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1-1-1912 Volume 30, Number 01 (January 1912) James Francis Cooke

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The Greatest Educational Workj)f_thg_Ag8 1 THE ETUDE STANDARD GRADED New Publications COURSE Preparatory School of Technic Imaginary Biographical Letters Life Stories of Great Studies A SPLENDID FEBRUARY ISSUE FOR--- THE PIANOFORTE from Great Masters of Music By I. PHILIPP Composers FOR THE PIANOFORTE Owing to our very great success in securing remarkably fine material upon Price, 81.00 to Young People Price, 81.50 Compiled by W. S. MATHEWS the subject of Grand Opera it was found that it would be necessary to issue V splendid volume for use In daily pr By Alethea Crawford Cox and Alice Chapin A • comprehensive and interesting collec- A MONTHLY JOURNAL FOR THE MUSICIAN, THE e, containing all technical csscntii lon of musical biographies, prepared bv a second section in February. Consequently the February Etude will contain ich may he taken up during the ea Price, $1.25 MUSIC STUDENT. AND ALL MUSIC LOVERS. ides and continued, in whole oi^in pii filters of internatiomtl prominence. This A COMPLETE course of standard Edited by JAMES FRANCIS COOKE In this fanciful work the great departed ,0meansaSf eobservingP'hown great flf^pur- Etudes and Studies arranged Subchoirs : Piece# for the Pianoforte No composer holds a higher position in the estimation to lend all the people to Join in the - pleasing and singable, of but moderate dlffi- America was for the most part con¬ ship. The anthems have been selectei Price, 75 Cents ducted in the most slip-shod and ex¬ of the American public than Victor Herbert, a man with adapted with great care. Th’ls is the fifth and latest volume of A large, handsome » THE ETUDE 1 our ^highly successful series of^anthem^col- travagant manner imaginable. The the best possible kind of a musical training, but one who teachers were not to blame for the been sold. In this new volume’we have _ .V-VII, inclusive. They__ enormous expense of purchasing in¬ has by his genius and art succeeded in writing music that Sacred Duets surpassed all our previous efforts. Several sidered as stepping stones to the masters' RENEWAL.- vrals. new and important features have been works, and they are such pieces as may be dividual studies and pieces of music On tile 1 t is praised by the greatest critics and at the same time For All Voices and General Use added. The plates have all been especially successfully used in recital work: brilliant for educational purposes, nor were Price, 75 Cents engraved and short score has been adapted, and well written, pleasing alike to the pro¬ they to blame if they did not have the subscription is paid up, vrhieb serves as a pleases the people. He has written one of the most success¬ which means, by the use of two staves fessional and to the amateur. Classic, mod¬ receipt for your subscription. One of the best collections of sacred instead of four, space is saved and sight ern and contemporary composers are all gen¬ experience to select the best studies MANUSCRIPTS—All manuscripts Intended for publica¬ ful grand operas in the repertory of the Chicago-Philadel- duets. All combinations of voices are r reading simplified, and with the result that erously represented. Both standard pieces fortherighttime. TheGraded Course tion should be addressed to THE ETUDE. 1712 resented in this volume. The duets 1 a larger number of ahthems has been In¬ and novelties are Included, all of high order idea is an original creation of the Chestnut Street, and should be written on one side phia Opera Company, Natoma. He is one of the best all original and by American compose,.,. cluded. of merit. A renllv valuable collection. of the sheet only. Contributions on topics con¬ None have appeared in any previous vol¬ The price is 25c. each, postpaid, or $1.80 Presser House. The Standard Graded ume. There are numbers suited to all occa¬ Course has succeeded because it was nected with music-teaching and music-study are orchestral conductors of our times. He is one of the fore¬ sions, all melodious, artistic and beautifully per dozen, not postpaid. Sample pages for solicited. Those that are not available will be re- harmonized. It will prove a convenient the asking. built along the lines which years of ex¬ most solo ’cellists. Best of all he has splendid ideas upon volume to have on hand, either for regular The Two Students perience had shown to be necessary. Although every possible care is taken the publishers or for emergency use. are not responsible for manuscripts or photographs musical education and has the gift of talking about them Album of Four-Hand Pieces either while in their possession or in transit. Un¬ Piano Players’ Repertoire for the Pianoforte CHIEF ADVAHTAGES available manuscripts will be returned. with the same fluency which his grandfather, Samuel CYQTEIfl Gives the teacher and the pupil the ADVERTISING HATES will be sent on application. Richard Wagner Price, Si.00 O I O I Cm broadest possible system and com- Advertisements mnst reach this office not later than Lover, put into his novels. of Popular Pieces the 5th of the month preceding date of Issue to HIS LIFE AND WORKS Price 50 Cents Insure insertion in the following Issue. _ _ original compositions and arrange¬ Andreas Dippel on “If My Daughter Should Study Just the volume for general use; for the ments. The pieces are chleflv of interme¬ T1IEOUUKE l*RES«ER Cll..^ ^ t, pi |1 d 1 hi p home, for light recital work, for sight-read¬ diate grade, such as may be used for re¬ ECONOMY Entered at Philadelphia P. O. ns Second-class Matter. ing practice, for self-amusement. The pieces cital use, for home playing, or for ensemble otherwise be. for Grand Opera” Information. „ are of various styles: caprices, song with¬ practice and sight reading. Every piece is Copyright, mil, bv Theodore Presser Co human interest. It raakei out words, reveries, idyls, characteristic a gem and all tastes are provided for. A few years ago Mr. Dippel was known as one of the time of -18(1 pages, profuse] numbers, etc., all bright and melodious, to Book XHke an __. taining 15 portraits of tin many of them lying in the third grade, none Special large Dlates are used and a gen¬ going beyond the fourth grade. None have erous number of pieces Included. A worthy most forceful and versatile operatic tenors. At a moment’s 1. autographs, etc. No n appeared in previous collections. successor to our “Four-Hand Miscellany.” VARIETY SS {S5; CONTENTS notice he seemed to be able to sing almost any tenor role ies. This is greatly preferable to a course of in German, French or Italian and raised an equal amount studies all composed by one man. "THE ETUDE”—January, 1912. Elementary School of Musical Picture Book Stories of Standard of enthusiasm. For three years he has been a noted im¬ SIMPLICITY FOR THE PIANOFORTE Teaching Pieces taught by any teacher without previous experi- presario and the artistic results he has produced in connec¬ Pianoforte Playing By OCTAVIA HUDSON European Notes .'..Arthur Elson By EDWARD BAXTER PERRY By FERD. BEYER Price, 50 Cents trary method demanded. Se* e Italy and Opera .E. Caruso tion with the Philadelphia-Chicago Opera Company,have . Op. 101 Price, SI-50 Children and "Human Interest” ...4. Hurst Price, strongly bound in heavy paper, An attractive recreation hook for eh INTEREST^^i^SM amazed the critics. He talks upon an extremely popular mentary pupils. The little pieces hav The unusual popularity of Mr E. B. Perry’s “De- The course always proves mott fascinating to pu¬ Beethoven’s Masterpieces ..;.E. tl'Albert 50 Cents; Board Covers, 75 Cents characteristic titles each being accompanie pils, especially when compared with the old- Progress in Plano Playing . .. .J. Hofmann subject and if you know anyone who has a desire to study Our edition of this standard piano by appropriate verses. The hook is in 01 fashioned method of using ponderous volumes by method has been prepared with the utmost long form, clearly printed in large notf The Beginnings of Opera.H T. Finch for opera, you should not fail to recommend this issue care. All the original material has been Ten Famous Opera Singers . .. .0. P. Upton retained and important: new material has strongly. been supplied. In addition to the usual and note-reading. They may be used 1 “make no mistake American Opera Singers and Foreign Study, editorial revision, copious instructive anno¬ supplement any instruction book, or 1 grade of difficulty t< The Standard Graded Course should not be con¬ (Symposium) tations have been given. It Is one of the kindergarten work. writes with rare po founded with any other system, c ourse, or method. A Warning to American Girls....A Nielson best known of all instruction books and will msp ring as well as ed It, and it alone, is the original series. When you Gallery of Musical Celebrities . Charles Dalmores on “Self Help in Voice Study” be extensively used for years to come. Course6 SUrefc°Up°n the Standard Graded Bel Canto .B. de Pasquale Mistakes and Disputed Business Manual Music Reading Ahead .E. M. Brower Only a few years ago Wagner was decried in Paris; Piano Instruction 10 GRADES 10 VOLUMES Parsifal . now it is claimed that the foremost Wagnerian tenor is a Points in Music $1.00 EACH VOLUME Study Notes on Etude Music.. . .P. W. Orem Teachers Our usual discount is allowed. Send for any or Tod B. Galloway . Frenchman, Charles Dalmores. You will want to read his During the First Months By LOUIS C. ELSON By G. C. BENDER all the volumes for inspection. When ordering Price, $1.50 The Lethbridge Strad .J. F. Cooke By RUDOLF PALME Price, $1.00 Teachers' Round Table .N. J. Corey interesting remarks of particular value to voice students. Price, 75 Cents A book that tells vo Department for Vocalists . music. Mr Elson, understood The average m lc teacher blunders in There will also be appropriate articles by the distin¬ A valuable pedagogical work, specialty American musical pi asiness side He does Department for Organists.H. A. Clarke translated from the German, ’lliis practical his new book all of little volume gives all the necessary ma¬ srly. He fails in keep- STANDARD Department for Violinists .R. Brainc guished writers and critics, Louis C. Elson, Frederic terials and instructions for the earlier e knowledge. It is Department for Children.J. S. Watson Corder (the most noted English Operatic Authority) and valuable for"young"tea'll ** h especla”5r CONCERT ETUDES Publishers’ Notes . ping out plans and methods for elementary World of Music. Mr. Arthur Elson. These articles are of the very highest subjects are logically FOR ADVANCED STUDY Answers to Questions.L. O. Elson and clearly t Price, SI.00 Grades IX to XI importance to sincere students who desire to secure in these bound In book form, each se- Jected foi some standard technical essential- for MUSIC. issues a library of necessary reference material on the in¬ IN PRESS SSe*up exclusive]y1 of^riipidVYare teresting subject of opera. FOR SALE AT LOW ADVANCE PRICES SEND FOR BULLETIN Miserere from “11 Trovatore” .Q. Verdi 0, Thou Sublime. Sweet Evening Star, NEW GRADUS AD TARNASSUM. Philipp. BACH ALBUM FOR THE PIANOFORTE. aSd X™ £ er“ci'i from "Tannhauser" .... R. Wagner Carmen Overture (4 Hands).O. Bizet Dr. Hugo Riemann on “Perplexing Embellishments” by Mr. Theodore Pressoi LETTERS FROM A MUSICIAN TO HIS for presentation witlT^^afmndantW^develoDeS THE VIRTUOSO PIANIST. C. I, Hanon NEPHEW. E. M. Bowmann. technic. There are twelve pieces inwall, bv nine Mexican Dance, No. 1 .Louis Jorda Pursuing our policy of never making a special issue so CANONS FOR THE PIANOFORTE. Kon¬ Chimes of the Monastery .F. Sabathil Don’t fail to get Romanze .s’. Rachmaninoff “special” that readers who might not be interested in a rad Max Kunz. Course of Studies and all other graded The Mill at Sans Souci .H. Schneider : Febr lary particular subject would find nothing of value to them in Gavotte from “Mignon" .A. Thomas Etude. Together “For further information about New Works In 1 5 Publisher’s Notes” the special issue, we shall publish in the February ETUDE Mail orders solicited and filled to all parts of the Reverie After the Ball .Ed. Broustet with this issue it several articles which in themselves should be worth far country, Any of our works sent on inspection. Our Merry Chimes .N. deBackcr will form the professional discounts are very liberal. Petite Uapsodie Hongroise_F. a. Rathbun most . compre¬ more to the reader than the price of the journal. Among Entreaty—Romance for Left Hand Alone. hensive collection these is a wonderful article from Dr. Hugo Riemann. the E. Lichner of reference ma¬ most renowned musical savant of Germany, who will explain Theo. Presser Co., Philadelphia, Pa. THEODORE PRESSER COMPANY Alumni Reunion .R. g. Morrison 1712 Chestnut St., : Philadelphia, Pa. Attention .alias. .Lindsay terial upon the some of those musical embellishments which may have been Hungarian Sketch (Violin and Piano) subject of opera perplexing you for years. Dr. Riemann’s scholarship, mani¬ O: Hbrvath obtainable. fested in his Dictionary and other works, is too well known Cradle Song (Tine Organ) .E. Grieg G Built especially for people of high Until the End of Time (Vocal) . .E. IV. Petrie to demand comment. Dear Little Hut (Vocal)-Tod B. Galloway R artistic discrimination who appreciate THE ETUDE, 1712 Chestnut Street, PHILADELPHIA, PA. PIANOS A the difference between good and best STRICH&ZEIDLER Your correspondence solicited

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THE PICK OF OUR PIANO MUSIC Where Memory Dwells ^Hosiery Upon receipt of your name and address, we shall be pleased to submit as many of the (A New Meditation) Procrastination is --1-1 co: may desire for examination, the unserviceable portion to be returned. By LOUIS A. DRUMHELLER a villainous thief.

