ... • 37 Great Jones Street ar bill to your letter, there is not one chance in a million of it s being lost. Address, Ihoven. Chopin, Couperin, H GEO. CHADWICK STOCK, Tea of Singing HEELS Live Rubber NEW YORK CITY the dun-* .„ .-The if”""1' Studio: Y. M. C. A. Buildin New Haven, Conn. llshed by ROB. FORBKKG, LEIPZIG Please mention THE ETUDE when addressing o

Phase mention THE ETUDE when addressing BjasittoAps mo 900 THE ETUDE the etude 901 merely a matter of grasping Father Time Dudley Buck, from the Four Tone Pic- perience. St. Augustine frankly attrib¬ by his hirsute adornment and ordering The Recent Revolution in Organ Buildinr lures. These works are all admirable uted his conversion to its influence. in advance. The organist in the large city By GEO HUE LA1NG MILLER, K R, !IUID! mneert pieces. When it comes to varia- But what of the remedy? And where has little difficulty in securing the pieces Cns on O Come. All Yc Faithful, we must we strike for improvement? To the he wants, but his brother in the small have all kinds from Lefebure-Wely’s musically untrained music is judged town has troubles that only the mail or¬ Venite Adorcmus, and De Thier’s arrange¬ necessarily on sentimental grounds. der can overcome. ment, up to the embryo, tyro, pseudo, com¬ Either it appeals or it does not. But to Below is offered a compendium of or¬ CHARLES FRANCIS PRESS 30c W. 13* ft* ^ poser who lives in McKeesport and be¬ ask a man to renounce music which has gan music selected from many nationali¬ lieves his variations are more varied than long been dear to him and which is ties. It is not all inclusive but it does the prescribed and printed settings. backed by years of religious association contain standard numbers for the Yule Pipe Organs of Highest Grade Only This Christmas compendium was com¬ is obviously foolish. It is not probable season. They will be found to contain piled primarily for the organist in the then, that much will be accomplished in DR. WILLIAM C. CARL THE CHRISTMAS SERVICE. scope makes possible many works that grateful qualities both for congregation Our Instruments comprise all features which small town, incidentally it is hoped it will this generation. It is in the Sundav- personally instructs each student at otherwise could not be given in church. and player, and for the greater part are are of real value. Many years of practical school, however, that we can mould the Another suitable obligato instrument easy. experience. Writ. fc* „ future trend of church music as wc The Guilmant Organ School HARVEY B. GAUL. is the harp. The harp'is used continually In thg way of preludes we have many would form the life of the child him¬ EMMONS HOWARD Westfield. Mass. at Grace Church, New York, with telling effective numbers. Starting with Bach, self. Allow him to hear nothing but the in the Art of Organ-Playing effect. The quality and treatment of harp there is the ingratiating Pastorale from noblest type of church-music, let him sing There are two great festivals in the The Course includes the Organ. Harmony, Counterpoint, Im¬ work make it a happy auxiliary. While the Christmas Oratorio. It is lovely in no hymns but the. most spiritual and church year. To be sure there are other K»l.hll.hr4 Sc. York, mi St. OBSTACLES IN THE ADVANCED provisation, Orchestration, the Liturgical forms of Church the literature for harp and organ is not its use of flute work. Also of Bach’s exalted ones, and in his after life he festivals, but they are festivals of the PROTESTANT CHURCH MUSIC. as large as for violin and organ, Still there is the little known chorale, on the GEO. KILGEN & SON will expect and demand such music in Music, Hymnoiogy. Key board Work, Musical Dictation, second class, as they say in France. there are many available compositions. A bid Christmas air, which Bach uses under the church itself. Boy-choir Training, Organ Tuning. Students' Recitals, etc. These two festivals are Christmas and good harpist can arrange seemingly un¬ the title Von Gott werde ich nicht lassen, Pipe Organ Builders BY PHILir DAVIDSON, JR. The evil has become so acute that at Easter. To most people Christmas ST. LOU IS, MO. I Send jot New CoUdofue 44 West 12th St.. New York toward compositions so that they are high¬ This chorale has the melody in the pedal least one' great musical organist in this means more than the mere exchanging of ly acceptable. and when played on a pedal Gamba or °e* "■■plclc rl|*» Or*.. Plane, la th, Call* country will this year undertake remedial presents; it is the one season for the giv¬ One of the most stubborn obstacles to The humble flute may also be consid¬ light stop, is most felicitous. measures. But speculation, advice, and ing of self. Among those who stand pre¬ the advancement of music in the Protes- ered. You will say: “Yes, but the flute scattered effort will never avail. A ver¬ Iruiitit frrluuil uf (£lmrrb fflusir pared to give are the church musicians. Other preludes are the Pastorale Sym¬ • tant church has been the hysterical fear is redundant; we have flute stops in our itable awakening must take place, an Their contributions go a long way toward phony from Handel’s Messiah; Variations of adopting either symbol or substance Steere Organs A Tr.Inins Scbeol I.. OrpsaisW. otgan.” So we have, but there never upon an ancient Christmas carol, De honest determination to cure the evil and Built (or rborchcm, schools. theattes. lodge., making a “Merrie Xmas.” from Rome. Beyond the shadow of a was a flute stop made that had the mel¬ Thier; Christmas Chimes, Gade; Hosan¬ to build up a worthy and dignified stand¬ balls and home*. ,. DO Trinity Place. New York In preparing the Christmas program, doubt a great proportion of the noblest low, cooling tone qualities of the • real nah, Lemmens; Hosannah, Wachs; Ho¬ ard for the future. For in the last 5 second hand organs for sale great care should be taken to make it a Specifications and prices on request flute. Our flute stops only approximate sannah, Dubois. These are all service¬ church music belongs to the Roman analysis the problem reverts again to the festival one in every detail. flute tone, as our string tone—so-called— able preludes. church; but since it was once Roman question of the function of worship and J. W. STEERE & SON ORGAN CO. The Venite, if chanted, should be given the sincerity of the worshipper. Truly Springfield, Mss.. E.t.bli.ked ISS? only approximates violin tone. A good For interludes, voluntaries, or offer¬ property apparently it may never be tak¬ a new chant. Why use the thread-bare “God is a Spirit, and they that worship flutist has quite a literature from which tories the following are suggested as they en over into Protestant worship. Roman chant that has done the advance work Him must worship Him in spirit and in to choose, and you will find the blending contain to a great degree passages re¬ discipline and the reverence growing out for the rest of the.year? truth.”—From The Harvard Musical M. P. MOLLER PIPE ORGANS of organ and flute most satisfactory. quiring solo stops: Christmas. De Thier: of the Catholic conception of the sacra¬ The Te Deum, if sung, should have a Review. Rectors and music committees appreci¬ Christmas Pastorale, Merkel; Virgin’s emUest teg .a. tts^°Speeriif st .neVerd Vi fiinsife*oa*mq uc.t * * F.e c.teL.sd pert. brilliant setting. This setting is best real¬ ments have ever fought to perserve the ate the drawing power of special music Prayer, Massenet; Adoration and Vox M. P. MOI.IXR, HAf.t RSTOWN. MD ized after the manner of Stanford (in B standard and to produce church-music at Christmas. It is a good thing to have Angelica, Dubois; Cantique de Noel. flat), Warwick Jordan, Tertius Noble, of a churchly type. Martin Luther recog¬ THE SHORT VOLUNTARY. just as much elaborate music as your Adam ; Christmas Musette. Mailly; and and Horatio Parker. If the choir is nized this fact, and did not hesitate to The Organ Power Co forces can dispose of creditably. If it is last, but no where near least, the exquis¬ There is always a demand for the short largely volunteer, or amateur, then Wood¬ a quartet choir, augment it to a double ite Chorals and Noels, Guilmant. These draw from the musical resources of the voluntary. HARTFORD, CONN. Church Organs ward in D or King Hall offer desirable ot triple quartet; if it is a chorus choir, delightful Noels of Guilmant, containing Roman church. Nevertheless, to Protes¬ Congregations that are so lamentably settings. If the choir be a quartet one, Latest Approved Methods. Highest engage an extra soloist. You will usu¬ as they do, the happy Alsacian Noel, are tant worship this fund of literature is small, deacons who are so nimble, and of¬ Dudley Buck’s Festival Te Deum makes a Grade Only. f sl.bli.hed 1827 ally find the church authorities willing little known in this country. They are practically closed and in many cases is ferings that are so sparse, make a demand commendahle number. It has all the tto cooperate. ,-ESTEY CHURCH ORGANS n among the best in Christmas organ litera- woefully neglected by the Roman church upon the organist for voluntaries—offer¬ grateful qualities for solo and ensemble Eatey standard maintained. I of „ur m.k«—la nae lee. rhea Me peer— There is one thing that will bear em¬ ule el e barsain. Belli lee eebibttioa work. Maximum facilities. itself. tories—often no longer than twenty-four phasis, and that is the wisdom of pre¬ There seems to he no limit to the lati¬ Highest grade of product. weee. £iielk»l«w»rt«s/l» At Christmas and its octave the Ben- Another contributory cause for the un¬ measures. This makes a strong argument HOOKJt Pittsburgh, mamliif>andS*cctnt'«» rdTone In choosing our hymns we should see Scene: Any music store on Christmas that of regulating, in a general way at or the final periods; from return of them and are eminently fitting for closing serv¬ over 100 oo the Pacific Coaat. to it that they express the message of F.ve. Please make your own snowstorm. and including coda, or first »"d cone ud- ice. There are many arrangements of least, one important exterior of worship. good will on earth, and having taken care The clerk stands behind the counter hum¬ ing sections, will offer a reasonable -lu these numbers, some are literal transcrip¬ Austin Organs Happily some progress is being made in of the words, we should wisely choose ming “ ’Tis the night before Christmas tion. If one can study to break off at tions, some are fantastic. It is to be sug¬ this direction and practically all the theo¬ our tunes. Many a Nativity hymn has and all through the shop, us clerks is kep’ each and every measure, and w.Ih a gested, that if the organist has any ability logical seminaries of this country are of¬ THE HALL ORGAN CO. sounded like a Lenten dirge of penitence busy, on a jump, skip an’ hop.” knowledge of the simplest form of m ui KINETIC ENGINEERING CO. Now list en. C onn. in this line, he make his own transcrip¬ fering musical instruction in their course So come to the dominant with M ITS, A «u.»nw.. rm RM3JUU because the tune was not seasonal. Enter in hurried fashion a man (or tions or paraphrases. 'TVo large contracts of Study. In the West, two and three to make an immediate end. theprobfm Hews C4-41 M R#„. !*« TOBK The instrumental part of the service woman) disguised as an organist. To fln.m | u feed Sueei. BOSTON For the organist who does not entire¬ courses in music are required for the de¬ ripe: organs may be made just as appropriate as the clerk: fromBaltimorein- has been solved. The whole matte ,. *> k Me*. CHICAGO ly believe in transcriptions or the use of gree of Bachelor of Divinity, and in choral, if we would give it the same “Show me some new Christmas organ duced by the commit¬ easy, so very simple, that a oratorio choruses, the following numbers sons of a half-hour cached suffice^ amount of thought. music. Want something bright and fitting, Switzerland every theological student tees hearing a fi'ie show the dullest pupil the wa>, it A short preludial organ recital either and in a hurry, please!” are to be commended. must be a competent organist 1 March of the Magi, Dubois; Christmas new Austin Organ in The Episcopal church, of all the Pro¬ w not been found already before the morning or evening services Clerk: “Sorry, but we have no Christ¬ Then keep a list of the voluntary, se- is a commendable feature. The numbers mas organ music left. Sold the last this Pastorale. Dinelli; March, Harker; and Washington, D. C., testant denominations, is freest from i lien, g m,>mh 0 i ■Clnbalc (lllusic Cabinets given should be appropriate to the season. Alleluia, Wachs. musical error. A fixed liturgical proced¬ afternoon to a lady from Mingo Junc¬ recently completed. The ideal way to keep your mutic If one has given recitals at other times tion.” For recital work or the opportunity for ure involving the observance of the Accessible Ornamental Systematic during the year, then that feature should Organist: “All right; then give me a using more pretentious pieces, there are Our organs are our Christian calendar, and the rejection of be omitted, and something quite different all texts and music not originally intend¬ copy of Handel’s Largo; guess that is numerous available compositions. For in¬ best advertisement. Variety of design*. »izes »nd finishes in considered. ed for sacred use has done much to pre¬ Christmasy enough.” stance: Fantasie sur deux Noels, Bonnett; mshogativ or oak. SIS upward. The cab¬ A better idea than the organ recital serve her musical integrity. Too often, Tableau, Exit.