It has stolen more from you than ever has the Sugar Trust. There are quite a number of The Etude readers that have never

It may be that we have put our case too mildly, for it does seem that our

Very bounds of propriety. Catchy Now here is our last

A post card will bring you both our popular and graded catalogues with a sample ]

w ! If we do not hear from every reader >tlOc per copy, or 6 for 50c, p of The Etude we are

JOS. MORRIS CO., 136 North 9th Street, PHILADELPHIA, PA.

G. DUERER VIOLINS 2 OUTFITS AT S PUBLICATIONS OF G. SCHIRMER: NEW YORK A NEW SERIES OF COMPOSITIONS BY RUDOLF FRIML Op. 81.

The pieces listed above range in difficulty from grade 2 theo. presser co., 5 ; the greater part of them meet the need of teachers with a supply of new teaching material of a quality only too rarely encountered—music not “written down” to what is JEWELRY FOR MUSIC LOVERS supposedly the capacity of young players in the primary and ate grades, but music that quickens and stimulates GIFTS AT SMALL PRICES But aside from these compositions, which, regardless all their charm and grace, are primarily written for i_

dancf1’vSl TPOSe,Mrvr,iml h3S pr0dllCed in thc Butterfly , ^ ’ Y5! dance and Yalse coquette from his Japanese ballet, O Mi take San,” numbers that will be a source of unfeigned pleasure to maturer pianists. It can be unhesitatingly said that Rudolf Friml’s corn-

NEW JEWELRY DESIGNS appreciated d ** ^ 38 neW’ need °nly be heard to be r OF THE ABOVE WILL BE SENT FOR EXAMINATION 4m. Mandoline breastpin.3I“«.

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Please mention THE ETUDE when addressing our advertisers. THE ETUDE 6 THE ETUDE New Calendars TO TEACHERS AND STUDENTS OPERAS FOR Just Issued- -Publications of for 1912 AMATEURS THE FIRST PIANO BOOKS o S'i New York SINGBAD THE SAILOR, text and muiic by Alfred G. Wathall. By THOMAS TAPPER OOOSey Cfe V-'O# and London Tropical Scenes The plot and detail, satisfy every demand of it* igesbve bile. The neatest hit in comic opera tmee Price, $1.00, Postpaid A Treatise on AND OTHER PIECES : day. of Gilbert and Sullivan. Hapoy, lingly ies; all within amateur reach. Bright, dean, crop A Book containing Seven Pieces for the Pianoforte including ing choline.; easy, beautiful solo. Opportunities for The Purpose of the Book SPEAKING AND SINGING the famous Romance by nigh-class individual work. Singbad the Sailor has According to the Principles of the The First Piano Book is intended for children. nic score complete. $1.00. Libretto, w TulUn- A few keys arc presented together with a few simple phrases which OLD ITALIAN SCHOOL JULIAN PASCAL ictions. 25c. Books sent on approval. familiarize the child with the key-board location of the Scale. PASQU1TA, a romance of th The little pieces are melodious and pleasingly supplement the small By LUIGI PARISOTTI, B.Ph., of Rome Price, $1.50 I music by Alfred G. Wathall. amount of required technical work. ROMANCE, . written for the tne of bras b This volume, which is unanimously commended b a view of furnishing them a pi Ensemble performance is presented at once as the best method of se¬ sic is to be used. The opera m; curing n thorough foundation in meter and rhythm. ■ by the Musical Press, deserves the attention ^il of every Teacher, Singer and Public Speaker rlr acting talent, where a band, Writing lessons familiarize the child with the simpler elements of music le lor help. Only five leading notation. try. Paaquita (pronounced The use of large notes for the pupil’s part simplifies sight reading. Every lesson leads to mastery of the fundamental requirements, New Songs by Celebrated Composers namely, the control of the body, adapting it to the peculiarities of the piano, A ROUNDELAY’ and the art of music. IINICK rtrs,” The Compositions of the Book Key Ab (EtoDA) “ TO-MORROW ” THE MERRY MILKMAIDS, a light operetta Some are arranged for two hands to be played by teacher and pupil, Words by ETHEL CLIFFORD Keys D (BA to F#) and F by GEORGE HENSCHEL r amateurs by ChaSH. Gabriel. A charming play, or by the pupil albne. sy to stage and perform. Very popular. Never fail, “THERE IS DEW FOR THE FLOWERET” please. Price of complete crook, 75c. Orchestra A decided novelty, of great practical value, will be found in the three- Words by THOMAS HOOD Key F (C to G) " 'ic by A. LUZZAU are rented at km price. Sample book aent on hpnd pieces. In these the ensemble is interesting and the pupil learns, easily and naturally, to listen to all three parts. This is an indispensable “WHEN THE MAY’S IN BLOOM” ear-training experience. Word, by E. TESCHEMACHER Keys bj (c G) and c M“”c by CHAS. MARSHALL A Dramatic Cantata SAUL, KING OF ISRAEL, tear by Judge The occasional use of the black keys, even in the beginning, is not diffi¬ Willi, B. Perkins, music by Chas. H. Gabriel One cult. In many cases the black key is indicated by a special sign. “AMONG THE UNTRODDEN WAYS” ol the strongest ' ’ . *. . . The use of • the various registers of the key-board makes the child Words by WORDSWORTH Keys G (B to E) and A M“c by HERBERT OLIVER CALENDARS published. It pi urrs the character* of Sau David w the^ excitement that the ir familiar with tones, high and low, a result much to be preferred over re¬ “WHEN SPRING COMES LAUGHING” Artistic—Durable—Practical stricting him for months to the middle of the key-board. Word, by AUSTIN DOBSON Key G (C tc .ic by ANNIE D. SCOTT able for*good With Easel on Back book. 75c. C The First Piano Book may be Used Preparatory to any “TO MY AIN DEAR LASSIE” Word, by JOHN TODD Key D6 (B4 tc Ac by E. DOUGLAS TAYLER Course, Method, or System “NEW MOON” HERBERT’S HARMONY AND COM- A Thematic Booklet of the entire work in miniature, but perfectly clear POSITION. J. B. Herbert. The mort interesting Word, by W. H. OGILVIE Key EJ (Bi to E4) Muric by HON. MRS. TENNANT We will send the Complete Book of Seven Pieces, postpaid, 1 practical teacher of harmony puhlnhed. Used ex and legible, will be sent free on request. rivdy by teachers, as well a. for sdf-inatruction PIANO SOLO . “AURORA” Valse Lente . JULIAN KANDT on receipt of ONE DOLLAR te best book on the subject published. Highly com nded*by the profearion. Price. *1.00. f]T Ask your local Dealer for THEMATIC BOOKLET til of the above numbers, or write to the Publisher. HOW TO WRITE AN ACCOMPANI¬ ^ OLIVER DITSON COMPANY, Boston THE H. W. GRAY CO. MENT. /. B. Herbert. A subject on wbtcb every needs help. The only BOOSEY & CO., 9 East 17th Street, NEW YORK 21 East 17th Street Sole Agents for NOVELLO & CO.. London NEW YORK JS6t y SvTIoo' composer. Valuable HARMONY AND INSTRUMENTATION. Oscar Coon. Teacher how lo write for military bandi and orchestral. A standard work. Such books arr ANNOUNCEMENTS costly and rare. Price, $2.00. Voice Culture THE JOHN CHURCH COMPANY FROM THE HOUSE OF ELEMENTS OF VOICE CULTURE. By CINCINNATI- D. A. Cllppinger. The piinciple* at voice culture -NEW YORK- plied to class work. Voice training in damn or ch Price 30 cents. Sent on approval. publish the THE POLYCHROME LESSONS ... White-Smith Music Pub. Co. VOICE CULTURE. By F. W. Root Unique lot private rtudy or for teachers use. Price 75 cents STUDIES FROM THE OPERA. By / I MRS. ROBERT N. LISTER Selection* **—i *»---* - » * Famous Music Books for Children Sections cannot be guaranteed except on very < orders, as all are imported and cannot be renewed. 'T.OO^ A number of subjects m color, and Opera scenes, By JESSIE L. GAYNOR New Male Quartets SACRED The Vanity of Love. Robinson. UNIQUE--INTERESTING--RESULT-BRINGING In the Bleak Mid-Winter roarously funny musical chant. 10c. SONG - German Student’s Marching Song. Hal hall PANEL Strong and stnlungly beautiful. 10c. Words by CHRISTINA ROSETTI Onward Christian Soldier*. Heuset great, new chorus. Wonderful in power. 10m Miniature Melo¬ Melody Pictures First Pedal Stud¬ CALENDARS Sent on approval. (We have others). This song is published in two keys : PRICE 50 cents Concert Duets and Quartets dies for the Piano for Little Players ies for the Piano Low Voice F (a-E) High Voice Ab (e-g) I Am Waiting For Thee. Gabriel. For ET™.Xr ' ‘ Mailed loT it! By JESSIE L. GAYNOR By JESSIE L. GAYNOR cents. (Ask lot our hit. Send for Thematic Catalog of the following Song of The Evening Bell. Gabriel. By JESSIE L. GAYNOR tuneful quartet. Easy, sweet music for a a iThiLis tl>e modest title of a very interesting Young pupils are usually eager to use the pedals book. The purpose of “Miniature Melodies” is to and MARGARET R. MARTIN Mailed for 25 cents. (Ask for our Ik ) supply teachers with a first boot of melodies from ind h L°Z■' lhey ‘heir p££" SACRED SONGS Children’s Songs which children may be successfully taught to play Basing upon the claim that piano playing should studies we?e Hgne'd PUtP°Se ,hwe firit ‘*dal HEART SONGS, lo, children A and love the piano. have an equal place with all other exercises of the “ I Saw the Holy City ” “Blessed are the Lowly of Earth” for primary and tumor grades. A surprise ,, teachers and trainers ol children of from 5 to Mrs. Gay nor knows what is necessary for this primary school and kindergarten, this book has been ^1^"^ are excePtional,r meritorious in Music by P. Douglasi^Bird. ^ usic by A. C. Mackenzie. Key D l.-C) F and Ab. purpose, and here in verse, in melody and in rhythm, prepared from work done with children in the school and aDtne establish firmly uric by Adam Ceibel. Key D (a-D) F and G. mediate comprehension of rhythm and an ability t^ tne habit of motion for the foot as well as a keen Music by W. H. Griggs. Key A (g-E) C. CHARACTER SONGS, hr children, by A Price.. Cents Word, by J. B. Thompson play at once. Price.. Cents “ No Cross, But Crown ” Wat hall. A »et of tne character tongs in * !**♦•» may bef thea bebentter ’ appreciated.^ "lat ,hePrice effec « <)f 50the Cents pedal “ The Beautiful Gate ” Prof. Geo. P. Lull. Bradford. Pa.. H,gb SdS.™“ Music by Herbert Johnson. Key C (a-C) F and G. We have recently added to our New York * Word, by Herbert Johnson Teachers, • department under the supervision oTan ^er Th£T 3 SPedaI teacher’s “Alone With Thee” “ The Savior Calls ” much assistance to you in making youfffiioS of XT"5'"'WiU be of $1.00 Music by Eben H. Bailey, Key Db (a-C) Eb. Words Music by Jules Jordan.^ JG^Ab^ («-F) Eb. Word, by Orchestra and Band Music Attention ! a dozen II interested in orchestra and band music senu , , giving you what you need. of teachmg material and music mmple parts, or ask for our Musical tasenper, a monthly band and orchestra journal. —--..Send all your uiucisorders anaand direct ailall inquiries to Published by White-Smith Music Pub. Co. Mention The Etude. Boston New York Chicago THE JOHN CHURCH COMPANY. 37 W. 32„d s,„ New York City | THEO. PRESSER CO. FILLMORE MUSIC HOUSE 62-64 Stanhope Street 13 East 17th Street 316 So. 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Schmidt’s Educational Series PIANOFORTE SOLOS GRAPES 1 AND 2 >m, Carl 358. LyricS, -Sr::":1-* Ihird Grade) . . TniRvi'n'voE volTxxx. no. t krm- JANUARY, 1912 of January this laudable purpose passes to that mysterious and un¬ known abode of most good intentions. “Ws—S. Why should our New Years all begin on January first? After FrimI, Rudolf all the calendar is only a convenient way of measuring our time ac¬ 3. Op. 35. Suite Mignonne. Opera is now just a little over four hundred years old. Since cording to the movements of the stars. The world worried along ms - Peri produced Dafne in 1597 and his Euridice in 1600, great things for thousands of years before the mighty Julius Caesar made his have happened in the world’s work. Euridice was given for the first calendar in 46 B.C. Pope Gregory XIII, one of the greatest think¬ time to add to the festivities of the wedding of the valiant King ers of his age, saw the flaws in the Julian calendar and corrected Henry IV of France to the quarrelsome Maria de Medici. It was a them in 1582. It was not, however, until 1752 that England and the ... state event, and since that time Grand Opera has in a sense always American colonies adopted the Gregorian calendar. In that year remained a kind of state amusement. In America the Emperor’s the English speaking people laid aside several day* and nobody Loge and the King’s Box have given way to the aristocracy of dol¬ ever knew the difference. March 5th became March 16th. and the lars. Only horse-racing and championship base ball can com¬ world went on in the same old way at the same old stand. If the pare with it in expensiveness, and these pastimes are still posses¬ “yellow peril” came upon us and forced us to change the calendar to sions of the proletariat. that of our pig-tailed fellow-republicans, we should be obliged to John Towers, who worked for years to complete a Dictionary of make a still more radical change. the Operas, reveals that twenty-eight thousand operas have been PIANOFORTE DUETS After all, what does the calendar really matter in our daily lives ? seen over the footlights. Do you realize what a wonderful industry Can we not call every morning of the year a New Year ? Can this represents? Over seventy operas a year have been written for we not make a new and beneficent resolution every day ? Can we four hundred years—more than one opera a week. What has become not resolve to practice more diligently, more intelligently, more of them? Alas, where is the fragrance of the roses of yesteryear? carefully, more successfully? Can we not resolve to teach more The operas heard in this day represent but a mere fraction of the patientlv, more sympathetically, more faithfully? number written. Pause for a moment to think of what industry is THE ETUDE WISHES EVERY ONE OF ITS READERS required to complete just one opera. Think of the armies of people THE HAPPIEST AND BRIGHTEST KIND OF A NEW antTSesr- who have taken part in their production and then marched on to YEAR—NOT THE JANUARY-FIRST KIND, BUT THE oblivion. Think of the prodigious expenditure of brains, time and EVER Y-DAY-IN-THE-YEAR KIND ! PIANOFORTE STUDIES energy and you will realize what the wonderful epoch of opera For years Americans cast their eyes enviously toward the Euro¬ pean opera houses. They longed to go abroad “to hear opera as it should be given.” Now the tables seem to be completely turned. We feel that our readers deserve some comments upon the plan While opera is given on a magnificent scale in many of the subsi¬ we have employed in presenting the subject of Grand Opera in The dized opera houses of Europe, innumerable unbiased judges who Etude. It became apparent at the very start that the matter could have had no object in flattering America or our American opera be treated in only a very superficial manner if we attempted to crowd managers claim that nowhere in the world is opera given on a more all of the necessary material in one number. It is our policy not t- lavish scale or with more magnificent musical and artistic results devote any one issue exclusively to any one subject. This issue is than in America. Paris was amazed at the performances of the for the most part an Opera Issue. Nevertheless any reader who Metropolitan Opera Company a year ago. American singers are might not be interested in the subject will find an abundance of found in nearly all European opera houses and their success has interesting reading upon other musical educational topics. In order won the unwonted envy of European singers. America has appar¬ to do this and at the same time cover the ground sufficiently our ently gone opera mad. Our glorious eagle has given up his scream¬ next issue will also present quite as important operatic material as ing and spends his idle hours practicing upon parts of Bella figlia, anything which has appeared in this issue. More than this, the his¬ dell’ Amore, Dich theure Halle or Belle nuit, 0 twit d’amour. tory of opera will be discussed by four distinguished writers : Mr. H. All this is very fine indeed and on one could possibly be prouder T. Finck, Mr. Frederic Corder, Mr. L. C. Elson and Mr. Arthur of the magnificent progress opera has made in America than is The Elson in a series of four articles, one appearing each month. There Etude. However, opera must always remain somewhat of a luxury has been a wide-spead demand for information upon the subject of for the favored few who live in or near large cities. Tn Italy. opera and it has been our purpose to present material for self- Where there is a city in almost every valley, opera has become very study, for club work, or for musical reference which should serve the intimately connected with the lives of the people. But what of a needs of our readers for many years to come. vast, sparsely settled country like America, with its enormous farms, the great prairies and its wonderful forests?

Making Your New Year Really Happy This issue comes to you at the very height of the musical season. You are, we trust, so busy that you have “not a moment to spare." Somehow we have all fallen into the fashion of making the Tt is just this condition, however, that has undermined many a I : pup.l-s second etude album first day of January an occasion for declaring our somewhat sober teacher’s success. If you fail to make your plans now for the and pious good intentions. We who are interested in musical work, balance of the season you will find that you will have comparatively _-who have the habit of what Lord Byron would call “exhausting little to do in June and July. With the proper foresight you may thought and hiving wisdom with each studious year.”—we take it easily arrange to continue the interest in your musical work right upon ourselves to resolve that we shall study durin^ the coming up to the end of the season. The Etude is continually suggesting S AND SCHOOLS A SPEC year as we have never studied before. About the third or fourth the way. >=» .ov1S¥S%V ARTHUR P. SCHMIDT ■ W^aVO|»Faust music at Heidelberg, a ’cello the eighteenth century we find Maria Theresa von passage did not suit him. "That must sound im¬ Paradies. who composed in large forms and became moral,” he said, “even though it was not written by a great pianist in spite of being blind. The women have often met with opposition. Mendelssohn ob¬ me, but by the holy Franciscus." jected to his sister Fanny’s composing, and included some of her works with his own; so that when THE DRAMATIC TRAINING OF THE OPERA Queen Victoria praised his song "Italy,” he had to Italy, the Home of Grand Opera SINGER. admit, with some shame, that it was really his sis¬ ter’s work. This attitude of unfair objection is now BY FELIX DAHN. From an interview secured expressly for THE ETUDE with The aerophor, invented by a Mr. Samuels of out of date. Some say that women cannot reach the greatest Schwerin, has been given a trial in Berlin. It is not Stage'Director of the Royal Opera House in Berlin. heights in composition. Women themselves have a new instrument, but an apparatus for furnishing air to wind instruments. It starts with a bellows, believed this. Thus Liza Lehmann has stated openly It is often said that the drama draws to the stage SIGNOR ENRICO CARUSO continues with rubber hose, and ends with a small that she believes physical conditions a handicap. It a more highly educated class of persons than the tube that supplies the air to the instrument when is true that in the last two centuries the women may opera. The reason for this is clear. It often happens not have equalled the men. But there’s a reason. not cut off. The invention seems to be a complete that a tenor who hitherto had been a locksmith, a The most eminent living operatic artist The number of women who try to compose is very success, and does away with the old problem of in¬ chimney-sweep or a wood carver feels that it is by no much less than the number of men. If thousands terruptions in the player's breath. As a sample of means necessary to wait without the gates of the its capabilities, an English horn player used it to of men have worked where only one Beethoven ap¬ peared, it is likely that the female genius will ap¬ heaven of art until he has learned three or four good . give without break the Traurige VVeise from “Tris¬ roles. No, his maestro (alias singing teacher) informs tan.” A flutist then employed it for the difficult pear only when enough women composers come for¬ the young vocal recruit, often after the third lesson, flute passage in the Scherzo of the “Midsummer ward to make her a mathematical possibility. that he is called to be another Caruso. Naturally the Night’s Dream” music, which he played “without the MUSICAL NOVELTIES. ITALIAN, THE LANGUAGE OF MUSIC. usual compromises.” The article adds that the in¬ conceit of the poor fool climbs one hundred per cen dom. Again, in the great operatic centres such as The new Strauss opera, Ariadne in Naxos, has If he is married,, then the Frau Scolsser (Madam educational subjects with Signor Caruso are so rare that Perhaps the fact that in Italy the audiences vention opens up an entirely new field; and the way The Etude feels especially honored in securing this most Milan, Naples, Rome, etc., the prices are invari¬ is now open to a mechanical orchestra. been very favorably described in the periodicals, Locksmith) or Frau Schornsteinfeger (Madam Chim interesting mutter. Although the most widely discussed ably adjusted to the importance of the production.. may understand the performances better because of ft is a sort of postlude to Moliere’s play "Le Bour¬ ney-sweep) is forgotten. Leaving his wife behind and singer of our times, no singer is so little known to the In first-class productions the prices are often very their knowledge of their native language may add MUSIC AND MARRIAGE. public as far as his real artistic personality is concerned. geois Gentilhomme.” Originally this play ended dressing himself in the most modern and extravagant The things that have Veen written about Signor Caruso high from the Italian standpoint. For instance, to the pleasure of opera-going. This, however, is Albert Leitzmann, in the Monthly Journal of the with a ballet. Hofmannsthal, who seems a favorite fashion he seeks for new worlds to conquer. With all have, for the most part, been the ridiculous imaginings of a question, except in the case of some of the more over-zealous writers. who have stopped at little to secure at La Scala in Milan, when an exceptionally fine Musical Society, shows pretty clearly that the re¬ with Strauss, remodeled the comedy, cutting it down these allurements he must remain a parvenue in life as sensational “copy." Of Caruso, the serious and earnest performance is given with really great singers, the modern works., The older opera librettos left much from five acts to two, and adding the new postlude. cently described second letter of Beethoven to his well as upon the stage. He does not realize that in artist, the general public hears little. For instance, the prices for orchestra chairs may run as high as to be desired from the dramatic and poetic stand¬ One critic says that Strauss has never written any¬ general public has an idea that his wonderful voice is a eternal beloved is a rank forgery. But we still have ‘order to become an effective singing actor he must kind of gift, rather than a development due to his own thirty lira or six dollars a seat. Even to the wealthy points. Italian after all is the language of music. In thing that shows more melodic grace and beauty. the first one to fall back upon, to prove the extent first visit the kindergarten of the stage. persistence and intellectual e*ort. That Signor Caruso Italian this amount seems the same as a much fact it is music in itself when properly spoken. of woman's influence in music. Beethoven was This makes the work wholly different in style from repudiates as absolutely false in the following interview. Where are all the Alvarys, to say nothing of the larger amount in America. Note that I say “when properly spoken.” American almost always under the influence of some intoxi¬ any of his other operas. The orchestra is a small Niemanns? Where do we see nowadays a Don Juan , At a eery early age he developed a fondness for music, and girls go to Italy to study, and of course desire to one, with much solo work, but the colors are rich took a great delight in singing as he heard the singers at To give opera in Italy with the same spectacular cating female divinity, all the way from Eleanora who combines dramatic facility, elegance and elastic¬ acquire a knowledge of the language itself, for they nevertheless. Piano., organ, and harpsichord are the great opera house of San Carlo sing. Vo one suspected, effects, the same casts composed almost exclusively von Breuning to Amalia Seebald. His dedications ity of interpretation with a really good voice? Where however, that he teas to become the foremost singer of his have heaxd that it is beneficial in singing. They used. There is an excellent contrast between the time. He did not start actual study until 1891, when he show this, as well as his letters; for his adoration do we find a captivating Raoul, a chivalrous Pro Pia- get a mere smattering, and do not make any attempt usually took the form of musical homage. But other earnestness of the postlude and the bits of buffo commenced his vocal education under Onglielmo Verging, volo or a brilliant FigaroWhy have \\. ■.■■■ acting 'i 1895 he made his debut at f ” ' .. ’ to secure a perfect accent. The result is about composers were less amenable to the eternal femi¬ work that are included from the comedy itself. The Case, While failur tenors or acting basses? Let me offer an explanation; ; s funny as the efforts of the comedians who imi¬ nine. Handel, for instance, never married at all. style is modern. The union of Bacchus and Ariadne, Hr Recently a young singer came to me for an engage¬ tate German emigrants on the American stage. Once he paid his devotion to a young lady in Lon¬ it is said, is accompanied by a perfect stream of ment. He had a sympathetic little "salon” voice. I ■ ... London. The n don. but her parents objected to having her marry beautiful melodies. The work will be given first in i America., at d the :New York public, ae. If you start the study of Italian, persist until you had him sing two inconsequential numbers. Then L;i ic greatest, si tiers of all countries, at one l ave really mastered the language. In doing this a "mere fiddler.” Later on, when Handel became Berlin. asked him what roles he knew. Then he . .Hided in ie possessor c f the most wonderful tenor i your car will get such a drill and such a series more famous, they let him know that he could have Other new operas in Germany are “Der Kuhr- me that he knew no roles at all, that he was a druggist of exercises as it has never had before. You will their consent. But by that time he had changed his eigeji,” by Wilhelm Kienzl, and Hans Sommer's who had found the drug business too trying, and have to listen to the vowel sounds as you have mind; and it is not on record that he ever lost his “Der Waldschratt.” Siegfried Wagner’s, latest, wanted the easier life of the stage, and he wa- confi¬ never listened. This is necessary because in order magnificent appetite through worry. His contempo¬ "The Vengeance of the Black Swans.” will be given dent that in a few weeks he could master many idles. 'then^Tignar Oarus^hasUoured’an'of ^hTgreat Countries rary. Bach, with two wives (in succession) and next winter; hut the real question is, in how many Thus think many other misguided young in. u. They of Europe, receiving jewels from the monarchs, and un¬ to understand the grammar of the language you succeeding winters will it appear? Italy is repre¬ limited homage from the public. Despite rumors to the must hear the final vowel in each word and you must twenty children, stands as the best musical example fail to realize that dramatic ability is n 11 essential. effect that his voice had been impaired by throat trouble, hear the consonants distinctly. of domestic devotion; but his genius was so innate sented by Mancinelli, who is working on a subject They do not seem to comprehend the fact that acting he has shown that it is in better condition to-day than ever that he would probably have written his noble from the “Midsummer Night’s Dream;” while Eng¬ There is another peculiar thing about Italian. If (Mimik) mirrors the soul and that intelligent audi¬ Etude readers may have^seen some of the caricatures fugues if he had never married at all. Haydn and land offers “King Harlequin.” by G. H. Clutsani. ences demand good acting as well as good Waging. • the student who has always studied and sung in Mozart both fared rather badly, especially the Novelties at the Opera-Comique in Paris will in¬ fistic, t prised p English, German, French or Russian, etc., attempts But why speak of the men alone. Young lady ywhere former. Both loved in vain, and each afterwards clude Albe'ric Magnard's "Berenice;” “La Lepreuse,” ■ operatic aspirants fall down upon our cons. r\. ries as to sing in Italian he is really turning a brilliant chose a sister of his earlier ideal. Haydn obtained by Sylvio Lazzari; Erlanger's "Sorciere;” Gustave thick as the leaves at Vallombrosa. The; study dili¬ searchlight upon his own vocal ability. If he has a selfish and unsympathetic wife, who led him a Doret’s “La Tisseuse d’Orties;" Xavier Leroux’s “Le gently, but when they are through with' their' vocallS any faults which have been concealed in his sing¬ lively dance, and certainly could not have been a Carjllonneurand Bruneau's "Les Quatre Journees,” work they approach the agent for an engagement, only ing in his own language that will be discovered source of inspiration. Mozart’s wife helped him in which does not promise to be twice as important as ul hr not developed his unforgetable r_. to find that it will be necessary for tlv r, L.arn to that he lives in an age when human inven at once the moment lie commences to study in composition by entertaining him with stories and Cherubini's "Les Deux Journees.” London is to used a means of preserving records of liis act Then they hie themselves to a teachc acting, Italian. 