—Curtain. Rhapsodic on Christmas Themes. Gigout; inets m be ordered by means is the supplementary use of orchestral in¬ however, the attitude has been one ot if from your dealer. If dcsirod How many churches there are that hear Rhapsodies—three in all—on Canliques Design Boo struments. ILLUSTRATED BOOKLET indifference. It has been felt that music vourcibinet while plying for Handel’s Largo on Christmas morning. Breton, Saint-Saens; the Gothic Sympho¬ The violin or ’cello furnish the most ON REQUEST was only an artistic intrusion for the Not that that is anything against Handel it° Write t tv for Drfifn Book AV i. complimentary color of all the instru¬ nies, Widor. based upon the Christmas purpose of separating the prayer from of unpreparedness. dKwpetr jf you or the Largo; they are both acceptable ments. There are many appropriate com¬ Hymn, A Child is Born; the set of the sermon and by an occasional bynin All your troubles *^£"your ri TINDALE CABINET COMPANY and in their way and place, good friends, to afford the congregation an opportunity ...;n collect your material, m > , positions for violin and organ. If your three Christmas pieces, by Otto Mailling, AustinOrganCo. No. 1 West 34th Strort - Now Yorh church is wealthy a string quartet is an but there are other times to feature them The Shepherds in the Fields, The Three for relief from long-sitting. This aititu e disappearing to a certain extent art acquisition worth considering. Many or¬ beside the season of mistletoe, holly, and Wise Men, and Bethlehem. For lighter 165 WOODLAND STREJ;LIlT we are coming to see that music m c mention TUB ETUDE wbtn S ganists regard the string quartet as the over-drawn bank accoun's. Gioosing HARTFORD, CONNECTIVE) effc-ts and touch of color, A Noel Sou¬ Church is a real factor in religious ex- best combination, because the timbre and suitable organ music for Christmas is venir, Wolstenholme, and The Holy Night, 902 THE ETUDE the ETUDt 90J CAROLS AT CHRISTMAS. Give each one a series of papers bearing gers should then l>e placed on the stick in BY JO-S^T*WATSON. s£Parate headings: _ 1. Name of Author, and words of the following manner. The first lies We Americans do not follow the Eng- Carol, along the suck just beyond the first lish custom of singing carols on Christ- 2. Name of Author of Music of Carol, joint, and on no account beyond the sec¬ mast Eve. It is a beautiful one. and in And on one set of slips have drawn the ond, which would destroy its flexibility. the smaller cities where there are few di- lines of the treble staff, In this position the bow will lie between versions there are many lovers of music When all who are to take part in the the first and second finger-joints. The second and third fingers should just fall who might make carol-singing a special game are supplied with these, sit down at over the stick to about their first joints, feature of the Christmas celebration. the piano, or place one of your pupils ■ aug!gcmBnder«sons 1 which must he slightly bent outwards. There are many modern Christmas there, and without announcement, play a The fingers must not be perched on the .- carols in the type of the two-part song, familiar carol—Adeste Fideles, for in- top of the bow, with the exception of the the most popular of the present-day Eng- stance. fourth, the tip of which actually rests on lish carols are translations from well- Play it through two or three times and the best method of hold¬ this part of the stick. Do not cramp the known hymns and carols of the middle then give the children time to write down instrument round towards the front of delighti.. ing THE VIOLIN. fingers too much together, but try to hold ages. One of the oldest existing carols the words on the first slip of paper, the body. The neck is inserted between household Silver. _, The Sun the first joint of the thumb and the base the bow naturally, and without unneces¬ Aluminuin, and allM other' fi*i metals sparkle is The Boar’s Head Carol. Some of the A correct slip would appear as follows: sary effort The second finger should he beyond compare. " of the first finger. The first finger and old favorites are Royal Day that Chasest by frank thistleton. opposite to the tip of the thumb, and all No. 1. thumb—which should be kept straight ; Wonderful Offer Gloom and Christ was Born on Christ¬ the fingerjoints bent outwards; while the Never Sets and placed slightly underneath the neck mas Day. ADESTE FIDELES. In the first place, the position in which fingers themselves should be inclined ^High Grade Violins^ Translated from the Latin by F. to avoid gripping it—must form a V, Throughout England as the clocks upon the vast domains where Creme the violin should he held is very impor¬ towards the stick, the first pressing de¬ On 30 Days’ FREE Trial ELECTRO Oakley: Elcaya is sold. Well-groomed women the neck resting only half-way down ■ strike midnight on Christmas Eve the tant, and most precise directions are cidedly against it. in this position the this; while the elbow should be brought church bells break the stillness of the O Come All Ye Faithful, etc. all over the world believe in the name necessary, as too much attention can bow must be held firmly but without well under the violin towards the front night with their joyous chimes. The poet For the second number on the program Elcaya because it represents tb them hardly be given to the subject. Standing stiffness.—Modern Violin Technique. of the body. Tennyson refers to it in his In Metno- take While Shepherds Watched Their the “hall-mark” of purity and quality. ■SILICON Flocks by Night, to the old, old tune The head should maintain an erect po¬ VIOLIN CLASS INSTRUCTION. POLISHING CREAM which has been sung for many ages of Such a reputation could never have sition and the body remain still (Fig. I- preferred by many to the Powder, and p been won unless Elcaya was unequalled III). All movement, other than that Teaching the violin in large dases is sessing all its merits. Send your address Tbe n._____ „v Christmases. OUR GREAT OFFER for preserving and beautifying the com¬ much more common in England than in free sample The Christmas bells ii±from hill t . Play this through several times, and which is necessary in the course of play¬ Or. 85c. for a half pint jar postpaid. Answer each other in the mist.” plexion. ing the violin, is undesirable. the United States or on the Continent of Electro Silicon Co.. 40CltfT Street, New York. ThosVwho have"readlScoU’s'Marmip« °f co“rse> tho,se ,wl'° kn™ wil1 wr!te 0,1 Sold by Grocers and Druggists, Europe. Every violin teacher knows that j ft We tack Hamilton Coupons. M will recall this description of old Eng- “?,e .sl,Ps parked No. 2 the tune called THE METHOD OF HOLDING THE BOW. one individual pupil is all the teacher * land’s Christmas celebration. Christmas, by Handel. After the pupil has become acquainted can manage at a time, if strictly artistic When this has been concluded, produce CREME ELCAYA “England was merry England, when Makes the Skirt Like \/ehret" with the correct method of supporting results are to be arrived at, and pupils EVERY MUSIC LOVER Old Christmas brought his sports again. some sheets of plain foolscap paper; and are to be turned out with absolutely cor¬ Should have one 0S our beautiful ‘Twas Christmas broached the mightest ale; the violin, the teacher should proceed to 10 TO 30 DAYS’ FREE TRIAL White Stone Twelve Inch Bust 'Twas Christmas told the merriest tale; distributing this among the children, play explain in what manner the bow is held. rect positions and how movements arc to 1 of their favorite MUSICIAN. Wealso A Christmas gambol oft would cheer the old game of “Biography.” be produced, in fact it would take most 1 have Busts of Lincoln, Shakespeare. A poor man's heart through hafe the year." ie for its great sl__. The 1 and reprouu -ns of various master- This consists of writing the essential l-wide popularity of CREME ELCAYA came of the teacher’s time to keep the violins I pieces. >'ri - *1.60 each, post-paid to So this year do not let the Christmas as a result of its quafity. purity and individual, ' any part of U. S. Send for catalog. We , , „ , , , _ facts in a musician’s life without mention- flowery fragrance which imparts that delightful strictly in tunc for a class of fifteen bud¬ dll mail orders only from this add. carol be confined to church and Sunday- ing anv name. atld then leavin the others sweetness of refinement, as refreshing as the ding young violinists. In England, how¬ CHICAGO STATUARY CO. school. It is the part of every American guess the subject of the sketch, breath of the flower. Through the use of Elcaya, 607 Marquette Bldg. Chicago. III. the skin becomes soft, clear, fine textured, ever. they take these things philosophi¬ WRITE TODAY X;:»-rr teacher to bring this beautiful custom A few hints as to th!s mav be iven be_ velvety, and the effect lasts. When used ss a cally. and in many English cities, espe¬ foundation for powder, Elcaya gives the com¬ nnrn0a°hUr 17’ ” 1 “T* T ^rchand; assigning to different scholars, plexion that inviting look—not a "made up” ap¬ cially in the provinces, violin' classes arc Give the Boy a Combination proaches let every one prepare for the different names musica, historv which pearance, and the powder stays on. For keeping popular. The instruction is obtained at WM. F. LEWIS A SON. M.W. »4 Importer. © Compass-Watch s ng.ng of at least one Christmas carol. have a specia, bearing upon ar;stn,as_ the skin free from chap, irritation, etc., when a minimum of expense, as the class only (Eat. IMS) 22* So. W.b..h Ave. Chl. .a« lll Vf 1 / exposed to cold winds and dust, Elcaya becomes a boon to every woman who values a lovely takes an hour and a half or two hours VIOLIN MAKERS I *< -«»* • <*/» feth (Price $1.25) FLCChSLPc^erbu?7ee^a0dye7"r' Ha>d"’ Handel, Adam-and the well- of the teacher's time. The pupils arc Jr and the other shows'the - known carol and Christmas hymn writers. taught in tliis way from the beginning, MUSICAL GAMES FOR It: is a'Iowahle that a little preparation will send you one postpaid. Address Dept. 28. and some of the l»riglu ones make con¬ Sill CHRISTMAS. be made for t,lis in the way of looking Scoots’ Compass Watch Co.. MinocapoHs, Mina. siderable progress. The teacher illus¬ - up dates and verifying facts; hut the ae- trates, explains plays ihe lesson over for Do You Make Faces BY LEONORA sill Ashton. tual work of composition must not he All Dealers, Nation-Wide, Sell ELCAYA them and has them play it in unison, and PROVIDE FOR AN OLD Instructive games are of great value done until the evening itself, CREME ELCAYA CERAT ELCAYA the pupils learn a good deal from each When Y01 Play the Violin AGE INCOME NOW to both young and old pupils; and in the This Part of the program will be of SAVON ELCAYA POUDRE ELCAYA other. While such a system of teaching How would you like to receive a regular in¬ holiday time, when you will probably jntense interest, both in the writing and 7> ial Size, ro els. Send Dealer's Name may seem ridiculous to an auistic teacher come for the rest of your life starling with the age wish to have some kind of a festival for *n the reading of each effusion, and then yet it is a go proposition for music teachers, to many of whom old age is a bugbear. Full facts upon receipt tive afternoon or evening may be given; plained to the children a few weeks before IN FIRST POSITION) own amusement and UuU of tneir KNOSUP VIOtffl PAD of your name and address. to which the fathers and mothers, and all the holiday time, a small period of his- The first friend those interested in the children, may be torical research will ensue to the great and a baby knows with the left side of the body towards invited. t lasting benefit of your pupils. EVERY yearMennen’s the violin desk, the pupil should assume Y First of all will be the Carol Test; and The same idea of “Biography” may he a natural but erect position, with the The Most Popular Perfume Talcum isintroduced here you may make use of all the dearly- carried out in writing the history of a to a million or more new left foot turned slightly in the same di¬ 11. loved Giristmas Carols, the words and great musical work—the Messiah, Beet- babies. Youknowhowba- in Daily Use rection as the body. The head should showing the position of the arm *MEN bies revel in it, how happy music of which, with their attending de- heven’s Sonatas, and others, look well over the left shoulder, while playing on the ni t of the DOW it makes them, how much tails, should be familiar to all of us. All of tnese games may be interspersed the weight of the body should be sup¬ ON THE A STRING- SiiSvJ? •** INDISPENSABLE ON EVERY DRESSING-TABLE Should be—hut are they? Let the older with selections on the piano, and with real comfort it has brought into their little lives. ported by the left foot. This ensures persons join with the scholars in playing singing by the children, and all music A The oldest and safest tal¬ that the side of the body on which the A beginner this game and we will see. lovers in the room. Bool cum on the market, it is violin is held remains quite firm to sup¬ he Kno*lip V iolin Pad today the one most in de¬ port the instrument while the other side „0ft, ncitf, You • ill «t>4< «f> M1!* Send the subscripts early, and we will mall n as received. No complicated parts. Back s'de, between the chin and left shoulder, heuuUful Holiday card and the December number o arrive on Cbrist- and front neatly lettered in gold. without altering the position of the body. mas morning—13 ra< iplng measure. A “chin-rest,” and a small pad underneath ,he thumb-joint being Tn tbis OUR CLUB PRICES ARE Boothe Knoslip Violin Pad PRICE, POSTPAID, $1.25 the instrument, will help considerably' in towards the po^the b ^ ^ ^ 1 Subscription - - SI.SO obtaining a firmer support for it. The 2 Subscription way a direct do . ah«o1ute1y essen- 20J S. Dearborn Sheet - - 2.70 violin should be tilted at an angle of about 3 Subscriptions - - 3.75 Some readers prefer the binder a CLASS PINS & BADGES wi 11 be obtained. H is . ,>ow. which we formerly furnished, and 45 degrees towards the E string, while Suite $04$ Chicago 4 Subscriptions - - 5.00 Descrip which we still send for $1.00, post¬ ices mailed free ^ the scroll should he correspondingly a 5 Subscriptions - - 6.00 REFUSE SUBSTITUTES! paid. upon request. 10 Subscriptions - - 11.00 httle above the level of the chin. Ami at holding the violin almost in a line with -- OUlV 1 OC DGon w. THE ETUDE, Philadelphia, Pa. the two shoulders and do not drag the THE ETUDE, Philadelphia, Pa. 338 WASHINGTON ST. : BOSTON, Please mention THE ETUDE when addressing our advertisers. 904 THE ETUDE