1 do not know whether this is because brewing him drinks. But Mozart, again, was a nat¬ hear a new ballet by Reynaldo Hahn, entitled “Le wonderful art. Thus his fame will become for more perm a sent than tlin of Mario LaBlache or others whose voices the Italian of culture has a higher standard of dic¬ ural genius, and probably needed no outside inspira¬ Dieu Bleu.” and expect to become proficient in the a ct d. icss time than it takes a dentist to fill a tooth have long tint tion in the enunciation of the vowel sounds, or tion. Schubert was of a romantic disposition. A work of much interest is Reger’s string sextet. whether the sounds themselves are so pure and When Caroline Est'erhazy asked him why he dedi¬ Op. 118.' It, is praised highly in the Signale, which I would even go further and say that tin .nnpetent actor should have a special training m s,jcs j„ OPERA AND THE PUBLIC IN ITALY. smooth that they expose the deficiencies, but it is cated nothing to her, he replied. “All that I ever do usually attacks Reger’s mannerisms. The themes order that his body may become pliable ami graceful * is dedicated to you.” Schumann was a noted exam¬ and expositions are clear and attractive, their de¬ Anyone who has traveled in Italy must have nevertheless the case. The American girl who ple of the power of feminine influence, and his mar¬ velopment complex, but not incomprehensible. The hungers seem to have the greatest difficult in finding noticed the interest that is manifested at the open¬ studies Italian for six months and then hopes to riage with Clara Wieck brought him a source of first and last movements are excellent, and the out what to do with their arms. I remember one ing of the opera season. This does not apply only sing in that language in a manner not likely to dis¬ almost boundless inspiration. Mendelssohn was of scherzo full of brusque humor, with a Brahms-like American singer with very long arms who had a habit to the people with means and advanced culture turb the sense of the ridiculous is deceiving her¬ a lively disposition, and throve best in cheerful sur¬ trio. The slow movement shows a strong and effec¬ of waving them about as though in distress. This but to what might be called the general public. Enrico Caruso. self. It takes years to acquire fluency in a lan¬ roundings; but his sister was really more of an in¬ tive simplicity and directness. she wasasCin0mPan,e , eVen,"le simPlest Parages when In addition to the upper classes, the same class guage. fluence in his career than his wife. Wagner was not Another interesting work was the piano sonata, foleno ) g a r°le aS ,he Chash ^0- of people in America who would show the wildest of very renowned artists, the same tnise en scene. * AUDIENCES. THE SAME THE WORLD AROUND. exactly inspired by women (save in “Tristan and Op. 2, in E, by the young Erich Wolfgang Korngold. enthusiasm over your popular sport base-ball would etc., would require a price of admission really higher Isolde’), though he accepted sacrifices from them; Audiences are as sensitive as individuals. Italy Its variety of rhythmic and harmonic effects is called tmnchaVe httje fa‘.th in the teachers who give instruc- be similarly eager to attend the leading operatic than in America. As a matter of fact, there is no is known as “the home of the opera,” but I find while Strauss, even in his Domestic Symphony, is simply marvelous. The moderato and scherzo are tions in gesticulations. The result is ahvavs ar ifidal performances in Italy. The opening of the opera place in the world where such a great number of that as far as manifesting enthusiasm goes, the more intellectual than emotional. most effective, as the slow movement is only fair, Most pupds who have been through such a course are is accompanied by an indescribable fervor. It is performances, with so many world-renowned sing¬ world is getting pretty much the same. If the and the finale has little development. Korngold’s rarely better than marionettes. They rem nd me bf a “in the air.” The whole community seems to FAMOUS WOMEN COMPOSERS. ers, are given as at the Metropolitan Opera House public is pleased it applauds, no matter whether it pantomime, “Der Schneemann.” has reached Russia, antone who had a wooden arm and us"d to "ng an breathe opera. The children know the leading Gemma Bellincioni sang a group of her own songs in New York. There is no necessity for any one is in Vienna, Paris. Berlin. London. Rome or New and will be heard at Moscow. arm used to sho"*.- Af.ter uevery third beat his wooden melodies, and often discuss the features of the at Amsterdam recently, and was warmly applauded; to make a special trip to Europe to hear excel¬ York. An artist feels his bond with the audience very New orchestral works include a symphony, Op. performances as they hear their parents tell about which brings up the subject of women composers. lent performances in these days. Of course such quickly. *Hc knows wether they arc interested, or 100, by Zoellner; “Aphrodisischen Reigen,” by ’Karl them, just as the American small boy retails his People are apt to think that women have started in a trip would be interesting as the performances given whether they are delighted, or whether they are in¬ Hentschel; a successful symphonic poem, “II Pelle¬ father’s opinions upon the political struggles of only recently, and that their composing is almost in many European centres are wonderfully fine, different. I can judge my own work at once by the grino d’Amore.” by Virgilio Sardi; and another the day or upon the last ball game. as modern a movement as their suffrage agitation. and they would be interesting to hear if only from attitude of the audience. No artist sings exactly alike "Orpheus,” by Desire Peque. Publications of Dvorak’s It should not be thought that this does not mean This is not true, for women were active even in the the standpoint of comparing them with those given on two successive nights. That would be impossible. posthumous works include two symphonies a Tragic a sacrifice to the masses, for opera is, in a sense, old contrapuntal times. Clementine de Bourges at the Metropolitan. However, the most eminent Although every sincere artist tries to do his best Overture, a Rhapsody, and a Suite. Zurich will hear more expensive in Italy than in America; that is, composed in France in the sixteenth century, and singers of the world come here constantly, and there are, nevertheless, occasions when one sings Walter Lampe’s Pure Symphonique and Hausee<*er's it is more expensive by comparison in most parts was held equal to the men. Bernarda de Lacerda choral symphony. The Menestrel speaks of these is the performances are directed by the ablest men better than at other times. If I sing particularly of the country. It should be remembered that was a famous Portuguese composer, and intrusted "two Swiss works.” hut Hausegger is suspected of obtainable, and I am at loss to see why America well the audience is particularly enthusiastic.—if I monetary values in Italy are entirely different from vv'th the education of princes. A little later Fran¬ having been born at Graz, in Austria. Joan Manen the should not be extremely proud of her operatic ad¬ am not feeling well and my singing indicates it. the cesca Caccini, daughter of the operatic pioneer, those in America. The average Italian of mod¬ Spanish violinist, has produced a three-movement vantages. In addition to this the public manifests a audience will let me know at once by not being quite wrote madrigals and poems, and became the idol erate means looks upon a lira as a coin far more symphony with parts for two solo violins. Paul Juon rrst&rr rL3 s*£ftCiS most intelligent appreciation of the best in music. so enthusiastic. It is a barometer which is almost ot her native Florence. There have been times has gone this one better, and written a triple concerto tempered" clavichord’ kM’ff “?n""re- Tl>' -'»• valuable than its equivalent of twenty cents in It is very agreeable to sing in America, as one is unfailing. when great women composers were about as fre¬ thoven Sonatas are the „ d ,t.e.starnent and the Bee- United States currency. His income is likely to be for piano, violin, and ’cello. sure that when one does well the public will respond at This is also an important thing for the young limited, and he must spend it with care and wis¬ lief in <"«“ •» «- singer.to consider. Audiences judge by real worth 13 THE ETUDE 12 THE ETUDE Space is wanting to consider further th<5 d, sm- THE “HUMAN INTEREST” TOUCH IN sonata, but the preceding remarks will, it is h P _ hardly believe that sensible people would give it a and not by reputation. Reputation may attract TEACHING CHILDREN. fice to illustrate my thoughts in regard to it . , moment’s credence. Every voice is in a sense the money to the box office, but once the people are pretation. Unfortunately there are ma. y ^ inside the opera house the artist must really please result of a development, and this is particularly so in my own case. The marble that comes from the BY ANNA HURST. faults which are often committed byvrtuM them or suffer. Young singers should not be led the utmost sang froid. How often a the beg nn j, quarries of Carrara may be very beautiful and. white to think that anything but real worth is of any last¬ of the sonata Op. 53 do we hear the following atrocio ing value. If the audience does not respond, do and flawless, but it does not shape itself into a work The child’s days of study should be made the hap¬ crescendo: not blame the audience,—it would respond if you of art without the hand, the heart, and the intellect piest hours of its life. Even very little tots take a could sing so beautifully that you could compel the of the sculptor. wonderful interest in the human side of music. 1 hey Just to show how utterly ridiculous this popular response that you know should follow real artistic love to learn of the stories of the great composers. opinion really is, let me cite the fact that at the achievement. Don't blame your teacher, or your They like to compare them with their own little lack of practice or anything or anybody but your¬ age of fifteen everybody who heard me sing pro¬ nounced me a bass. When I went to Vergine 1 self. The verdict of the audience is better than Every bit of knowledge on musical matters will the examination of a hundred so-called experts. studied hard for four years. During the first three at some time prove useful, and whenever a teacher There is something about an audience that makes years the work was for the most part moulding has an anecdote or bit of interesting information to it seem like a great human individual, whether in and shaping the voice. Then I studied repertoire Naples or San Francisco. If you touch the heart or for one year and made my debut. Even with the impart relative to any phase of study that comes up, please the sense of beauty, the appetite for lovely experience I had had at that time it was unreasonable it will be found an excellent way of impressing the to expect great success at once. I kept working fundamental principles on the pupil’s memory. The music common to all mankind, the audience is yours, HOW TO STUDY THE APPASSIONATA SONATA. be it Italian, French, German or American. hard and worked for at least seven years more be¬ Public School teachers found this out long ago. fore any really mentionable success came to me. In order to be prepared at all times, the teacher At such an offense against good taste- a cultivated audi- OPERATIC PREPARATION IN ITALY. All the time I had one thing on my mind and must have wide general knowledge, and this can be ence_4 ought to-^. ririmlrise and IaOUAleave the♦ Vlf* concertrOtlCeft hall-IlSll. * 1 ’ ' The American student with a really good voice that was never to let a day pass without see¬ done only through reading, studying and rente inher¬ [Editor’s Not..-The first part of tMs remark article was published in the Till many examples like this could be quoted! How o ‘ci1 and a realy fine vocal and musical training would ing some improvement in my voice. The dis¬ ing. Yet by no means should a teacher do it all. has the sonata Op. 57 been mutilated! Every pianist be- couragements were frequent and bitter, but I kept t7ic °pin(o',e u' have more opportunities for engagements in the Pupils must work and read as well; in fact, some ihLz lieves himself called upon to play it, but for the mos on working and waiting until my long awaited the world’s foremost authority upon Beethoven. The translation is by Mr. . . I smaller Italian opera houses, for the simple reason reading should be included in the preparation of part the result is a caricature of the work. And yet, that there are more of these opera houses and more opportunities came in London and New York. The how simple is this sonata in spite of its passionate ex¬ every lesson. Even the tiniest tots, too young to are usually played with brilliancy, like the passage of these opera companies. Bear in. mind, how¬ great thing is, not to stop. Do not think that be¬ Now I will say a few words in regard > the i pression. And what passion! It certainly justu read for themselves, will remember much that is told work in a virtuoso composition. Quite the contrary; ever, that opera in Italy depends to a large extent cause these great cities: gave me a flattering re¬ terpretation of Beethoven’s works. I have already said the surname Appassionata which has long been g"'n them, especially if it savors of a story. upon the standing of the artists engaged to put ception, that my work ceased. Quite on the con¬ that this is growing more and more removed from what Beethoven never and nowhere demands a “brilliant” to this sonata. The unrest of the first motive, A little plan I have adopted at times might prove on the opera. In some cities of the smaller size trary, I kept on working and I am working still.. is natural and is constantly becoming more eccentric style of interpretation. His figures and runs are always the hammering of the bass, the excitement in • i useful to others. A subject is chosen, such as a the municipality makes an _ appropriation, which Every time I go upon the stage I am endeavoring and characterized by affectation and a laborious search conceived with a thematic and melodic significance, and tumultuous runs, the wealth of contrast! Many pr- > - famous composer, the history of the piano, rivers in serves as a guarantee or subsidy. Ah impresario is to discover something which will make my art after originality. Now in order to play Beethoven as to recognize in the second motive the inversion of ibr song, etc., on which subject a pupil will write a informed what operas the community desires, arid more .worthy of public acceptance. Every act 'of he should be played a sound musical judgment is before first. I cannot agree with them. To be sure, there is what singers: He tries to comply with the de¬ composition such as would be written at school. each opera is a new lesson. all things absolutely necessary. Without this no one a similarity in the rhythm, but the quiet motive in A mand. Often the city is very small and the de¬ After being corrected this is carefully copied in a should dare approach the master who, through h:s in¬ flat major: mand very slightly indicated in real money. As a DIFFERENT ROLES. neatly bound book, reserving a page for a picture herent might, produces the greatest and deepest effects. result the performances are comparatively medi¬ It is difficult to invest a role with individuality. relative to the substance of the essay; for instance, Let none seek to thrust himself or his own personality ocre. The American student sometimes fails to se¬ I have no favorite foies. I have avoided this, be¬ if the subject be a composer, his picture is pasted in the foreground—for this let him choose composi¬ Example vi. cure engagements with the big companies, ^nd tries cause the moment one adopts, a favorite. role he there, prints or postal's costing from two to five cents tions that are written for such an end. There are to gain experience in these small companies. Some¬ becomes a specialist, and ceases to be an artist. The being used. enough of these calculated to produce the most dazzling times he succeeds, but he should remember before artist does all roles equally well. I have had^ the The compositions are excellent for future refer¬ outward “effect” from which the virtuoso seeking ap¬ undertaking this work that many native Italian singers unique experience of creating many roles in new ence, but their greatest value lies in the fact that plause may select and with which he can win the reward with,really fine voices are looking for similar oppor¬ operas, such as Loris, Fedora, Adriana, Germania, whatever has been written is retained in the memory for which he longs. has no connection with the disturbed and £ tunities, and that only a very few stand any chance of With Beethoven the artist should content himself with Girl of the Golden West, Maschere. This is a splendid more readily. in the minor: reaching really noteworthy success. experience, as it always taxes the inventive faculties being the interpreter, the mediator, who brings his For my own profit, I first write as long and com¬ of the singing aqtor. works to a true and sincere performance. Only thus OPERA WILL ALWAYS BE EXPENSIVE. plete an article on the same subject, and this may This is particularly the case in the Italian opera can a genuine artist bear tribute to the great immortal. Example vn. be used by others if reference material is needed. He should, of course, endeavor to seek engage¬ of the newer composers, or rather the composers To sink himself in his spirit is his first duty, not to at¬ I hardly expect my pupils to write at such length as ments with the big companies if his voice and who have worked in Italy since the reformation of tempt to increase the effect by empty trickery. It is un¬ I do, though there is no restriction, for the longer ability will warrant it. Where the most money Wagner. Whatever may be said, the greatest in¬ believable how a Beethoven work is often distorted and and more comprehensive these articles are the m is, there will be the highest salaried artists and the fluence in modern Italian opera is Wagner. Even how the lines of one of his clear, simple compositions finest operatic spectacle. That is axiomatic. Opera greater the gain for the writer. Pip the great 'Verdi was induced to change his methods are thus often disfigured and drawn out of shape. is expensive and will always be expensive. The This writing takes time, did you say? Indeed it in A'iFranz Liszt I often hear men say, here in New York, “I had which the emotional climax occurs when most of the tact remains that more reading and studying should tion are more easily divined, and numerous affectations, the deepest understanding for Beethoven. Li- to pay fifty dollars for my seat to-night.” That tonal force is spent, and the hearer holds his breath be done by both teachers and students, and the latter which form the chief stock in trade of many modern Deafness to Beethoven was what blindness might have been conception of his works was the greatest, the n is absurb—the money is going to speculators in¬ to Rembrandt. This pathetic picture shows the for fear of interrupting the quietness which seems are never too young to commence. Even the small¬ virtuoso are best avoided. The continuation of the powerful that can be imagined. Of the later g stead of into the rightful channels. This money great master discovering the oncoming of less and yet more than silence because of the signifi¬ est Ebsorb lnformation in a surprisingly short melody days of silence and mental misery. artists Rubinstein’s interpretation was perhaps so is simply lost, as far as doing any service whatever cantly repressed sounds. what too objective, too Russian in character, th;n to art is concerned. It does not go into the opera- A mere climax of sound without any emotional For myself, I not only save the clippings, nut Example n. von Bulow often too dry and pedantic. Nei house treasury to make for better performances, are ever in organic connection with the whole. In this significance is often a sign of the lack of inspiration reached the height attained by Liszt, who was not , but simply into the hands of some fellow who had fn0tereastiS well, yet perhaps the most which frequently goes with a high technic. The T1^"8 as particular Instance he is also often sinned against in the greatest interpreter of his time, hut as such been clever enough to deprive the public of its just n umlifr of al> « one of pictures of the writer well remembers a criticism of his first pro¬ that the dots over every fourth note are disregarded, ever remain alone and unapproachable. opportunity to purchase seats. The public seems to duced orchestral work, which was to the effect that and smiWA « nat,ons and ages from the PjPes and the whole passage is played in simple legato. The have money enough to pay an outrageous amount for One who, like myself, belonged to the chosen one the work was well conceived and constructed, but wonderr f^8 ° times dow" to the division of the figure by means of the staccato, which seats when necessary. Would it not be better to do wonderful creations of the present day. the small circle in Weimar which Liszt gathered r. failed of a climax. The criticism was a .good one, calls for this simple cantabile style. Generally, how¬ is brought about by a distinct raising of the little finger, away with the speculator at the door and -pay, say himself, and who enjoyed the rare fortune of though the development of the themes and the ever, in this passage, a certain coloring reminding one is, however, of the utmost importance, and must not be ceivinff rlirprt insnirntinn frnni laic $10.00 for a seat that now costs $6.00? This would of Chopin is introduced—a preposterous sentimentality ceiving direct inspiration from his radiant orchestration were worked in regular sequence to a neglected under any circumstances. The close of mean more rehearsals and better opera and no money which was totally strange to Beethoven’s muse. must feel enriched for life both in soul and ;u splendid combination of all the forces utilized at all failed^n^Ti->n° ufn ?r ,woman who ever lived 1 the melody: donated to the undeserving horde at the portals of the The following figures: through the undying impressions that were awak in the work. Why it lacked climax was that the while durin V'i / desire to do something woi temple. Example rv. ened in that atmosphere. A meeting with th whole work was a study of methods and not an Yet alas how fSt T period of his or her Weimar master seldom took place without his giving THE STUDENT’S PREPARATION. expression of feeling. Example n I am told that many people in America have the St wolkYs tb 6W ,°f US accomP^ anythir pression in fervent and eloquent words to hi Unless there is a climax of feeling—a concentra¬ “Alas for him ih ?UtCOme of Sreat steadfastne unbounded admiration for Beethoven. How- coul impression that my vocal ability is kind of a “god- tion of all the powers of the mind and spirit upon wo k!’> say ma Per" g0ne and hath done on go it be otherwise than that he should inspire in us- given” gift—that is. something that has come to one desire or one emotion—there can be no real me without effort. This is so very absurd that I can climax of art. his faithful followers who adored him—the same lo\ should also be given without any pronounced shading, and veneration that he himself felt toward his idol and with the greatest simplicity. When Liszt placed himself at the piano and played tl 15 THE ETUDE THE ETUDE 14 Written.