VALUE OF VIOLINS. white elephant to their preciously KEEPING your good humor. ROOT VIOLINS No question is more frequently heard hoarded libraries. DID YOU EVER than: “What is my violin worth?” This Vocal scores of operas are not a thing r, BY MRS. 1- A. BUGBEE-DAV1S. consider the prices question is exceedingly difficult to an¬ that a student of the violin would prob¬ you are paying for swer. The value of violins is to a con¬ ably think of buying, and yet I have Keep your good humor? Why? Be¬ Musical Merchan¬ siderable extent purely arbitrary. A had so much pleasure and benefit.from cause it pays. It means dollars and dise ? Costs onlv dealer may pick up an old violin for a the few which 1 own that [ venture to cents to you in more ways than one. ONE CENT to KNOW song, put it in perfect repair and good urge others to dissipate a few dollars in Deeper than sentiment are the words, what you SHOULD. the purchase of the more tuneful scores •The man worth while is the one who Our descriptive catalog of Musical playing order and sell it for ten times Instruments such as: violins,’Cel¬ what it cost. The buyer may keep it for The city was buzzing in anticipation of can smile when everything goes dead los, Mandolins, Banjos, Guitars, The Youths I wrong.” All teachers know if our need and everything pertaining to Music years, and becoming hard up either he or the opera season, and I was on my way sent on request. V Highest quality In6trumen his heirs may sell it again for the origi¬ back from the Public Library, where I I js trials to develop us into angels, then rectfrom the Manufacturers and Importers. nal low.price paid by the dealer. had failed to secure the score of any¬ I there is enough material constantly at E. T. ROOT & SONS A. STATHOPOULO, Old violins sell for much higher prices' thing on the bill for the first fortnight’s I hand to give us the necessary feathery 1530 E. 55th Street CHICAGO, ILL. I outfit for our flight. Companion in the United States than in Europe, performances, when I chanced to pass We grown-ups can and must be philo¬ where it is often easy to pick up a fine the doors of a music store that had gone sophical, but we cannot expect it of chil¬ old instrument for what seems an ab¬ into bankruptcy. Wishing to get at dren. Suppose little Tommy does come HAVE YOU SEEN IT? surdly low price. In London, the great¬ least a bundle of cheap strings, I went As it is to~day to ilis lessons with an air of grim deter¬ est fiddle market in the world, auction inside—to come out bearing the scores mination, as if about to have a tooth Assembly Hymn& Song Collection sales of old violins are frequently held, of Faust and II Trovatore, which I pulled and the sooner over the better. is the Best Christinas Present By PROFESSOR C. GUV HOOVER and these sales are sure tests of violin could only afford by giving up all hope Director of the Department of Music of the Kansas State Manual Trai Don’t begin to preach to him about his Normal School prices, since they are attended by some of of hearing any other opera during the I “advantages” and money spent for his A compilation of the very best standard Four Part songs. Hymns and the shrewdest violinists and violin deal¬ month. Choruses especially designed for use in Chapel, Assembly at Gen ' education, etc.; he doesn’t care a snap Give it to whom you will, you will find all the family looking for it. It Exercises of High Schools, Normals, Colleges and Universities ers in the world, who do not let anything The rest of that memorable day was I about all that. Get down to his point of Already Adopted by Leading High Schools, Normal Schoola and really good escape them. Still the prices spent in going through the whole first is more than fifty-two brimming issues of the finest reading the world offers Colleges all Over the United States I view and realize that if you were a boy, a The President of one of our largest State Institutions says: realized seem extremely low to violinists and second' acts and ballet music qf I good live one, you would rather be going —it is an influence for all that is best in home and American life. "The Assembly Hymn and Song Collection is by far the finest col who are familiar with prices in the large Faust, and the succeeding performance lection of songs for school use that 1 have ever seen. The arrangemen I to play ball than the piano. Come down Of the various divisions of Standard Hymns, Patriotic Songs, Loltegi American cities. of this opera, which I followed score and I from your high musical pedestal and he For 1914 there are Nine Great Serials promised, besides 150 shorter stories and great articles by famous men and Songs, Part Songs and Choruses, Etc., is quite ideal. The book will un It must be remembered, however, that pencil in hand, was one of the most women. The Family Page, the Boys' Page, the Girls' Page, the Editorial Page, the Doctor’s Comer, and a thousand doubtedlv fill a long felt need,” etc. I a child again, just long enough to ask a Hundreds of letters like the above have been received from leadtni at these auction sales, the buyer buys at glorious experiences in my apprentice¬ I few interesting questions along his line bits of humor make the year delightfuL There is no Christmas Present like it for any one in any borne at any price. musicians and educators. Consider the Price, only 65c. per copy. ship. We violinists are apt to be too Postage 10c. additionaL A discount to schools in quantities of 100 his own risk. The instruments sell strict¬ I of thinking, and you will arouse his sym- REMEMBER—FIFTY-TWO TIMES A YEAR—NOT TWELVE copies or more. Write for returnable sample copy. ly as they appear at the time of the sale, narrow; many amateurs cannot play the I pathy at once. No time will be wasted, piano, nor, herresco referns, read music The Educational Publishing Co., Pittsburg, Kansas and there is no one to fall back upon if I for the time taken in getting his music 0.ctectlo ew’^0l”0j7' j*8 anartjr the purchaser is disappointed in his bar¬ in the bass or viola clef. In my case I ready will do the work. His relaxation otu. Gold title on rront sad beck edge. For Sale by THE0. PRESSER CO., Philadelphia, Pa. gain, as there would be if the violin was these scores stirred me in my lethargy-, I will be so great that he will becot te quite Christmas Present Coupon bought from a private dealer who guar¬ and lifted me forever from the rut. My I lost in his music lesson. anteed it. friends and I have done about every¬ I Children are especially quick to detect This coupon or the name of this publication sent with $2.00 for The Youth’s Companion for 1914, thing that is possible with this music; A half-yearly special sale of violins and I a light joking manner, and they see the entitles the new subscriber to we have sung it, we have fiddler it, we string instruments was held recently in I funny side of everything if given half a have played it as trios with a ’cello, and 1. All the issues of The Companion for the remaining weeks of 1913, including those containing London and the following are some of I chance. During a snowstorm a child of even transcribed bits for transposing in¬ eight years went to her lesson wearing the opening chapters of Homer Greene’s remarkable serial, “The Albino. the prices realized, reduced to terms of I struments. Since then I have come to I rubber boots; her moccasins were worn 2. The Companion Practical Home Calendar for 1914. American money: A viqlin, assigned to own the Messiah score, and intend to I to the piano. While playing they became Stradivari, date 1692 (pronounced genu¬ 3. All the issues of The Companion for the 52 weeks of 1914—now until Jan., 1915, >11 for $2.00. add a few more favorites to this decid¬ I separated from her feet. Time came for ine by Gand and Bcrnardel), $1,000; a edly valuable section of my library. I a breathing space of relaxation. Spin- violin by Sanctus Seraphin, 1744, $260; THE YOUTH’S COMPANION, BOSTON, MASS. I ning around toward her teacher, with a violin by Francesco Ruger, $350; three I curls dancing, and black stockinged legs violins by J. B. Guadagnini, $1,500 each In the Finnish mythology, the divine j straightened put stiff from an abbre- for two of them, and $800 for the third; THE ETUDE |«07t: Vainamoinen is said to have constructed I viated skirt, she announced in her jolly, two by Pressenda, one $430, and the other THE ETUDE ... ] THE ETUDE (Tor all music lovers J McCalls .MPMhr.' .llr the five-stringed harp, called kantele, the I dimply way, “Gold Dust Twins.” Again, Modern Priscilla-. Youth's Companion ' ** $475; two violins by Tomasso Eberle of ^4— *3- only national instrument of the Finns. a teacher was explaining a new lesson to Youth’s Companion J Youth’s Companion Naples, $325 each; a Landolfi violin, The frame he made out of the hones of a child by saying, “Now we can notice THE ETUDE $550; a Carlo Bergonzi violin, $800; a 1 THE ETUDE Mother's Matouno the pike, and the teeth of the pike he I that every time a note is played from THE ETUDE . . . 1 $410 violin by Nicolaus Gagliano, dated 1762, |$425 3SL’,TiliLEco«p.] 5450 Delineator 1*412 Youth's Companion used for the tuning-pegs. The strings I below we jump up to C.” As quick as a Pictorial Review ... • . | Youth’s Companton Aft or Jon. 14. $4.40 $950. A beautiful Panorma viola was Youth's Companion I he made of hair from the tail of a wink, the child laughingly replied, “C Youth’s Companion .. J ^and oil order* to THE 1ETUDE. Fhllodelphto. sold for $35; a famous Grancino violon¬ I spirited horse. When the harp fell into I must be popular.” cello, $425; a Storioni violoncello for the sea and was lost he made another, I With even such trivial relaxation while $275; a handsome violoncello by Venta- the frame of which was of birchwood, working, there will be no tears for the pane, $235. with pegs made of the branch of an oak I child and no headaches for the teacher. Anthems. Solos, Duets, These prices certainly make the Ameri¬ tree. As strings for this harp he used I Under these pleasant conditions does the can violinist’s mouth water, if the violins : : Cantatas end : ; SERVICES the silky hair of a young girl. This in¬ pupil lie awake nights inventing excuses CHRISTMAS sold were anything like fair specimens of Which strument he played with so irresistible I to lose her lessons ? No, indeed; instead, CHRISTMAS ORATORIO the maker’s art. an effect that he entranced whatever NEW CHRISTMAS MUSIC j he or she always looks forward to the For Solo*. Cboru* *»d Orchestra came within hearing of his music.- I next lesson with pleasant anticipation. anthems J182-Th.reW.ro In th. Som. Country By W. W. GILCHRIST OPERA SCORES FOR THE Under harmonious teaching influence a A. W. Dtadm The Modern Priscilla Cha». B. Bloun VIOLINIST. I lesson lost is a punishment to the child, J196-HO -Shall B'57h* Boll. J. L- Hopktn. 3206-Lift Up*Yo£r H«d«r Fdwvn CI.r. as one teacher has proved, for she has F. H. Brockott WM. L. SCHWARTZ. NEUNER VIOLINS I been told by different mothers that her stsawssSr1-—: and have bcc. W. ,- I child has been made obedient by threat- SESE'o’SHfcft '* 5-r by leadingtg solosc and orchestra players throughout ening to deprive the child of the lesson Every amateur musician has his own the world. I Price $25.00 >f she is disobedient about something out¬ A Somplo Copy I memories of disagreeable experiences I We don’t consider a violin sold until tl- - side of music. n«5llheuh«rd. O’"? Thoir Flock. Ar. Tending months’ subscription for 1____ connected with the purchase of music. •tomer is satisfied in evety particular. Catalog (regular price $1.00 at year), end your choice of of fine Violins and Cellos sent free. 3^41upoSnhrS« Midnj.h. Clc.r C.rol An.hrrr. y. SERVICES citherthecollarorbagasdeKribedabove. When During student days one goes to recit¬ R. S. MorHioa ordering, be sure to State which you prefer. als, coining hack fascinated with some MUSICIANS’ SUPPLY CO. With Joyful Song If you ate net already acquainted with THB Moijkhn t) Lagrange Street EU-wSi* shophord. w*'chSQLOS,N sheet form t Pkiscilla, mad the following i number from an artist’s repertoire, and “ART FOLLOWS BREAD.” Wolcott Joy of Christmas Tfiete are two subjects In which almost evety woman has a live Inteiest— I'AMCV Work and determined to buy it, only to find on ob¬ The age in which we live is a commer¬ Clad Tidings lltiltSEKkariNG. "homy Wert," as the tetm Is Useit hem. Includes fimbroldety of every de¬ taining the music that one did not want cial one, and the spirit of business rules EfS SSSSJ^"*"^ scription, Crochet, knitting. Utceitiaklng, Stem it. Some years ago I remember hear¬ . the artists and musician no leSs than the t iling, OK, Water Color, and China Painting, and CANTATAS many other feminine handicrafts, '• ttoueehupfng" ing Fritz Kreisler play Saint-Saens’ Op. I physician and the lawyer. Perhaps it is SANTA CLAUS’ PARTY Moo, S cent. Mcfcl SS con*, pot Aooon. Includes everythlnj you cstHhlnk of that has to do 83, the Havanaise for violin and piano, as well that we should cut our hair short the morning star * Christmas Cantata for Short Chrlstma* Cantete for EMhlastieemisMoDtiltNl’ltisctt.t.A Is divided in such masterly style that it seemed to aT1(l go to “business” every morning just Young People Into luvpnrh-ont devoted to I'ANCVtVonK, the TOY SYMPHONY other to nvenvtMY lloVSHknaPINn. I-orbeaull- be no more difficult than a student grade | Iike the bank president—or the corner By LOUIS F. GOTTSCHALK ful. original jnncy-nutS designs (from so to mo each month), with directions and Instructions, no III solo. When I succeeded in import¬ I Srocer. In any case, we have to do it, tnneoeno anyu time equal, l it h MotiEHN Pris- I-or genuine helpfulness In all the railed ing the music from Paris, it goes without it is the only way we can make money. saying that I was unpleasantly disillu¬ 1 Let us hope, however, that there will al- sioned. Indeed, I have not been able j ways be a few who value their art more ven to give the thing away to more ae- To introduce my new fhan their own comfort. “Write in a ...... nnplished friends. Leaders of small Deep Cup more popular style,” said Hofmeister, the rchestras, especially in country places Leipsic publisher, to Mozart, “or I can Violin Chin and Shoulder Res* c' THE MODERN PRISCILLA where opportunities for professional gos¬ j neither print nor pay for anything of D FORA COMPLETE listofowi^5 Chestnut Street - ' Phl a C sip are few, find that even the exercise or Chin Rest alone 50c. Posl_Pa' . j I yours.” “Very well,” answered Mozart, 85-0 Broad Street - Boston, Mass. O. T. KNODE, Manufacturer. Richmond, ‘‘'Len I shall earn nothing more, go of great care in ordering cannot prevent Special prices to deutrn the occasional addition of a musical hungry, and devil a bit will I care.’ Fl*Me mention THE ETUDE when addressing out advertisers. . Please mention THE ETUDE when addreisU* onr advertisers. 906 THE ETUDE