Adagio from Op. 106 for us it was one of the greatest revelations of the human spirit. One was translated to another world, and felt himself purified from earthly Progress in Piano Playing dross. All who were fortunate enough to be allowed to | From an Interview Secured Expressly for THE ETUDE | catch his tones will never forget the consecrated mood with the Eminent Pianist, which enfolded them on hearing his inspired interpreta¬ The Beginnings of Opera tion, which had nothing in common with the ordinary JOSEF HOFMANN treatment of the piano. His slender, spiritualized fin¬ gers lured all registers of human emotions from the stubborn instrument—from the most delicately whis¬ By HENRY T. FINCK pered sentiment to the mighty outbursts of climacteric [Em: e special Chris Issue of passion—and every tone glowed with the soul of Bee-

The question of whether special technical studies of leThe other'pS to “^considered in the study of Author of “Wagner and His Works,” “Massenet and His Works” A FAMOUS LISZT LETTER. an arbitrary nature, such as scale studies, should be ex¬ embellishments is taste, or rather “fashion,” and other exceptionally successful books tensively used is one which has been widely debated, I believe I can conclude my remarks in no more fit¬ for the fashion of those times i er-indulged in and I fear will be debated for years to come. Let us ting manner than by quoting part of a letter written by ornamentation and over-loaded eve^thlng MONTEVERDI the master, and bearing the date of December 2, 1852, understand first that there is a wide difference between from architecture to dress, was by no means an. in¬ which best shows us how to regard every work of studying and practicing. They resemble each other only significant factor in music. The point ,s important be- Beethoven. His judgment in every point is brilliant in so far as they both require energy and- time. Many cause it involves the element of concessions which and comprehensive; it places the understanding that sincere and ambitious students make the great mistake the composers, voluntarily or from habit, made to the of confounding these two very essential factors ol Liszt possessed for Beethoven in the clearest light. The public of their day. 1 seriously question the necessity pianistic success. Study and practice really are quite letter is written in French, and in it he says: of retaining these often super-abundant embellish¬ widely removed from each other, and at the same time by Peri, toward the end of the sixteenth century, mutilclaos Beethov ments in their entirety, for I contend that we study accompaniment of music, wild men of all parts of the the Isr they are virtually inseparable. The real difference lies • SPECIAL EDITORIAL NOTICE. was considered such an epoch-making thing. antique works on account of their musical substance world—savages and barbarians—did the same thing, to guide us during t in the amount and quality of the two elements. Practice Etude desires to present its readers with a series The Passion—the sufferings of Christ between the io light the night for us, so .. and not for the sake of gewgaws and frills which were ’les reviewing the progress of opera from its begin- just as they do to the present day. Last Supper and His death—was found especially night... ..< obscurity.'f" means a large number of repetitions, with a fair amount . ,i ,;,11,riwino- tn the feet that the pre¬ Catlin tells in his book on the North American ...j ..e should follow: both alike are either induced by the imperfections of the instrument •tides in anv one issue would l suited to such semi-dramatic presentation, and thus of attention to mere correctness of notes, fingering, etc. sentation of these Indians how the Mandans, for instance, acted when a perpetual command, an inlalllble 1'Cf ^ °yai.i{Ju “terms or by the vitiated taste of times to which the com¬ impossible the vat v which we deem all essential, we arose the passion plays, a survivor of which can still Under ordinary circumstances and conditions it usually have decided to is.,„v.> them--- in four— consecutive numbers. their hunters could not find any buffalos to kill for ofThoughteof'the1 master as6manifested in his sonatas, his poser had to yield willy-nilly. All have been written by authorities.—the ... - highest standing be seen at Oberammergau in Bavaria, once in ten symphonies. Ids quartets, it is true 1 should hardly coniine means a great sacrifice of time and a comparatively their food. Ten or more of them formed a ring and It is, of course, a very difficult and responsible task ami all are equally interesting and instruct years. Other varieties were the mysteries, based on myself to the division into three styles, now generally small investment of mentality. danced. Presently they indulged in a real pantomine. adopted and which has been followed by you—but simp y Study, on the contrary, implies first of all mental to determine what to retain and what to discard. This, legends of the saints, and the moralities, in which taking note of the questions raised thus far, I shall frankly in which one of the men, wearing a mask made of put the great question, namely: How far does the tradi¬ activity of the highest and most concentrated type. It to a large extent, must depend upon what part the THE CONFLICT OF SPEECH AND SONG, such Christian virtues as Justice, Faith, Charity, ap¬ a buffalo’s head with its horns, and with the tail tional form necessarily determine the organism of the presupposes absolute accuracy in notes, time, fingerings, ornament plays in the melody of the composition, peared as characters. In course of time these be¬ BY FREDERIC CORDER, hanging down behind, played the part of the buffalo, 'nfs*'solution of this question, such as it may be deduced etc., and implies the closest possible attention to those whether it is really an integral part or an artificial ex¬ came so popular that they had to be given outside the foremost English authority upon the subject of opera while the others pretended to shoot him with bow from tlie works of Beethoven himself, would lead me to things which are generally, though erroneously, re¬ crescence. By all means never discard any embellish¬ and the Professor of Composition at the Royal Academy. the churches, in cemeteries and market places. These divide them, not Into three styles or periods—the words Mr Corder is one of the ablest and at the same time one and arrow and to skin and cut him up. This play "style" and “period" being but corollary terms, subordinate garded as lying outside of technic, such as tonal beauty, ment which may serve to emphasize the melodic curve, of the most brilliant writers upon musical subjects. He are the sacred forerunners of the opera. and liberty are brought bagg ive identity.” was accompanied by “drumming and rattling, chant¬ them more logically dynamic shading, rhythmical matters, and the' like. or any one which may add to it- declamatory will present the second phase of the subject (Gluch to hlch the traditional in aventional ft Some have the happy gift of combining practice with character. A well-educated taste assisted by experi¬ Wagner) to lie published In the second section of the opera ing and yelling,” so that it was really a musical play t in ' issue (February). BALLETS, MASQUES AND MADRIGAL PLAYS. lands, breaks up, re-creates, study, but this is rare. ence will be a fairly reliable guide in this matter. of an extremely crude sort, to be sure. bought e Of secular forerunners of the opera there were also ashions form and style at the dictates of his needs Hence, in the question of scale exercises, etc., if the However, it is hardly advisable for amateurs with MODERN ITALIAN OPERA, jirations. Bv proceeding in this manner we shall ANCIENT GREEK PLAYS WITH MUSIC. several. French writers have called the troubadour, s touch directly upon the Incessant problems con¬ word “study” is meant in the true sense, I can only say limited training to attempt any home editing of this BY LOUIS C. ELSON, Adam de la Halle, the first opera composer, because vening authority and liberty. But why should they dis¬ that the study of scales is more than necessary—it is kind. will form the third Installment of the series and will he Hundreds of similar illustrations might be given, may? In the sphere of the liberal arts they happily expose of his pastoral play, Le Jeu de Robin et Marion, which us to none of the dangers and disasters that their uncer¬ indispensable. The pedagogical experts of the world Those embellishments which we do retain should in published in the March issue. This Is one of the most but we pass on at once to the ancient Greeks. Every¬ fascinating educational articles this eminent critic and tainties occasion in the practical and social world, for in the are practically unanimous upon this subject. The in¬ all cases be executed as the composer f the piece body know? that they used music with their famous was produced in the year 1285. It was divided into M!0 PHMIBeautiful agenius__ ___arbiteris and for educator has ever written and will prove profitable reading scenes, contained spoken dialogue and “dialogue songs. ’ a this dualism disappears: the ideas of authority junction, “study,” applies not only to scales, but to all would desire to hear them executed if he could be¬ to thousands of Etude readers. plays, among them the great tragedies of Aeschylus, r primitive identity.1’ and’liberty are brought back t~ **"'■ ' forms of technical discipline, which only too often are come acquainted with the instruments of to-day. This, Sophocles and Euripides, which we admire to this in which two voices alternated, besides a number of “practiced” without being studied. I will not deny that of course, places the study of ornamentation with the , MODERN FRENCH AND GERMAN OPERA, day; but just how did they apply music to these popular ballad tunes interspersed between the spoken HANDEL AS AN IMPRESARIO. mere practicing, as I have defined it, may bring some many auxiliary musical branches which demand special BY ARTHUR ELSON, dramas ? parts. But this was not real opera, being more like little benefit, but this benefit is gained at an enormous and separate attention. Johann Sebasii.i: Bach's son, author of Critical History of Opera,” and other works. The chorus took a prominent part, and its lines what we call a variety show, or at most, a crude sort The name of Handel has become so indissolubly expenditure of time and physical and mental exertion. will furnish the fourth article . __3 which will of operetta. Others of the kind had preceded it. Phillip Emanuel Bach, realized this.nuul gave years to appear in April, and complete » historical and critical were not spoken, but sung. Many of the monologues connected with oratorio that it is difficult to realize Oh! the endless leagues that ambitious fingers have the proper exposition of embellishment - 1 lowever. the discussion of a subject about w :h many of our readers and dialogues also were sung. But in the classical About three centuries later the French were much that he only took to composing in this form when traveled over ivory keys 1 Only too often they race like have been writing us for years. given to producing, at court