done; they are not to listen, peep or pry CHORUS OF RATS. about when he works his charm. No! No! A thousand times i (The children run home with their PIED PIPER. zvater jars.) (At the river's brink) ACT II ’Tis a perfect night, so clear and bright (Evening of the same day, the moon is Let s leap the bnnk of this tiny creek and rising over the market square, the Pied follow the trail of the last moon-ray to Piper sits alone at the edge of the fouit- the Land-that-never-has-been. 1 (The Piper trills his pipe and lean PIED PIPER. across, the rats follozv Inm. a cloud ob My! my! what a silly people! ’Tis s.urcs the moon, they miss the opp0. well they know not the charm which site shore, fall into the river and dis lies here (tapping his pipe). I could appear.) rock the bells from the steeple, .turn t*IED PIPER. the moon to cheese, the stones to (Laughing from the opposite shore) gold, level the hills and make ice of red My work is done, now for the reward hot coals. The Mayor himself, the doc¬ before another day’s begun. tor, lawyer, or the whole corporation, will The Pied Piper of Hameln never know how to work this combina- ACT 111 (Noon of the second day. Town A Playlet for Reading at Children’s (He puts the pipe to his mouth and square, crowds surge up and down, bells Musical Clubs blows softly.) are ringing, flags are flying.) (Assign a Reading Part to Each Club Member.) First Rat. (Stealing from the Rathaus THE MAYOR. steps) (Mounting the Rathaus steps) (Victor Newsier, conductor and composer, HEDWIG. What dulcet tones are these? Rejoice—rejoice, good people, for the was borrn In Alsace in 1841, and died at Second Rat. Strasburg in 1890. After studying theology ,( Disdainfully ) joy the corporation has brought this in Stuttgart he went to Leipsie where he And over rats! Methinks ’tis the sound of a south conducted male choral, societies. His opera, (The children shriek aloud and tumble breeze. The piper o] Horne’n, became a universal from the railing as two large rats jump T ,"r „ f ; . , , favorite, so much so that there is scarcely - - - It s effect is as the odor of n n theatre iu Germany in which this opera through the Council■ Chamber■ window.)■ is not not* given.) HEDWIG. ed cheese. Fourth Rat. The scene of the following events ts (Rising and rubbing her elbows and ’Tis delicious! the old town of Hameln on the IVeser knees) Fifth Rat. at a fright—but see who comes! Superbly beautiful! ACT I GRETEL. (Morning at the fountain in the ket. square. Enter Fritz, Hans, Gretel (Brushing the dirt from her and Hedwig, carrying watci dress) Knowest thou—’ti 5 the stranger GRETEL. they are expecting. (In a whisper) (The children hide behind the Ach—hast thou heard, Fritzchen ? oaken doors of the Rathaus—the . FRITZ. Pied Piper enters from the left, Heard what? he plays his pipe and passes into GRETEL. the Council Chamber, the children Of the Council. (lurry to the railing.) HANS. HANS. Council for what? (From the top of the railing) HEDWIG. Listen—:he Piper is piping the 'In an awed whisper) Rats! sweetest lay. He is telling them . GRETEL. of rat catching without traps, or (With fingers to her lips) Hush! springs, or sticks, or anything. (Pointing to the Rathaus.) Yonder they sit plotting to outwit the ts—thou hast heard of the terrible raid these rats have made—carried away my ermine coat, bit the dog, ate the swallowed the lantern of the old town watch, gnawed the mark from my silver spoon and nibbled a piece right out of the moon. ALL TOGETHER. Ah-h-h-h! Oh-h-h-h! GRETEL. Come, let’s find what they are doing, hands are- \Ye will climb the rail on the eastern side and take a peek at these civic GRETEL. fathers. (Pulling Hedwig Di (They pull down their water cans. Thou has seen cross the market place and climb the keep the window to rail on the eastern side of the Rathaus.) HANS. (To Frits) Be quiet! Dost thou not know, lad, that ’tis the Council Chamber? FRITZ. (To Hans) Na. Na. They will never hear us above the din they are making. See the Mayor shaking his fist at old Herr Grimm, and Peter, the tinker, is tweaking the nose of the beadle. Ethelrus, the clerk, has lost the buttons from his coat and brok¬ en his specks—what on earth will they be doing GRETEL. . (From below) . Seest thou not this corporation is the greatest consternation? 908 THE ETUDE the etude 909 Musical Gifts for A Gallery of A Gift of Value at the Book Lovers. Distinguished Musicians. Holiday Offer No. 3^0— Durro Violin. Books have long been among the most Smallest Price. Stradivarius Model, light brown, high Appropriate and Suitable Christmas Gifts for Music Lovers | popular of Christmas gifts. There is We take pleasure in announcing that Great Pianists ot With ail P°ll‘h. nicely ornamented and well fin- something inviting about a book gift Irtl?vrrang,ed t0 Publish a series of Piano Playing. Witb all *he ixhrd, tone and workmanship first class, portrait biographies in an attractive book proofs read, the Durro bow of Koma wood, light, strong which suggests future pleasures and not fiy J. F. Cooke. pages “made up” leather board, waterproof case. Italian merely the pleasure of the moment. We '°™’Jnclu.dmg many of the most im¬ portant modern musicians. This will be 1 ■ and the pictures strings, best rosin, flecker chin rest, pitch are especially fortunate in having in our issued in uniform size and style with being engraved, it can be but a very short pipe—$15.00. Transportation extra. For No. 6. A portrait of Bach, Chopin, Musical Post! ditalog a wide range of books upon musi¬ Musical Celebrities and Eminent Musi¬ time before this new work will be in the Uie student or p Music Rolls, Satchels cal subjects or allied to music. At Handel, Haydn, Rubinstein or Schumann cians, but the contents of the book will hands of those who have taken advan- -Dt ro Violin and Folios Cards and Pictures ■nigui uc uassed more as an Christmas time we take the opposite photographed in an oak frame and engraving than anything else. Th-v*- be totally different and entirely new, as it style am Notwithstanding the constant increase The ever popular Platinotype Post course from that of the average merchant tafe_of our special offer, which enables printed on a heavy board in photo brown ; Cards are still on the market, and from all very suitable for framing. The 1H will contain biographies not included in all Etude readers to secure a copy at a in the price of all leather goods, it is and reduce the prices of certain books,— jHilished, “flamed.” n a unique imitation of a framed portrait; all indications are daily increasing in of the pad is 10 x 12. Slze the other collections. Despite the fact de of selected old possible for us to offer during these Holi¬ affording our customers an opportunity fraction of the price, which will be placed wood, tone to satisfy a proiesi size 9 x 10yi inches. popularity; these are cheap in price but that the former collections represent one day times, the following list of satchels Special which is always appreciated at this ex¬ upon the book the moment it is published. cian. bow genuine Pernambuco The prices of all calendars are the not in quality—a far richer and sharper hundred and forty of the most famous and rolls made of the finest grades of Pictures pensive season. We take the following In other words, by ordering now, this _ right and shape ornami leather, at very reasonable prices, much same—10 cents each; $1.00 a dozen, as¬ finish than any of the modern dull musicians we find that such important sorted, postpaid. books as representative of the most at¬ composers and artists as Massenet Ysaye work of nearly three hundred pages, may sole leather cai M 1 reive lower than can be obtained anywhere finished photos. Our list contains over Their Son. A small French picture of tractive works in our catalog: be had for 50 cents. The twenty chap- 1“**4 Padua string! best 500 subjects, including most all the promi¬ Caruso, Henschel, Hugo Wolf,' Dam- else. the return of the genius son, playing his Regular Holiday ters are devoted to the personal state¬ . special model dtin The satchels make most appropriate Metronomes nent composers, singers, violinists, etc., of violin for the family. Size of mat15*11 rosch Wolf-Ferrari and other musicians Price Price ments of the greatest pianists of our T ran spoliation ' extra. musical gifts and we would draw particu¬ Every teacher and every student of the past and present. Write for new —picture 5j4 x 7J4; one color, price 50 History of Music—W. J. Baltzell $1.50 $1.10 of like prominence were not included. time upon the subject of piano playing These are genuine bargains and we are lar attention to one which we have spe¬ music needs a metronome. No house in catalog. Our Bromide Cards are real cents; December holiday price 25 cents Standard History of Music—J. The new collection is unique in itself and sure that any of our patrons who have F. Cooke. 1125 .1*0 stands by itself. That is, it will make a Each chapter is devoted to one pianist cially manufactured for men’s use; it is the world has had more experience in photographs with a rich brown, glossy The same, hand colored, price $100- Oallerv of Eminent Musicians. . .75 .50 accepted similar offers from us in the full sheet music size, leather lined, buying and selling metronomes than we finish; this list contains about seventy-five holiday price 50 cents. ’ ’ Same—Bound ln Full Leather 1.50 1.00 highly desirable addition to your studio and in it the virtuoso gives his intimate past wifi not hesitate to recommend them independent of the other books. In fact, doubles in the center and is without have. There is no question but that a subjects. These post cards can be ar¬ The Musical Hall of Fame. A photo¬ Gallery of Musical Celebrities.. .75 .50 views upon how the piano should be to their friends. Satisfaction guaranteed. Same—Bound In Full Leather 1.50 1.00 teachers interested in modern music handles. The price postpaid during the metronome is a most appropriate article ranged in various ways and made up ac¬ gravure, size 22 x 14. containing excel¬ studied. It is by no means exclusively a Dictionary of Music and Musi¬ workers may find this book more neces¬ Holidays is $5.00. Following is the list: as a musical holiday gift. We handle cording to one’s taste into many suitable lent likenesses of 18 great masters in cians—Dr. Hugo Itiemann.... 4.50 2.75 book for teachers, or advanced pianists. Holiday Issue sary than those previously published in only those metronomes that we have gifts. Price 5 cents each or 50 cents per graceful positions, arranged according to Ak-estis—Musical Novel. 1.00 .07 Any student capable of reading will find Title Page Music Rolls Imaginary Biographical Letters the same series. Seventy full page por¬ found by long experience to be reliable. dozen in any assortment desired, or let us precedence. Price 10 cents. hundreds of inspiring ideas, illuminating Cowhide, smooth finish, 14% Inches from Great Masters to Young traits accompanied by comprehensive, yet It would hr difficult to imagine a more' long, unlined. Colors: Black, brown send you our own Special Holiday Pack¬ People—Cox-Cbapin . explanations, practical technical examples appropriate or a more beautiful and at- Our special prices for the holidays, if Medallions Theae First Violin—Jessie Foth- concise biographies will make up the new and wine. $1.00 cash accompanies the order, are as fol¬ age containing twelve cards for 40 cents 1.00 all expressed in clear English. The con¬ ti active title- page than appears on this Same unlined, 15% inches long. 1.30 postpaid. that cannot he bought elsewhere, some¬ ergill book. The information in many cases is lows; if cash does not accompany the Life and of Handel, more definite and inclusive than that ferences have been prepared in person issue. A most artistic portrait of a most Seal Grain, 15% inches long, unlined. We have been fortunate enough in thing neat and attractive, very appropriate H)__Haydn, Beethoven, Colors: Black or brown. 1.30 order, then transportation is charged ad¬ which may be found in some biographical during the past ten years by James Fran- beautiful character among the musical Same, lined and bound. 2.00 placing an order before the general rush for gifts, real photos of twelve Great Mendelssohn, Chopin, Liszt of all timet, a picture delicately ditional : Wagner and Mozart (Petit dictionaries costing twenty times as cis Cooke. Among the pianists included and we are now in a position to furnish Masters of music with a celluloid cover¬ well worthy of 1 Music Satchels Library)—Edw. Francis, each .35 much. In advance of publication we shall _1 j_1... \- _ c v unira American Make, with Bell . our readers with a real, solid, black oak ing for protection, made in two styles: Same—Boxed. Complete Set. 3.00 tcki- Half Sheet-Music Size American Make, without Bell .... 2.15 frame made from 2 in. moulding, con¬ four inch round and cabinet oval, with Old Fogy—Janies Iiuneker.... 1.00 be pleased to send all who accompany Rachmaninoff, Ossip Gabrilowitsch. F Cowhide smooth finish, unlined, with French Make, with Bell . 3.35 drawing r< well a taining any of the above post card photos, UK-hard Wagner, His Life and their order with cash a copy of this new Busoni, Harold Bauer, X. Scharwenka, „f the handles, folds the music once. French Make, without Bell . 2.35 easel back; subjects as follows: Bach, Works—A. Julllen. 1.75 t pn cal t Colors: Black and brown. $1.50 J. T. L. Best Foreign Make .... 4.15 finished complete ready for hanging. Beethoven, Chopin, Handel, Haydn, Liszt, work at the special introductory of 33 Wilhelm ltachaus, F The lettering has hem J. T. L. without Bell . The Masters and Their Music— cents. The same book bound in tine ooze Seal Grain, same size and colors. 1.50 Special holiday price, 60 cents postpaid. Mendelssohn, Mozart, Schubert, Schu¬ w K R, Mathews. 1.50 Zcisler. Josef Hofmann, Teresa Carreno, Seal Grain, unlined with longer handles leather at 75 cents. Order distinctly Metronomes are sent by Parcel Post; Colored Post Cards, our own make, mann, Verdi and Wagner. Special Holi¬ Descriptlv. I Analyses of Piano have arranged to ft old and bound edges, black only. 2.00 Works-—E. B. Perry. 1.50 “The Gallery of Distinguished Musi¬ Emil Sauer, Josef Lhevinne. Max Fauer. Same leather lined, turned in edge.. .. 3.00 the rate varies, according to the zone, each containing photograph of composer day price, 25 cents postpaid. of Standard Teaching etc. No more attractive Christmas gift (18 x 21) complete with mat. Seal Grain, leather lined, bound edges, and birthplace, printed in nine colors. cians.” The Gallery of Musical Celeb¬ from 14 cents to 36 cents. —E. B. Perry. 1.50 1.00 for the piano student could l»c imagined. for $1.50 postpaid. black and brown. 2.50 There are fourteen of the Great Com¬ Plaques Life st< rtes of Great Composers rities and the Gallery of Eminent Musi¬ Seal Grain, unlined, with pocket book —u. A. Streatfleld. 1.50 1.00 cians sell during the Holidays for SO It will bring new ambition and inspira¬ We can also furnish oak frame attached, black. 2.25 Half-hour posers in this set. Special holiday price, A small but appropriate Christmas gift First Studies in Music Biog¬ photogravures takm from previo 30 cents postpaid. made of hard plaster and provided with a raphy—Thus. Tapper. 1.50 .DO cents each, in leather $1.00 each. We will tion from the greatest masters of the day Music Satchels Glasses send all three paper bound for $1.00. to every purchaser. Price, 50 ccnti ;i title pages and illustrated on p»i We have just issued a new catalog con¬ clasp for hanging, size 4j4 x 6J4 inches, Celebrated Pianists of the Past this issue for $1.25 postpaid, sire Full Sheet-Music Size In the studios of the best teachers are taining many new musical pictures which of the following composers: Bach, Beeth¬ and Present—A. Ehrlich_ 2.Q0 2.00 postpaid, leather bound for $2.50, post¬ the date of publication when this imroduc Seal Grain, silk lined, with handles, E T U I) E. Bound Volumes These photogravures in monot< almost invariably to be found an hour or we will forward free for the asking. oven, Chopin, Handel, Liszt, Mendels¬ (Nearly 200 pieces). 4.00 *L3.» paid. Lory price will be discontinued and tin holds music without folding, black a half-hour glass, usually the latter; a out printing, sell for 25 cents es and brown .$2.75 A new series of the most popular sohn, Mozart, Rubinstein, Schubert, Schu¬ Great. Piuuists on Piano Playing regular price for a book of this size am colored 75 cents; the cost of ti most effective method of keeping track of —James F. Cooke. 1.50 .50 Same size and colors, leather lined and cover titles of past issues of The Etude mann, Tschaikowsky and Wagner. Special Grove’s Encyclopedia kind will be applied. We are planning t* of course, would lie additional bound . 3.50 the lesson time and the many difficulties without reading matter, done in genuine- Holiday Price, 40 cents postpaid. of Music have the work ready for delivery be fori pricea. Seal Grain, unlined, with handles and surrounding that subject. The cash price Bound Volumes straps, bound edges, black and brown 3.50 brown photogravure on heavy paper, of This great work has been withdrawn Christmas. Numerous fine hslf tone cn- _ Same size and colors, leather lined and for December on this half-hour glass the following subjects, size 11 x 15: Musical of Music. pipe from the general market on account of graving*. Biographies of all pianist, rep- ColTeX. bound . 4.25 packed carefully and delivered postpaid. Beethoven—The Approaching Storm. Jewelry The following is a list of very attract¬ organ W>k is fair¬ Combination satchel can be used either Dream of a Masterpiece. its being sold only by subscription. Wc resented. as full sheet-music size, or folded On page 910 of this issue will be ive, beautifully printed and bound col¬ have made arrangements whereby we can ly well along and Harmony. found a complete advertisement of our Once. Seal Grain, leather lined and Her First Lesson. lections of carefully selected music. We furnish the work at an unusually low will lie withdrawn from the special offer bound, black only. 3.50 Musical Jewelry. The various designs Music Music Cabinets Inspiration. list them because they are attractive Hob¬ rate, lower than it has ever yet been during the next month. The opportunity Same silk lined. 2.50 Visions of Wagner. make very appropriate gifts for those de¬ day gifts of more than usual value. The Stands Same ; white, washable, linen lined. . . 1.75 for Christmas Gifts Franz Liszt. offered. The work has lately been re¬ is still open to procure a copy of it at a Mozart at Salzburg. siring to present something in keeping prices are extremely low. Considering vised and entirely new plates have been We herewith give a list of the most Music Folios Entirely apart from the decorative fea¬ very nominal rate. These pieces are all Musical Hall of Fame. 14 x 22. with the season and are particularly ap¬ that the books are sent postpaid, the price made. It is a colossal compendium of popular music stands sold by us. There Heavy board sides, bound in reliable Schubert in the Home. f a grade auitable for the average < tures which make Music Cabinets es¬ plicable to those with musical taste. They is just about cost. _ ,,, musical knowledge, in five large volumes. is no doubt of the apprdpri— —«*" cloth, lettered “Music” in gold on the Schubert—Maid of the Mill. Regular Holiday holiday gift g*«ri»t and most of the pieces have ap¬ pecially acceptable at Christmas, a good are sold at very small prices, and have Sir George Grove gave almost his entire an article of this kind as t cover, strings for tying, back 254 inches Special price, 25 cents; hand colored, Franz Schubert—Fifty Songs. Price Price peared in Tilt Entrn- They will he bound cabinet is a most useful piece of fur¬ always given satisfaction. Many of thj- life to the work. It is a credit to the for musical persons and the pru 75 cents postpaid. We can furnish a High and Low, each.$2.o0 $—AM up in strong cover and will he in most thick, carrying capacity 100 sheets of niture in any musical home. Go over designs are available for use as Club Robert Schumann—Fifty Songs. cause of music. It is the most complete herewith give are very low for the month music, price postpaid, 60 cents. Some your musical library carefully and you frame for any of these 11 x 15 photo¬ Pins and Badges. We give below a High and Low. each. 2.50 2.0V of December. available form for organists. As the Fifty Mastersongs. High and 0 encyclopedia of music in any language with heavier board sides, leather back, will find that it represents quite an in¬ gravures size 15 x 18, a fine quality and partial list of the more popular articles. Anyone wishing a complete musical 1.—t'mbralla Bund (wrtxtt 2 Ibwt.Jsp- pieces in The Error now are spread over design of oak, for $2.50, postpaid. This Low, each. 2-50 "UB snued when folded ; 21 % laches long. Fries handles for carrying, 75 cents. Board vestment. Surely it deserves to be pro¬ An illustrated catalogue of the complete Frederic Chopin—Forty Piano library will find it in Grove s Dictionary so many volumes they are almost useless sides covered with paper, cloth, J4 inch tected from the wear and tear that always framed picture is well worth more than line will be sent for the asking. Compositions . 2.50 2.00 The new edition is but two years old and U 2 -hsm» abkel puted II 00. to organists, but bound up in a suitable we ask; we offer it as a Christmas special. Frederic Chopin—The Greater 8.—Nickel pl«t"d, no thumhsen- *1.25. back, a small folio for carrying or keep¬ comes when music is heaped upon the Chopin ... . 250 2.00 it was then up-to-date. ._._ solum*, they make a very valuable cotlec- We have also portraits of Chopin, LADIES’ COLLAR AND CUFF FINS; 4.—Rockwell TelrsuohU- KUirid, ing music from damage caused by handl¬ piano. Styles change from season to made in three mottoes, “Never Be 1 lah Edvard Grieg—Piano Lyrics and Our special price this year during Liszt, Rubinstein, Schubert and Schu¬ compact, very strong, full ; ing, 30 cents. season but we have procured the very ••Sometimes Be Sharp,'’ and ''.Uwaysne Shorter Compositions. the Holidays is $15. Ttate "<* i» market), *1.75. The advance price if hut 30 cent* post¬ best cabinets for the money invested! mann, special price 25 cents, postpaid. Natural " in sterling silver, gold or sliver Edvard Grieg—Larger Piano l**S—llamlUsa “trseonlr Calendars Compositions . 2.50 2.01 elude the transportation. The work w paid They come in mahogany and walnut, 41 Three panel portraits in brown photo¬ Franz Liszt—Twenty Original be sent by express. Remember $la win plsted^ho rSaSc-a fir Mosl'- Wands, A simple, inexpensive gift is hard to gold plated, 25 2.50 2.0( inches high and 20 inches- wide. The gravure, each containing four great com¬ Plano Compositions. purchase the entire work wh* $1.00. Salon Album. Thi* w ill he pos¬ “• -ty Piano 7-No. S3 Lyra Orchestra Bund. Iron find, particularly when one has many to prices, $10.00, $13.50, $16.00, $18.00, de¬ posers, price 10 cents per sheet, or $1.00 °nmtEASTtSi,INS, containing all three few months ago could only be purchased it ive 1 y the last give. Calendars with the faces of great per dozen postpaid. timente, 50 cents each_ in (M Transcriptions . tube ond rod. “'-st ds»t*n,> «Mt _ trilt pending upon the elegance and size. Ihe New Organist. Whiting... nonth in which this collection will he of- composers of music as their ornamenta¬ finish : hard enamel, for $25. Transports turn Another type of cabinet known as the No. 1—Bach, Beethoven, Mendelssohn and STICK PINS, In either of the three sen Robert Schumann—Fifty Piano ered at a reduced rate The collectvm tion have always filled this need, perhaps Wagner. timents, sterling silver, 25 cents each Compositions . Tindale Cabinet is composed of a series No- 2—Chopin, Liszt, Mozart and Schu¬ Twenty Four Negro Melodies.. Wagner’s • t, i j has Ixtti described in detail in several of better than any other low priced article. of shallow drawers and is adapted to mann. Mendelssohn's Songs without Mahogany conductors’ 2.00 115 “Nibelungen Ring.” CMMDto ,he l***’00* The F.ruto It is Our calendars for 1914 will be as follows: better classification and cataloging. These No. 3—Handel, Haydn, Rubinstein and pin, 25 ‘jgrcents. ir.g metal rod, at prices from $10.00 Schubert. prieg Album. 2.50 1-40 This unique and world famous mast-r- me of the moat popular collectinm of old No. 1. An imported, embossed card cabinets accommodate from 200 to 600 Tile Violtneello or the Violin °r the FoW 2 50 1-40 ns stick pins in two qualities, 2o cents a Moszkowski Album. favorites that it in the Friers eatakgruc. lithographed in colors, 6x8 inches in pieces of music and have the strong en¬ Artistic Portraits Bngner— Liszt Album. work of one of the "f'^Te in £ ^Tbe prices here fiven are postpaid. 50 cents. . lTre> Thr pieces are principally by such authors size, with an easel, containing a portrait dorsement of many well-known profes¬ of Musicians See the advertisement listing the ** . Frederic Chopin—Waltzes - nineteenth century should t * . of The stands will I* packed carefully. of either Beethoven, Chopin, Liszt, Men¬ r rederie Chopin—Nocturnes.... as Krttercr. Goeia, Aarhrr and Richards, sional musicians who have installed them. Many of our subscribers will remember Harps, Mandolin Tambourine. Ba*U<»L,> ln delssohn, Mozart or Wagner. 11ns, Cornets as pendant: or charms Mozart Sonatas. such pieces as have stood the test of time In price they range from $12.00 to $35.00. that last year we offered some very artis¬ Beethoven Sonatas. Vols. ISanof Violin No. 2. Imported, embossed. litho¬ prices ranging from 30 cents to $l-8»- 2.50 1.40 p-Sloritirort and become, as St were. 1 lassies of this Let us send you a descriptive list. tic portraits at a very nominal rate during 2.50 140 graphed in colors, size 4 x 9J4 inches, Chatninade Album. Outfit. particular class of motx There are in all Following are prices: Cabinet 41 inches the holidays. We still have a number of Riemann’s Godard Album. 2.50 1.40 silk cord to hang on the wall, containing high, 20 inches wide, depth inside 13 Grgan Player. Pipe Organ Col- We have made special arrangements with twenty pieces which are Here offered for these left. We had 17 subjects last year Dictionary- , 1.50 majestic^ permanent one of the large importers of musical the same portraits as No. 1. inches, handsomely veneered on top and and this year we have but nine. The nine Possibly the most acceptable gut . lection . cent each postpaid, that is 29 c No. 3. Imported, frame ornamented •’reran Repertoire. Pipe Organ world s music *reas"D; . cc,irr« of instruments under wlklclsmw »«'aMeto j- ^ ^ ^ front, in mahogany, $10.00. (The same composers that we have this year are either students or teachers during Collection . 1.50 l.« with a formal design in green, size 6x8 cabinet may be had one inch larger and “Tschaikowski,” “Moszkowski,” “Gounod,” Holiday times would be an encyclopeoi ^^be^..15 Rh^fS 3.00 2.25 of 'three1very special bargain* in violins, l ^ in purposes, costing $10.00. but for Amati Model eolden brown, imitation old fer cm this »41rc- No. 5. A cabinet sized photograph of high x 17M inches wide, eight drawers, mention a particular composer that they to date and is in one volume c \]aC|; hical use while at the same time suit- be had this •nitedStates. or W- chipped varnish, ebony trimmed, snake- llun if modem songs will I* Completed Beethoven, Chopin, Liszt, Mendelssohn, accommodating 200 pieces of music, oak wish included, we shall be glad to send 900 pages, substantially bound is as a gift, we recommend a special wood bow. leather hwrd waterprrW case. (h)rinR thr currtBt n«mth Mozart or Wagner mounted on a_ brown $10.00, mahogany $12.00. Style D, 40 x that one if the supply is not exhausted. doth. The retail price of. th» 5. No. 211, of rosewood with German ...JBPi L pi*4* P’l* The •i - % price of this mat board, size 8 x 10 inches, with silk 1744. capacity 400 pieces, 16 drawers, If it is exhausted then we shall have to $6.00. Our Holiday price is & be sr tips and center band, that we can Transportation extra A good ribbon to hang on the wall, brown pad ; quartered oak, $20.00, mahogany $23.00. substitute, as we expect the entire stock paid. This is the last time tha >t r during the holidays for $1-75 post- beginner’s outfit a neat, artistic and useful studio decora¬ All prices for these cabinets are net. will be exhausted before the Holidays are possible to procure this valuable Shipped by freight collect. tion. over. These portraits are positively art at a reduced rate. 910 THE ETUDE THE ETUDE 911 Gifts for Music Lovers at Special Prices