festivals, ballets d action. student should realize that the study of embellishments period this song was more like declamation than he was fifty-three years old. Handel devoted almost automobiles on a race-course—in a circle—and after is only a part of the great whole and he should not like real melody, and the accompaniment was pro¬ in which, besides dancing, there was action, poetry and his entire life to opera and to operatic ventures. having gone innumerable miles, and spent a tremendous be misled into accepting every little shake or other vided by the player of an aulos (an instrument re¬ music, which in some cases were closely enough united He was the Wagner of his day, since he is prac¬ amount of energy, they arrive at the same point from EXTREMES MEET. sembling our oboe), who followed the singer in uni¬ to foreshadow real opera. One of these entertain¬ tically the only composer of first rank besides which they started, exhausted and worn, with very little frippery, and then magnifying it it a matter of A few years ago Lawrence Gilman wrote a book son. At a later period this simplicity was aban¬ ments, Baltazarini’s Circi, ou le Ballet de la Reine, Wagner who was his own impresario. His services little to show for their work, and no nearer their real more vital importance than the piece i: - in which he endeavored to prove that Debussy's doned, both the vocal utterances and part of the produced in 1581, is said to have cost about a million were repeatedly in requisition as one of the directors goal than when they started The proportion in which Pelleas et Mclisande (which was produced twenty aulos being decorated with ornamental passages. dollars, and to have lasted from ten o'clock in the of various operatic ventures. The South Sea Bubble mental and physical activity are compounded, de¬ WELL-MEANING ADVISERS. years after Wagner’s last work), is the climax of Still later, the chorus was reduced to a minimum. evening to half past three in the morning—which had not yet burst, and the time was ripe for specu- termines, to my mind, the distinction between practic¬ operatic development, the goal at which the music The student should form the habit f determining Together with Greek civilization this foreshadow¬ shows that the Meyerbeer and Wagner operas long ago ing and real study. One might also say that the pro¬ things for himself. He will soon find that he will he drama was always qiming, but which it never quite ing of opera soon came to an end. There is no had predecessors as to length! This ballet included Handel was exceedingly short-tempered, and portion in which real study enters into the daily work surrounded with many well-meaning -ers who, if reached before that opera. never in doubt about what he wanted. He went evidence that the Romans used music in connection solo songs, duos, choruses and instrumental interludes. of the student determines the success of the student. they have their own way, may serve ; ,-nfusc him. If this is true, then the omega of operatic evolu¬ bankrupt twice, but did not let that interfere with with their tragedies or comedies. Louis XIV was so fond of such ballets that he took borne virtuosos regard their well-mean dmirers and tion is surprisingly like the alpha; for Debussy, in his plans to any great extent. He seems to have THE STUDY OF DETAILS IMPERATIVE. During the first thousand years of the Christian part in presenting them. “ner,s as the worst penalties df the \irtuoso life. . that work, follows principles very much like those In England a popular precursor of the opera was the believed that the chief virtue of a failure is that it Study demands that the student shall delve into the adopted by the originators of Italian opera. He sim¬ era music, like the other arts, led a precarious ex¬ enables one to begin all over again. Very few Whether they are or are not must, of course, depend masque, in which music, vocal and instrumental, was minute details of his art. and master them before he plifies the orchestra, so that the words of the istence. Its life, as an art, lay entirely in the hands people cared to try conclusions with him. There upon the artist’s character. If he accepts their com combined with costumes, acting, scenery and dancing. attempts to advance. Only the most superficial students singers may always be understood distinctly. On the of the monks, and they had many other things to was a prima donna named Cuzzoni who had a won¬ phments and courtesies as an expression the measure In these performances, also, persons of rank frequently fail to do this in these days. All of the -better trained part of the singers, distinctness of enunciation is, in engage their attention, wherefore progress was slow. derful voice and a woeful temper—she subsequently l J Te "ey dcnvcd fro'” his - •:•,. he has joined. teachers insist upon it, and it is hard for the pupil to Pelleas et Melisande, held to be by far the most im¬ It is to the church, nevertheless, that we owe the poisoned her husband. Handel sent for her to come act ly allowed for that share in their on e which Italy had its share of similar, near-operatic enter¬ skim through on the thinnest possible theoretical ice, portant thing; hence they use, from beginning to end, development of music, including, odd as it may seem to London, and she at once became a great success, here1! , p0wer of appreciation. and he can tainments — pantomimes, ballets, masques at Carnival as they did in past years. The separate study of em¬ a kind of recitative, which is practically a sort of to us, the opera. though she was a singularly unattractive woman. bellishments, for instance, is decidedly necessary, es¬ time, and intermezzi, or short play scenes with music, woXwortny ofot itit. yThThee)01Ce manner ln havinof their* Pexnro' idcd ion-metWng the ob- chant. Debussy deliberately banishes from his score Horace Walpole described her as being “short and pecially in connection with the embellishments intro¬ MEDIEVAL GERMS OF THE OPERA. which were introduced between the acts of tragedies in squat, with a cross face, but fine complexion; was* all vocal melody, and is thus in the same boat as duced by the writers of the early eighteenth century pHmet„TsnSwi5ey "’“V' th.e Very wordi^ : their com- It is in the liturgy, the rites of the church, that we order to relieve the emotional tension of the hearers. not a good actress; dressed ill, was silly and fan¬ Peri, Cavalieri and Caccini, who. three centuries ago, In the study of embellishments it is vitally important a case of real revea : »crc morbid “noble contempt for vocal melody.” as of the oratorio; for at first these two forms of rived in London was characteristic. points in connection with his investigation. One point Teoffie l bn°b with celebrities or a, least with Inasmuch as melody—and plenty of it—is what art. now so widely apart, differed very little from In all these precursors of the opera, secular and “I know, madame, that you are a veritable devil, is the understanding of the nature of the instrument often compelled"31'11’6 °f ’,1Clr Profcfsi 1 work arc opera-goers most eagerly desire, how did it happen each other. In order to provide entertainment com¬ sacred, while there was often a good deal of music, but I would have you know that I am Beelzebub, for which the composer wrote when he had the em more oHeTLZ'T °W" (K ’ "> h"1'1 a that these, the first Italian opera composers, adopted bined with religious instruction for their congrega¬ it was usually associated but loosely with the play, the prince of devils.” bellishment in mind. The instruments of the earlv he deals wiih f P°s"lon in t,u public eye. If such a strange attitude towards it? Before answer¬ tions, the priests, as far back as' the eighth century, alternation being the rule in place of the true operatic “Encouraged by this greeting,” Mr. R. A. Streat- eighteenth century were characterized by a tone so thin field tells us, “she flatly refused to sing the beautiful merits to go further8?! Th' a,,°"s ,hcir comPli" ing this question, it will facilitate a complete under¬ began to present the gospels in a dramatized form, amalgamation in which the several arts are, like so and of such short duration that the composers and a man of ? h ‘ a" ,he ph>’sical - be must he one of them reciting the part of Jesus, others the many metals, mixed to form an alloy. Something more air, ‘Falsa Immagina,’ which Handel had set down as players (and it should be remembered that in those dpvc standing of the situation if we glance at the earliest parts of the evangelist and the high priest, while the nearly approach'ng an alloy is found in the early mad¬ her opening song, whereupon he seized her round practically all of the great composers’ played and most thaTL lil/e 8C,er S° WCak as *° "’ah,- u doubtful germs of the opera—namely, at such crude combina¬ populace was represented by a trained choir. In the rigal plays. These were really a sort of dramatic the waist and threatened to throw her out of the of the great performers were composers) had to re and earnest prothing worthy of sincere tions of music with action as existed before the twelfth century the congregation took part in these cantata, composed for the concert room without scen¬ window. Cuzzoni owned herself beaten, sang the sort to all kind of subterfuges and tricks to produce Italians just named attempted to create a new art, , modeled, as they supposed, after the dramas of the productions by singing hymns at proper intervals. ery, costumes or action. But the text was a regular song, and in a moment had London at her feet.” the deception of a prolonged tone. For instance, they become convinced th /.i! than an-v,h,nK else. They had a method of moving the finger to and fro (side ancient Greeks. Beginning with the fourteenth, instruments also, play, and the music attempted to reflect its spirit, now those of the greatest8 ^ Ct'°rtS are co,nParab,e wi,h among them trombones and an organ, were used serious, now comic. ways) upon a key after it was struck. Thus they pro’ merit diminishes in ,.artlst' and the desire for improve- INDIAN PANTOMIME WITH MUSIC. True musical art remains forever imperishable, and duced a sort of vibrato, not unlike that of which we to deepen the impression. What is most noteworthy, In one respect, however, these performances were opinion of their lrect ™'° to the rate in which their the true artist has an intimate and indescribable pleas¬ have received an overdose in recent years from ™ The dramatic art of civilization is usually traced however, is that the vocal utterances at these per¬ amazingly unoperatic. The words written for a char¬ ure in hearing the great masterpieces.—Ludwig Van linists and ’cellists. This vibrato (German Z sho«ld continually™" ™rts *nerc«scs. The student back by historians to the sacred dances of ancient formances were less like flowing melody than like acter in a play were not sung by h:m or her as a Beethoven. was marked like our modern “shake,” thus, ’ B bun^ same acuteness tW u ”S own work w',h the Greece. But long before the Greeks danced to the the crude operatic recitative, the invention of which. solo part, but by a chorus of several voices, in madrigal w ***““• •» 17 the etude