5 for 1914

Selected List of Musical Works GENERAL MUSICAL LITERATURE ftLTii INSTRUMENTAL COLLECTIONS GREAT PIANISTS ON PIANO PLAYING iiSSiSsiSssss A I s= RICHARD WAGNER—His Life and Works - %: 1

THREE GIFT BOOKS OF SMALL PRICE PVP S*SS- i.o0 120 GALLERY OF MUSICAL CELEBRITIES Series I .75 $1.50 .50 $1.00 GALLERY OF EMINENT MUSICIANS Series II .75 1.50 .50 1.00 CHopln g-*— GALLERY OF DISTINGUISHED MUSICIANS (New) Series III .75 1.50 .35 .75 rrice, 25 cents each Music and How it i» Won', « tel., Irst Itoeltal Piet Beautiful Lithographs Ss&Mi-S-Ss LIFE STORIES OF GREAT COMPOSERS iolin Playing' Cour- lies of the Great Masters By F Tnn>iusii.: * tisod::.: J i3 BIOGRAPHY AND LETTERS

OLD FOGY-His Opinions and < 35" ; si The Standard History of Music

BOUND COLLECTIONS Musical Post Cards ..Mb sj'Siuitce i:” h,;';pi";

iry Biographical Letters from Great FICTION MUSICAL NOVELS \m y ALETHEA CRAWFORD COX and A BB1 Sr isii3Ssw B HISTORY , ,, rv is VOCAL COLLECTIONS

Historical Post Cards * :iSr,S3fi « *y&^p FOR THE CHILDREN _ ToI Alette you.*, opes, schu- „ %''f k*'^ ..• SS ^ K MUSICAL PICTURES^PLACQUES ANDJV1EDALIJONS

'child ■ world <;aynor ^ | |hf. Mu

i5S

BOX SETS OF BOOKS AT VERY LOW PRICES Reward Cards MISCELLANEOUS , «■ - ■. The Petite Library |^th| Gr. : ■mmmm of 12 Great Matter* day °2s^LN«:hVo Holiday^Caeh^Prjce^Poiitpaid^Six^Voluniea,

Descriptive Catalogs of Musical Works, Post Cards, Pictures, and Musical Novelties on request THEO. PRESSER CO., - 1712 Chestnut Street, Philadelphia, Pa- 912 THE ETUDE the etude 913

“Sforganist of the riftefiuren tor fi&r* many yi ft&ss* SWrf.SSwM PROFESSIONAL DIRECTORY X Ker. Mr. McIntyre presided, aud the km | is choir, which has been so well trained by fj> bowman, gave suitable selections. Mr. \ Inert Koss Parsons read a paper de- vhted to Mr. Bowman’s attainment as organ¬ izer of tlm -' ARTISTS AND TEACHERS SCHOOLS AND COLLEGES count of Mr. Bowman’s ff'SkSvssi'lrSLsSS' Ifl A eulogistic a Parsifal !* Ms august eldest EUGENE W. DANA’S several works from the private collection of » the Reichstag ’’for t tne late Carl Zerrahn. PETERSON 40, Slnrilo Hlilg.. The yacht of the Prince of Monaco, which HAHN SCHOOL: bore him to these historic shores, has on Paderewski is with us once more. He will The Penn-State Male Quartet of the Penn¬ hoard a unique contrivance. It is a wireless make a tour of eighty concerts for which it sylvania State College will make a trip to piano which is able to transmit music for is said that he will receive more than $100 tile Panama Canal /one during the Christmas STOCKMr. Stock will gire “ pei HAWTHORNE a distance of 200 miles. 000. He commenced his tour at Trenton, vacation. The Quartet will go as the guests Comments o„i Sir Edward™mnu Elgar'sragur s most N. J., but was taken ill immediately after the of the U. S. government and will give a series recent work, an orchestral tone poem on the t" m.V.'a"'iii-'l the Quartet enjoyed an exten- the yrOrk Is dull ln spots with brilliant mo- Society of New York gave Aida in concert sivc California trip as the guests of the Santa “ents. This is suggestive of the bashful coin These great artists come to your TRACY A new and peculiar Invention by Mr. Ffc Railroad. The success of this unique muse y°unS minister, who. on being MARKS’ TS lSl.t Street. New Tort Charles Fuller Stoddard has made it possible ical work is due to the efficient management ®®ked if the egg he was eating ~ -. A new Ilope-Jones organ has been erected to combine a talking machine and a pianfl- in the Pitt Theatre in Pittsburgh, Pa. It of the Director, Clarence C. Robinson. Sev- 0?®»nreplied, tarts or it,, myiny Lord, j home Christmas with the Victrola VEON playing macuine in sueh a way that the eral of Mr. Robinson’s compositions have ap- excellent, Is the first to have the swell shutters under untrained music-lover can enjoy the luxury = MINNEAPOLIS-’SeS control of the manual key-touch. of playing accompaniments for the world’s peared in The Etude music section. You can search the whole world over A new work by Saint-Satins, which is really VON grab ill:;: Chicago music lovers are in protest be¬ greatest artists with great satisfaction to another gift that will bring so much pie* cause of too many Sunday concerts. They himself aud at least toleration from his The eleventh annual competition for the ;lu old work, was recently given at one of NEW YORK 3» are sorry hut they cannot be in attendnnee neighbors. < IV. W. Kimball Co. prize of one hundred the tolonne concerts in Paris. t is the dollars, offered by the Chicago Madrigal Club, ?£rA°p£!3 „~vnLq!!!Lmh a'1 S?” i member of the family. THEORY AND NORMAL COURSES at five important concerts at once. has again been won uy Mr. Louis Victor composed In 1854, but never produced. The The Davis nnd Elkins College of Elkin, Saar. Mr. Saar, of Cincinnati, and Mr. Henry veteran French composer discovered it among , Any Victor dealer in ai ity in the world NEW YORKjriH West Virginia, has recently placid Its music in New York are not only meeting with great \ i .HIT win ,limn- nrtzes of this kind his papers and decided to let it In- played SCHOOL Wahnfried at Bayreuth was S^eonthe ground tba‘tk«* v™ an faced by a fine portrait and a concise biography and followed by test questions for u=e JAMES FRANCIS COOKE in clubs. The book will be handsomely bound and cannot fail to make an- especially World’s most expert typists use useful and attractive addition to any music room. The book contains all the essential Standard History of Music By Price $1.25 s'.So.*sen ■" S this is not so. principles of the pedagogical practices advanced by the great teachers, Liszt, Tausig, A FIRST HISTORY FOR STUDENTS AT ALL AGES Rubinstein, Leschetisky, etc. Dr^ Ethel Smyth, the composer of 3 Clear — The whole subject is re¬ Uses—May he used in private, dasi Sensible "reciters. Is to write a new opera, the no-- a.cvs fresh rrom ms Bs UNDERWOOD While this important new book will be ready for delivery to our customers in time duced to the simplest possible terms. or club work. ^.which Is by Herr noffmanstahl, the lib- baring an equally notal 1 to be used as a Christmas gift we have decided to continue our special offer to enable n^--—jlst, ovtf mi'DHruRichard strauss.Strauss. TheJi work will England. “ At first lf 11wk'Hl,V Practical—The 40 story-lessons fit Complete — 300 of the world'i probably lie nroducod in Munich. reception In would he something of « Holder of every International Record for our friends to secure a volume so appropriate for Christmas giving. The price of the the 40 weeks of the teaching greatest musicians included. probably be produced in Munich. Illustrated—Hancbiwi'dy f, ,-Lm. if his YlfJi'm haverondurted his,m«^r- book will be {51.50, but we shall be glad to reserve a copy for all friends who desire to Pronounced — All foreign terms 0 Ready—Demands no previous ex¬ Pail Links, the famous Soeet/ Accuracy Stability take advantage of our perience in teaching musical history. waltzes and operettas, lias just SPECIAL CHRISTMAS OFFER OF 50 CENTS A COPY Concise — Each chapter just long -to-date—All great present dav new 3-act entitled Casa nor a. whin• • ,s been but found Jhat^so i ngers, pianists, violinists included successfully produced in Chemnitz. ' ,.The Machine You Will Eventually Buy" providing the order is received prior tq January first, 1914, and providing cash accom¬ wrv>. vuv. z-kiiierican —A meric**' "*■**•■* *J- to do so. £8 sood * ^ s„nt a tel eg ram panies the order. This is one of the most liberal offers ever made by the Theodore phase and one phase only. ’ ’ Study Students UNDERWOOD ttpewritcrco, Presser Company. It would be difficult to imagine a more acceptable gift book for Bom ilms heen known for some time that '“gjj&ns nPPr°vlIJJ\ (Vj’nm'vori HucIiwb. 1! ay cm" Let Ua Help You Form a Musical History Class, absolutely no cost w^klV'ho,,ltfnaom.riPSt'HoPlfas now aSother W the lnjtcndant. Co . — the sincere music lover. to the teacher. A postal request will bring y ..... it,, has now Iiouyoc* ~ . . g pis ‘ uZ^y«m.V VV'" ,h<‘ P,lPal sanction both for the my nfLra be given Titus* taentlOB THE ETUDE wh.n » THEO. PRESSER CO. PHILADELPHIA, PA. THEO. PRESSER CO., 1712 Chestnut St., libretto and for the music, nnd the work, the poser’s own dcElrrt. « is understood, will be nroduced shortly. TO Please mention THE ETUDE when addressing advertisers. 914 THE ETUDE THE ETUDE 91* OVER THEIR HEADS. to accompany the fairies in Shakespeare's A Book Midsummer Night's Dream, best earns the description. In this work, Shakes¬ (Seising Fritz by the arm) about Pianos BV ARTHUR W. SEDGWICK. peare was thinking of a special kind of FREE fairy that is only to be found in the soft, chfldtenchilrl,en~b beatinghefiS Playingtime, one,again two.' See three; *e One of the most unfortunate mistakes bosky vales of Warwickshire (he never their tiny feet are pattering everywhere. the young musician makes is that of play¬ actually says so, but anybody who has Come-there he goes down oUr street Will you accept, with our compli¬ ing music “over the heads,” or shall we ridden a soft-tired bicycle by moonlight mto the close by the old church. ments, the most interesting and in¬ from Kenilworth through Warwick to say “over the ears” of his audience. He GRETEL. structive booklet ever written on Stratford knows the kind of fairy I mean expects a mixed audience to have the (Running with Hans and the other how to judge a piano? 4J It is so easy same appreciation of a complicated piece —there is an even better road .which leads children) to be fooled about a piano, The case from Stratford to Arden itself), and it of classical music as has an audience of There he is up the stair by the old is all you can see—yet it is the least is therefore very surprising that the teachers and students in a conservatory. low bridge over the Weser. See Grctchen important part, It’s the pith—the in¬ Teutonic Mendelssohn should have en¬ More than this, if the audience does not Schmidt running for all her life. Her feet side, that really counts; and that is tered the hearts of these fairies so deep¬ show its appreciation at once with enthu¬ are bare and her pretty hair is all a why we have named this new book ly. Mendelssohn loved England, how¬ “The Pith of the Piano Problem.” siasm, the musician adopts either an air tangle. She’s dragging Lischen by the Written in a clear, simple, non-tech- of lofty superiority or one of injured ever, and was well acquainted with its arm. There comes Maria with the baby nical way, “The Pith of the Piano martyrdom. If you have ideals and really fairy-folk. and Dorothea has her cart, and oh! how Problem” tells you how to avoid the desire to attain them do not waste time MODERN FAIRY MUSIC. smart dear Ricky looks with a water pitfalls as well as li'ow to find out the in any attitude of self pity but work bucket perched on top of her head. (She good points of a piano. Anyone can Weber went to Fairyland for his for your ideals sensibly. First find out points above) See there is Carl with his understand it, and apply the simple Oberon, and made almost as many what kind of music really pleases your Why Spoil face bound up. rules set forth—no matter how little friends as Mendelssohn, while Mozart he or she may know about music—and hearers. Play it and play it enthusiasti¬ was half in and half out of it all the HANS. cally. Make it sound just as well as you (Calling up to Carl) it is equally helpful to the expert musi¬ time—almost entirely in it when he wrote The One Thing cian. Your copy of “The Pith of would make a Beethoven Sonata sound The Magic Flute. Among more recent Come, Carlchen, the music’s great. For¬ the Piano Problem” will be mailed if you were playing Beethoven instead get thy tooth before it’s too late. composers, Humperdinck with his Hansel You Must gratis. Write today—a postal will do. (They pass over the bridge and out of of Claribel or Balfe. Then diplomati¬ und Gretel, and later with his Konigs- cally introduce some piece of a little bet¬ sight.) kinder unquestionably has the entree to ter grade. Train your auditors with the Have to Become ACT IV. SOHMER & CO. supernatural regions. Tchaikovsky pro¬ same respect for grading that you would (Evening of the same day. On the 317 Fifth Avenue duced some rather chilly elfin folk from employ in teaching a child. Remember banks of the Weser.) NEW YORK the glistering North in his Snow Maiden, a Musician that you can not jump from Schumann’s and Sir Arthur Sullivan, in his lolanthe, THE MAYOR Froliche Landsman to the Second Rhap¬ A “true-tone” ear called up some very charming little peo¬ (Shaking Carl violently) sody of Liszt. Before you can realize it ple who, however, by the end of the Hi boy! Tell us what thou knowest! the pupil and his parents who have turned READ OUR SPECIAL OFFER opera, got very sophisticated indeed, and CARL. up their noses at the musical flowers in married all the members of the House Dealers in Principal THE special offer below is (Crying) favor of the coarser weeds will learn of Lords. Grieg made repeated excur¬ Cities and Towns Herr Mayor, I know not. The won¬ to appreciate the good as you appreciate made in the interest of sions into the mist-veiled mountains of \mnr wa derful music led us on to the mountain it. This has been accomplished success¬ otmcoa the North, and has told us what he saw musical culture and the Diano side. My tooth was aching so— fully over and over again in hundreds of in The Hall of the Mountain King in the industry in general. THE BEADLE. cases. There is a teacher in a Western Peer Gynt suite. His March of the 7fie Emerson Piano Co. Oh, bother thy tooth 1 What became of school right now who can not succeed Thousands of young ears are Dwarfs, and the Elfentans presents some BOSTON • MASS. the others? because he lacks the human insight which being ruined by the student’s en¬ queer little pixies who must have been CARL. might bring him in touch with his patrons. deavoring to learn to play on an closely^ akin to the witches in Mac- (Sobbing) Dowell’s Hexentans. Wagner, of course, old or imperfect piano. I know not. The women and children FAIRY-KISSED MUSIC. took Fairyland by storm, and gave us all Untrue tones of an imperfect crowded me so; but the door of the mountain opened wide and they all stepped Music and all connected with it be¬ manner of dwarfs and flower-maidens, piano injure the true sense of in but me. Someone cried “The boy with longs to the half-lights of Fairyland. and the damp but lovely denizens of the hearing and the student -acquires the toothache is a coward, leave him Only those can write music who have Rhine. One or two American composers, a habit of untrue sound which outside.” That’s all I know, honest and listened to “the horns of elfland faint¬ including Mr. van der Stucken, followed cannot be unlearned. true, for just then a mighty wind blew ly blowing,” and it is therefore not sur¬ Rip van Winkle into the Catskills, and You know how a singer with a the door of the mountain to. prising that the publishers’ catalogs are brought back many haunting strains. “poor ear” will sing off the key. filled with such titles as “The Fairy’s THE MAYOR. Wedding” or “Fairy Dreams.” In some Yet, from a good piano the ear wilj Alack-a-day, what a scurvy trick that Some pupils are like those who take cases, at least, the fairies seem to have acquire only perfect musical sounds, Piper did plav. Women and children, only a few bites of each dish. They taste trated Catalog, showing many styIts^o Remarkable supplied the inspiration in the truest Don’t waste more time on a poor all are gone, only one remains forsooth many things, and eat and drink until they —this boy with the aching tooth. sense of the word, while in others, alas, Cortllsb 00. Washington, N. J. or worn out piano. You might Sounding Board have dyspepsia. So many pupils learn a the dwellers in the land of enchantment just as well stop as expect to learn THE BEADLE. little of this and a little of that piece that What wouldest thou give, Herr Mayor, The music lover should be failed to respond to the incantation of music right from a poor piano. just as much interested in the composer. If ever music could be they never digest anything well; they r their safe return? every notable improvement said to be fairy-kissed, however, surely cannot grow; they are musical dyspeptics. THE MAYOR in piano construction as in that of Mendelssohn which he composed —C. Merz. All, all—my land, my goods, my food. every new composer of f clothes, my watch, my rings and m> world prominence. HALLET& DAVIS ry nose, everything in all creation > Therefore a sounding ey would return to Hameln town and board of full resonance—not the partial resonance which PIANO METRONOMES 'C°rPOprE?ER.THETIS-KER . has bothered piano builders We retail more Metro- Every instrument we sell We handle only those is a time-honored art instrument, since the first piano was names than any house is guaranteed against of the best makes ob- whose beautiful rich singing tone, Sect thou the ho-ory A promise made, but all the splendid oken must ne’er be broken. m the world. mechanical defects. tainable. has been loudly praised by the reverberancy of the whole THE MAYOR. board — this should surely THE STYLES ARE : NO BEL1 great artists for 75 years. Mary WITH BELL ’Tis true—come one, come all. we wt interest you. American Maelzel with door attached.£2.25 33.25 Garden says, “It furnishes splen¬ ite it down in the book* of 0U^un,fJ American Maelzel with detached lid.2.25 3.25 ■ did support to the singing voice.” 11, in letters big and letters boh! A French Maelzel with detached lid .....’ .’ 2*50 3.50 HADDORFF J. T. L. (Best) French Maelzel with detached lid . 3.00 No finer praise can be offered. The Piano with the "Homo" Vibrating 4.25 Sounding Board PRICES NET TRANSPGR TA TION ADDITIONAL DISCOUNTS ON TWO OR MORE SPECIAL OFFER Full resonance means wonder¬ THEO. PRI SSER CO., PHILADELPHIA. fully rich tons, which makes pos¬ Until Christmas we shall make special sible increasod expressiveness and allowance to all those who wish to exchange power In your playing. and know the satisfaction and deliitht of pl»y“* Ttusic instead of charging a piano possessing Tonal Individuality-. their old piand for a new “true tone” piano. The H ADDORFF Plano has such a of pure grace: suppose, to sounding board—the scientifically Please give full description of your piano. constructed “ Homo ” - Vibrating the Krakauer Piano Write at once for catalogs of new styles. it rich people who now * Sounding Board—which produces THE BUSINESS MANUAL The prices are very reasonable and we preserve memory of the.r a tone of unusual richness—desig¬ nated as the “ Homo ”- tone. is the culmination of the life time °j|W have a plan for you which will make shutting the out By all moans take occasion to FOR MUSIC TEACHERS family of musicians and piano m* buying very easy. Send to-day. , windows with the worst hear the HADDORFF at your first Messrs. Krakauer Bros., to produce an >« ,ver good sand was spoiled opportunity. Let us tell you what By G. C. BENDER Price, $1.00 ment of the highest quality, rtgudless o • home or dealer In your city has Because of its Deep. Pu.e. Sympathetic*^ - COUPON - bequeath an annual ««*» , 0 a HADDORFF. We will give you an Tells how to make the most of your talents ; how to make musical adveitisine trial tune of a celestial char- introductory letter which you may pay; how wide-awake teachers raise their rates and secure new pupils: how suc¬ HALLET & DAVIS PIANO CO. use If you doslre. Write also forthe nottg Musicians. -bants thtough- Established 1839 cessful teachers hold their old pupils by bright ideas in correspondence, recitals, Sold by the leading Piano Met Free Booklet, "The Homo-tone." etc.; how to collect old accounts, etc., etc. < ,„d address d 146 BoyUton St. (Dept. AA) Boston t the United States. Name iuntisbed. and HADDORFF PIANO CO. Not one teacher in a hundred receives more than a fraction of what his valuable Name.___— 312 Ethel St., Rockford, 1U. services should bring if profitably and actively marketed. One chapter in this Granda - Uprightt - Playsrs book may raise your income enough to pay for it a hundredfold. Address___ Write full information about your piano Theodore Presser Co., 1712 Chestnut St., Philadelphia, Pa. if you wish exchange. Heasa mention THE ETUDE when addressing Please mention THE ETUDE when addressing o our advertisers. 916 THE ETUDE the etude 917 Free Trial for Xmas PIANO TUNING PAYS Questions and Answers ^Piedmont Red Cedar Moth-Proof Couch Helpful Inquiries Answered by a Famous Authority irioos lounge tis, mice, dust and damn Conducted by LOUIS C. ELSON inwMM.. - -.prices. Freightpr’pd.Wriu ‘uU illustrated catalog showing designs id*prices of Piedmont 'Red Ceday Chests Professor of Theory at the New England Conservatory ehifforobes. etc. Postpaid free. Write hob —I Cd.r CH..I Co.. SI.I... II., H. C

Communications t< this department are welcomed. No charge is made, but special Infor¬ The Musical Leader mation not likely to be of Interest to all of the readers of THE ETUDE cun not he published __, PUBLISHED WEEKLY o- in the department. Address all inquiries. ETUDE QUESTION AND ANSW ER DEPARTMENT *2.50 a Year 1712 Chestnut Street, Philadelphia, Pa., and not to Mr. Elson personally. Ten week*’ trial .ubacription, fifty cent* MYRTLE The Recognized Authority on all Musical Q. (1) In Chopin’s Xocturne, Op. IS, Xo. Q. should Grace Soles 6r /.fa... J hiUnt Mailers for the Central and Western Stales. 2, first measure, the last firo notes are thr introduction the opposite hand or middle C connected bp a slur tcith staccato the following chi.id, or *imultanrou*hr I In conjunction with ETUDE, advantageous marks under it. Whp do pianists play both hare been taught both troys tip dltl.r. nt CLUB OFFER: notes in place of observing mark as tiet teachers and as I wish t; teach the priori ELVYN MUSICAL LEAItER, rrgul.r price A Club Price (2) Please explain the following passage: pie correctly will non k.ndlu set right, A.f'ETCrITretfiil.r price ♦ i.40 #2.50 I am afraid that 1 am stupid enough to nerd rorjeir ' fORBOTH notation examples to make me see It clearly. Renowned American Address THE MUSICAL LEADER A. It Is possible that a McCormick Building. CHICAGO be given to Ibis question PIANISTE irsiHjJbciety to notation. The rule is: note on the beat—which Is the tie connecting the D in the first are to play It at Just tin measure to the D in the second to be treated time of the principal note Now Booking for as a tie or as a slurI In the same example, there Is a chord or note Your Music is Torn! measures 6 and 7, the same form occurs, but which is to be played with both notes are different. Why not treat all IT WILL TAKE ONE MINUTE the grarenote t» attached AMERICAN TOUR TO REPAIR IT BY USING as slurs f—H. A. note simultaneously with tl Our 194-Page “Musiclover’s Handbook” A. The slur with a dot under It Is to be find some of the rules In 1913-19M Sent played 'as a pianist's portamento—that is, Disputed I hints of Music, MULTUM-IN-PARVO BINDING TAPE both notes are to be struck, hut as little Q. Can you tell me wh separated as possible. In the example above rirognlx'd relation brlwci notated play the notes which change with to Etude Readers rofufpi^r,8S cents each, postpaid. a strong legato, but hold the others as ley of F be represented Transparent Adhesive Mending Tissue with a tie. or blue, etc! I am prtsU M. H. HANSON Q. Is it considered artistic to “improre" club which cuntemplati • CAREFULLY fill out with your name and complete address the coupon furnished below. You the music of the masters as Liszt “im¬ 437 Fifth Ava. Naw York If your music dealer does not carry it, send to proved” many of Schubert’s piano compo¬ should be glad to choose a Kimball Plano UssJ will receive in return a free complimentary copy of our MUSICLOVER’S HANDBOOK. sitions and as. I am told. Mozart ■ im¬ THEO. PRESSED CO., Philadelphia, Pa. Indicate this key, but we This is a 194-page book, such as sells in the shops for 50c. per copy. It contains a pronouncing proved" Handel’s Messiah. Liszt’s enrich¬ the color of all the leys, ment of Schubert’s piano works seems to me •jestIon would be gratefulI to be fully justified, but presumably Schu¬ dictionary of musical terms and is the most satisfactory little reference book of musical informa¬ bert knew what he was doing when he wrote A. There Is no real e liis own music the way he did. What is the tion that has ever been compiled. It contains full definitions of all those musical terms for which that very many trm't < NORTHWESTERN OHIO SCHOOL best opinion on the subject!— P. C. S. that every key reprracot* i A. If my correspondent alludes to the non-arteuUfir or semiac anyone would have occasion to look; the pronunciation of foreign words is given according to Liszt transcriptions of some of Schubert s STAGE’S state that tone Is vlbratloi songs one may consider Liszt's *®rk vibration. To which I cat PIANO TUNING a special phonetic system. This little book will be treasured by all those interested in music. SYSTEM justifiable. He arranged these for piano, thing in the universe Is and what might be effective in voice would sort Light vibrations, o To ETUDE readers and their friends we are distributing copies absolutely without charge. are different In character f sometimes be far less so for Pla°°- The vibrations, anil when we c< D. O. BETZ. Dire contrasts of the “Erl king were enbamed by giving broader touches to the piano a solo instrument than It could be allowed No Obligation on Your Part when supporting a voice. The riPP^J1 tbp

Hr'HE sending of this coupon does notin any way obligate you. You are presumably interested The MUSICAL ART CO. Sfgt piano'gifise? Twas eMjg** The highest tone that the T in music. A small edition of the HANDBOOK is at your disposal, and we wish to place one 138 E. State Street perceive baa about 38,000 end (It 1* four octaves \ copy in the hands of every inquirer. The HANDBOOK is not for sale and cannot be obtained K-ftat of the piano), while in any way except through a direct inquiry sent to this office. We send the HANDBOOK <0,Moza'rt’s'additions to are (violet), baa i twice the vfbra- ion. JUnimlelVft this or^orio m wbat ls tlens In the upper object lower. It will lie^seen I hi x\ n postpaid; and with it we shall take pleasure in also sending full information in regard to Pennsylvania called "skeleton score. ..T^(.nS’lt was per- Fomed^eTd nottokl the troub^to write minor third, while In eolol N the UNIVERSITY MUSICAL ENCYCLOPEDIA, the first important American encyclo- Music Lithographing a single octave, sine,- viol rapid In vibration as red. , pedia on musical matters. This 10-volume work has been edited by Prof. Louis C. Elson, Company of the I the vocal Pnrtfs"£ht have only violins and ettn's side o nee flow, N of the New England Conservatory of Music, Boston, internationally known as a mu¬ U4 N. 13th St.. Philadelphia, Pa. orchestral part might have omj ^ klnd. lea of definite eol contra-basses, or somi .. ,Bh •• only 20 bat 1 bar* »*ry se'do™, f«* sical critic and historian. Dr. Elson has been assisted by a number of eminent ex- agreeing on the a****, flatly contradicted each oti %V^Xc-x Perts. The UNIVERSITY MUSICAL ENCYCLOPEDIA should find a place in Music Engravers and Printers A. Bench, probably the gre« poser of the present, once ga AuIomaIic of key-colors, whleb rna nw A: ^ every home in which instrumental or vocal music is ever heard. C major while F sharp Estimates promptly furnished to composers and sharp minor Mark. E majo Music Cabinet* »«wt ' publishers on Sheet Music, Music Books, Band, red, A major green, A nat j Piano Bench Cabinet wm Send in the coupon at once with full name and address Orchestra and Octavo Music, etc, HIGH GRADE mA* vf3% aoff 1 ™ *1 WORK. AT REASONABLE PRICES. Copynghts ssK^V’^ssr •s.'ssw® secured. Manuscripts revised and corrected. & r-Tf "rSgropmg‘ rjgloo-n. Dnt fat n r that of the trumpet part* in ^eeS. was a Music Typography in all its Branches Sound,” into cf dis bud It* excuses also, THE UNIVERSITY SOCIETY blunder. And yot tms “rumpet.p|aying p. Uf HYMN AND TUNE B00K PLATES^ for in Moaurt»«■*''" one .^“oul^s^ldora rould seldom nno“ declining, and oneo „"‘V- dpllan ««passages. (Incorporated)

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THE von ENDE-— New York Schools SCHOOL OF MUSIC Distinguished Faculty Include; VIOLIN VOICE INSTITUTE OF MUSICAL ART OF„™ ?'0TiK0F Herwegh yon Ende Ludwig Hess —" FRANK DAMROSCH, Director ■ John Frank Rice HJene Maigille Anton Wilek Adrienne Remenyt AN ENDOWED SCHOOL OF MUSIC Fernando Tanara The opportunities of the Institute are intended only for students of natural ability with aa earnest purpose to do serious Success in Music and How it is Won. wotlt, and no others will be accepted. jean Marie Mattoon THEORY For catalogue and full information address Secretary, 120 Claremont Avenue, New York. By Henry T. Finck. Published by Charles Albert Rom Parsons Hans tan den Burg Scribner’s Sons. Price, $1.75. Louis Stillman SpaaedJuhawld Ldw,aBffihoven Mr. Finck’s work on Success in Music Harry Rowe Shelley has already won its way into popular es¬ ORCHESTRAL INSTRUMENTS TAUGHT Crane Normal Institute of Music teem, and this present re-issue at a BY SOLOIST MEMBERS OF N. Y PHIL cheaper price will bring it more readily HARMONIC ORCHESTRA TRAINING SCHOOL FOR SUPERVISORS OF MUSIC-Both se«. within the means of precisely those who Dormitory, Chaperonage, Free Opportunities Voice culture, sight reading, ear-training, harmony, form, music history, chorus-conducting most need the valuable stimulation it con¬ methods, practice-teaching. Graduates hold important positions in colleges, city and normal schools tains. Mr. Finck is one of the few men A school reflecting POTSDAM, N. Y. in whom thorough musical knowledge, the highest ideals in journalistic skill, and wide experience of the musical educa- musical conditions in the greatest of tion of this country American cities, are about equally blend¬ ed. He is, therefore, the ideal author of such a book as this. JOHN ORTH Symphonies and Their Meaning, Third Practice Clavier Series, Modern Symphonies. By Philip Steinert Hall, Boston H. Goepp. J. B. Lippincott Company. Far superior in its latest construction to any Price, $2.00. 362 pages, numerous nota¬ Teaching other instrument for teaching and practice. tion examples. Bound in cloth. Teachers This work is the third in the series of How VIRGIL SCHOOL OF MUSIC similar books upon the symphony in To Teach For catalogue and prospectus address: which the writer does all that words may do to point out the form, treatment and Normal Correspondence Course A. K. VIRGIL, NEW YORK beauty of the great musical masterpieces. In this work Mr. Goepp has made a fine In Modern Ideas of Touch, Technic, contribution to American musical schol¬ Pedal, Metronome, Hand Culture, arship. Opening with a chapter upon and How to Teach Them. :: :t \ The American Institute of Applied Music the Symphony during the nineteenth cen¬ Q (THE METROPOLITAN COLLEGE OF MUSIC) John B. Calvert, D.D., President tury, the writer passes in the second chapter to a consideration of Berlioz and STUDY HARMONY is Griggs McCall Lanhnnt Harry Rowe Shelley Liszt. Thence he proceeds'to all the mod¬ and COMPOSITION ern workers of prominence including by MAIL Saint-Saens. Cesar Franck, d’lndy, De¬ >. CHITTENDENT Dea. bussy, Tchaikovsky, Balakirev, Rlmsky- naHoiinl tin them rout petition. 1911. TCorsako, Rachmanino, Sibelius, Smetana, Dvorak, Bruckner, Wolff, Mahler, Rich¬ ALFRI li WOOl I R. M„. line The Correct Use of Practice Instruments Necessary to the Greatest Success ard Strauss, Italian Symphonies, Elgar, 322 W. Utica SI., Buffalo, N.Y. concluding with a discussion of the Sym¬ THE VIRGIL phony in America with a treatment of the works of Hadley, Strube, Chadwick PIANO SCHOOL CO., and Loeffler. The book should prove an excellent manual for the use of concert- MUSIC EDUCATION 42 WEST 76th ST., NEW YORK goers. The first volume of the series Manufacturer of was very widely employed—eight editions The “ Tek ” hzving been published. . Calvin Brainerd Cady l-”,frerA'1 The Bergman Clavier 15 CLAREMOST AYE? ““ Appll°*tl0D ORK The Bergman 2 and 4 Octave Modern Violin Technique. By Frank instruments for travelers Thistleton. Published by Longmans, The Bergman Technic Table Green & Co., New York. Price, $1.50. Considering the wide interest taken in (Raised Keys) Cranberry Piano School The Bergman Child’s Pedal violin-playing at the present time, it is really astonishing that so few works have GEORGE FOLSOM CRANBERRY, DirbctoB PUBLISHERS OF been produced giving a simple explanation TEACHERS’ TRAINING COURSES “THE VIRGIL METHOD” Books I and II.$3.00 of the technique of violin playing. The FAELTEN SYSTEM “THE PIANO PEDALS,” How, When and Where to use them . 1.00 present .work is of a “tell how” kind, and Booklkt CARNEGIE HALL. NEW YORK “PRACTICAL EXERCISES IN HARMONY PLAYING” . . 1.50 its readers are told first how to acquire, CHOICE COMPOSITIONS, Grades 1, 2, 3, 4, 5, for Piano and then how to teach the technique of Five New Songs for Home and Concert Use, by Mrs. A. M. Virgil violin-playing. It is well written, well Liberal Discount to Teachers Send for Catalogues illustrated and eminently practical, and College of Fine Arts - while it cannot be regarded as a substi¬ i Syracuse University Fall Term Opens September 22nd, 1913 tute for a teacher, it is an excellent teach¬ excelled advantages for the study of music. Faculty SEND FOR NEW CATALOGUE !0 specialists. Regular four-year course lead* to d* er’s assistant. It will also he found very ree of Mus. B. Special certificate courses. Special helpful for those who wish to study the dents may enter at any time o( year. For cara- ue and full information, address. 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