her demeanor, and a fascinator. She had hosts the etude admirers in Europe, among them Liszt, Rossini, Cher 16 • than because she thinks they constitute the bini, Auber, DeBeriot, Von Biilow and others, and Ber¬ °f °fr fTstren-th of our singing—but also with those lioz, Weber and Beethoven were good friends B je style! Even so great a sixteenth century composer right direction-but he went ffluch ^ ^“entT^ beauty and ° which cannot be written down, are recitative which, while it follows the also had admirers who pursued her but she was tinany as Orlando Lasso was capable of composing a comic C^mSbfldearned from the writing.” fully, is seldom musical or expressive. jt is not to be 1 q{ reat historic importance. It saved by Count Rossi, an Italian diplomat, who married scene representing a monk and his servant quarreling Peri and his colleagues forgot that in an P her and came to this country with her in 185.., figuring in a wine cellar, which piece, however, was, in accord¬ ThlSiwthe adorning of melodies by the singers was thereafter in scandals which attributed the countess not correct to say "the play’s the thing shows that t ore Peri and his colleagues originated ing with the ridiculous custom of the time, sung not ,i....;r, -„,i fkot Po77.nlini. her tenor, to his hand. in fashio recitative. Ere long, this colorature, as a- musical dialogue by two voices, but by two choirs rights, too, and these right.s ^'fheTOcaf parts shorn opera composers. Not only were u e instruments th-th X rest of the bel canto, made its home in the of five voices each! ... of melodic charm, but the accompanyi S They The absurdity of this procedure was at last brought also were not allowed to indulge in melody iney Wlth h nrl the recitative, of which Pen and his col- ,°Pera’ hil ieen so Proud, was relegated to the back- home forcibly to some discerning persons at the wed¬ were chiefly of the kind the strings of leagues h< V t0 that bel canto—that is, to ding (1579) of the celebrated Venetian beauty, Bianca plucked, and what they contributed to the perfor ALBONI’S DIGNIFIED CAREER. was mostly short, twangy chords, the bas> cmly being ^“ornamental arias which gradually made up the Capello, to the Duke of Tuscany. The music provided There was a wide difference between Sontag and musical substance of an opera. by two famous composers, Claudio Merulo and Andrea sustained. The choruses alone were n0t c0I!ip0®d in. Alboni, for whereas Sontag was willowy Alboni was the recitative style, but they were too short andj^ Gabrieli, for the dramatic representation arranged for THE FIRST PUBLIC OPERA HOUSE. corpulent to a degree, which might be called excessive, significant to rescue the musical side of the this occasion, though good of its kind, was generally and her embonpoint was accentuated by the hoopskirt considered more appropriate for a solemn occasion like This tendency was greatly accelerated after 1637 It is a most remarkable fact that up to that date there of the period. What she would have looked like in a church service than for a merry wedding feast. In¬ Twe heard any of these early operas hobble imagination fails to conceive. But once the them an intolerable bore. By the Italians of be had been no public performances of operas. In other telligent music lovers were becoming more and more s note.—To Mr. JDpWn ^belongs^^the^— credit^,- for—- Summed up ..i the fewest words, Jenny Lind, it Seems noble contralto’s voice was heard her physical misfor¬ Seventeenth Century they were not only tolera‘edN words, for forty years operas were sung only in pri¬ __issful and helpful of all , , convinced that choruses and counterpoint were not the a noble musical endowment, combined with tune was forgotten. She was the greatest of contraltos admired, for three reasons: they were a ne F i vate halls and palaces to invited guests! r uphn Tb|“opera. ^ Mr Upton is now seventy-seven to me, nau extra¬ thing: they had fine scenery;; and members of the When the public at large at last got a chance to ordinary career in Europe where she was the rival of THE FIRST OPERA WITH RECITATIVE. nobility took part in their performance. hear operas, the production of them was greatly stimu¬ rSlCnllectual Marietta Alboni, Anna Caro¬ Their ambition was to create a new form of art, re¬ musical. Gagliano, in 1608, wrote a Dafne m which text or plot. On one occasion a spectator, seeing the an inspired charlatan for a manager, but line de la Grange, Adelina Patti, Amelie sembling the ancient Greek drama, of the wonders of the rhythms of popular folk tunes are used Rome had hero of the opera stab the heroine, exclaimed: “Great she was everywhere welcomed by great Materna, Euphrosyne Parepa-Rosa, Chris¬ which, and the deep impression it made on the hearers, a school of composers who helped to make the opera heavens! The tenor is murdering the soprano!” audiences whom she captivated by her tine Nilsson, Pasquale Brignoli and Karl they had read so much. They hoped and believed that musical—a school to which Hugo Goldschmidt has In France the degradation of the opera was less splendid exposition of the masterpieces of they might make an equally deep impression on the devoted a whole volume of 412 pages, 256 of which marked. There Lully not only upheld the best musical Formes. Donizetti, Auber, Meyerbeer and Rossini, audiences of their day if they could only find out just contain illustrations of the Seventeenth Century operas the last named her only teacher. Her traditions, but added new elements. Above all. he paid JENNY LIND, THE INIMITABLE. how the Greek actors delivered their lines. in musical type. It is entitled Studien sur Gesclncnte careful attention to the text, and tried to make the mantle nearly fits the generous shoulders Opinions differed, but Peri believed that the Greek der italienischen Oper in J7 Jahrhmdert, and gives a music conform to it. But in Ital> and in Gcrniany Of Jenny Lind, George William Curtis of Madame Schumann-Heink to-day. actors “must have made use of a sort of. music which, vivid insight into the operatic situation. (which for generations followed the lead of Italy)' once gracefully said: “The youth of her while surpassing the sounds of ordinary speech, fell Monteverdi, however, was, as just stated, the great¬ the “concert-in-costume” style of opera flourished ex-) day have borne her in their hearts across A FORGOTTEN STAR. so far short of the melody of singing as to assume est of the reformers. I call him the Italian Wagner clusively until the great reformer Gluck called a halt a generation and their hearts still rise at It might almost be said of La Grange. the shape of something intermediate between the two.” for five reasons: (1) he made the operatic recitative and curbed the monopolistic vanity of the singers. the mention of her name, as the Garde du Nominis umbra. Who remembers her ? Therefore, he continues, "Abandoning every style of more melodious and expressive; (2) he boldly used After him, the florid aria again triumphed in the Roi sprang up cheering to their feet when Baker, in his dictionary, has a few lines vocal writing known hitherto, I gave myself up wholly unprepared discords to express dramatic emotions; (3) .operas of Rossini and Donizetti, and it required the the queen appeared.” I was one of those alwut he'r; Grove, supposedly a universal to the sort of imitation (of speech) demanded by this he was attacked for these things by critics and theor¬ genius and example of Richard Wagner to banish mere youths, and to-day, as on that day, October reference, apparently never heard of her 7, 1850, when I first heard her sing, she is poem.” The reference is to the play of Dafne which ists, but applauded by the public; (4) he greatly en¬ showy singing entirely from the opera houses and tarioso), She had a girlish figure and the Scandi¬ occurred to him” to adopt a kind of song resembling must pne know of painting, of arc' ^....e, of scu least adequate. It never offended. The and to utilize also for the opera the other musical fac¬ navian fair hair and blue eyes. Her dress, speech and betraying a nobile sprezzatura del canto. ture, of music? What is the rela n of knowlec charm of La Grange was her artistic tors which the older Italian composers had developed, to the enjoyment of an art? that night, was quiet and her adornment Besides these two, there is a third, Cavalieri, who but which Peri deliberately and foolishly ignored. honesty and the evident love and reverence There are ways of enjoying work with' just a rose in her hair. She came upon which she had for her art. Personally she used the same kind of unmelodious recitative in what the stage with consummate gracefulness, special training or culture. The sculpture fills 1 was a high bred lady, elegant in her ap¬ is accepted as the first real oratorio, his- Rappresen- SUMPTUOUS SCENERY AND BRILLIANT COLOR- a glide rather than a walk to the footlights, tazione di Amma e Corpo, which was produced in the ATURE. eye with pleasure without an e\ lowledge, pearance, but somewhat reserved in man¬ our part, of the human anatomy. which the young ladies of that day sought year 1600. . , Monteverdi,,was a musical genius. His rival, Gag¬ ner. Possibly if she had had a press agent The trained mind always has tl . d vantage c to imitate. Jenny Lind’s rose also became It seems probable that, instigated by the conversa¬ liano, confessed that, with his Arianna, Monteverdi or had blown her own trumpet at every the untrained—provided it does m.i permit its tr as fashionable as Oscar Wilde’s sunflower tions in the Camerata, these several composers worked “visibly moved all the theatre to tears.” ’ Probably it opportunity, as seems to he the practice ing to smother its natural feeling I impulse. E later. She was not surpassingly good- out the same problem simultaneously, and that, conse¬ would not thus move us, for we demand much more nowadays, the encyclopedists might have virtues must be cultivated. Sonic understanding looking but she was good to look at, for quently, they share equally in the claim to having of opera than did the Italians three centuries ago. But her wholesome face was an index to her heard it. originated the operatic recitative. even in the works of the less gifted of these com¬ *S very n,ecessary In real en u vment character and attracted every one. Her ,Jfbls knowledge must not be heavy and obvii PATTI, THE Peri’s Dafne was written entirely in this new style, posers there was usually something to interest the audi¬ nobility of spirit was mirrored in her sing¬ When once you know the mechanics of an a Jenny Lind. called the stile rappresentativo, stile recitativo or stile ences, particularly the sumptuous scenery already re¬ ing. Her voice was full, rich, clear and And . lelina Patti! parlante. It was composed in 1594 and was privately ferred to. Green fields and gardens, fountains and "'**"*« and think of the art < > r informal penetrating and of such purity that the I heard ai little girl in rose colored silk s ould be natural and usual, Sever extraordinary performed three years later in the Palazzo Corsi. The rivers with nymphs, the angry waves of the stormy softest pianissimo was audible in the remotest corner of wrote the Crown Diamonds; Katharin Hayes, Teresa gown,' pink stockings and pantalettes, ten or eleven obtrusive—as with the young lady at a symph score - of this first opera was unfortunately not pre¬ ocean, lightning darting from dark clouds and followed the concert-room. Her resources in fioriture, absolutely Parodi and others, but of this somewhat numerous flock years of age, singing the Ah! non giungc? And concert who suddenly discovered (. .r thought served, but Peri’s second and last opera has come down by peals of thunder, bushes and trees growing up sud¬ essential in those days, were boundless, and her upper Sontag and Alboni were the really great artists. Sontag can it be true that this is the almost old lady of to us. It was written to give splendor to the wedding denly, Moorish dancing girls—these were specimens of t VV aTCe of the ob°G a"d tittered her del tones were bird-like in effect. The embellishments were had much of the vocal charm of Jenny Lind, her voice sixtv-eight who only last week, out of the goodness to the edification of all her ne’ghbors. of Henry IV of France with Maria de’ Medici. Its the things to be seen. fluent, graceful and finished. being a high soprano with a sotto voce effect which of her heart, sang for the benefit of Albani, a charm¬ title was “Euridice,” and it was first sung in 1600, Florid singing also was ere long added to the oper¬ ine finest pleasure arises from the suggestion She was heard at her best, however, not in vocal pyro¬ she frequently used, as did Christine Nilsson after her. ing girl, nine years her junior, who is said to he atic attractions. As early as 1594 Bovicelli published She was very graceful and beautiful, slender of figure, nearing impoverishment and old age together ? What A BOYCOTT ON MELODY. viokt thTlf i(nas- ■ Tbe hy«inth. the rose, technics, but in such numbers as the Casta Diva and a treatise on ornamental singing (coloratura), which cannnt u 1 y’ a br'ng something to mind—wl particularly in the Messiah aria, I Know that My Re¬ with beaming blue eyes and Titianesque hair. Among need be said of Patti? Everyone has heard her So far as can be ascertained from a comparison of had originated an imitation of lute players Peri in kv ... aPl,en to one unable to recognize the tl deemer Liveth. Her singing of the latter was well modern artists Sembrich reminds me of her in her en¬ sing and attended her numerous farewells. Except for what has been preserved, Peri's recitative was some¬ the preface to his Eurydice (1600), refers to a famous Gaudens ,Thc mere ««ncs. Rodin, Sa nigh sacramental, for she was very religious by nature. gaging manner. Her most successful role was that of the maturity which the voice gains as the years go 1>> what superior to that of Caccini and Cavalieri; but singer, Vettona Archilei, who had always made his Tennvson Rubens' Corot. Beethoven, Hi . Benedict, her leader, said she made “a conscience of Rosina in The Barber of Seville, though she won much she is the same Patti as of old. She sang as perfectly that is not saying very much. Peri has perhaps had music worthy of her singing “by adorning it not oiilv wealth 5 iChub.ert’ Browntng. Chopin, brinj her music”—a characteristic in significant contrast to applause in Euryanthe and Lucresia Borgia. In her at twelve, when I first heard her. as she did at forty- too much honor thrust upon him. In making it pos¬ wnh those turns and long vocal flourishes, both simnG that of some of the widely advertised artists of the class she was the first, but it was not the class of Lind. one, with Mapleson’s company in 1884, when Nilsson sible for the singers to enunciate the words so distinctly and double, which are at all times devised by the hi them. The hs°ame ^h’0 th°Se kno'vin* most a! the “Chordp T..,8 >s true when we speal present day who make a commerce of their music. She was high bred, a countess by marriage, elegant in and Sembrich were her rivals in the Abbey company. that the hearers could understand them, he went in the tivity of her genius-more in obedience to the fashion thoven Svlho' "’ 'he "Bach Fugues." the ”1 ^“Phonies” and the “Wagner Operas.” 19 THE ETUDE THE ETUDE 18 GIVE YOUR pupil a chance. CHRISTINE NILSSON. or as she must have done last week in London, at sixty- Christine Nilsson, an entrancing singer, was the eight, and she probably will go on singing well as long seventh child of a seventh child of Swedish peasantry as that marvelous instrument, her throat, lasts. Was and used to attribute her artistic success to this numer she, or is she, a great artist in the comprehensive sense of that term? I should say not, but the most consum¬ cal fact in heredity. Like Parepa, she was at hom Ff ft"is a great mistake for a teacher to do too much I opera, oratorio or ballad singing. Her great roi^as mate and brilliant vocalist of her time, with a voice J u „„.Mc as it leads them to depend on him for his pupils. 11their own thinking. Not long and method which can deliver a melody and its most I remember them, were Valentine in T e . ^ ornate embellishments with the facility and perfection Alice in Robert the Devil, Marguerite in Faust and rather than j]s told me that her former , of an instrument. The parts in which she has excelled title role of Mignon, which Thomas rewrote . aS°h°r wrote outPall the scales and their fingering : Her singing in Elijah, The Messiah and The Creation are those which require the Patti qualities, like Rosina r her This teacher could not have had a very made a profound impression by the devotional manner in The Barber of Seville, Zerlina in Don Giovanni, f°r timber of pupils or he could never have found Amina in Sonnambula, and Violetta in Traviata. She in which she produced them, as well as by her o ratime to work ^vhich is entirely unnecessary in method, which was strictly differentiated from her was not at home in great dramatic roles. She once these days of well-edited teaching material. ; operatic. As to ballad singing, no one had the tem y said that Wagner wrote the role of Kundry for her, Give your pupil a chance to find his own mistakes. but she would not sing it. He may have written it for to question her right to The Old Folks at ft0™* , others in Her repertory. Her voice was rem it il bitter to call attention to the fact that a mis- j her but it is fortunate for her she did not try to take has been made, and to wait for the pupil to sing it. It is impossible to think of Kundry and sweet and pure and had a caressing quality as a sotto voce, which gave her singing a kind ot mystic " what it was, than to point it out every Patti at the same time; as impossible as it would be toe The mistake should only be pointed out as a ; to think of Frau Matcrna and Violetta. Theodore charm. Upon the concert stage she seemed to me most l^t 'resort. Of course, it is much easier to say. I Thomas aptly summed up Adelina Patti in his terse effective as she was there her natural self, and mat “That is C not D—why do I have to keep telling J way: “Patii’s voice was of delicate quality and great natural self, with its personal appeal, her expressive vou?» or words to that effect; but the consequence j charm, easy in delivery and true, like the song of a eyes, the supple figure, graceful pose and dignified move bird, but it expressed no more soul than the song of a ment, added to her brilliant vocalization and mysterious o' this is usually that both teacher and pupil get bird.” And yet, if she should come here again at charm of style, carried audiences off their feet and nervous and irritable. If the pupil is very young, 1 seventy, or at eighty, for just one more, utrwiderruflich made her a universal favorite. She has long since re¬ she probably weeps, and the rest of the lesson- \ allerletste farewell, we would all rush to hear her just tired from the stage and is now in her sixty-eighth well, there is no rest to that lessen. the same as we did in the days of yore, for the name of year, but every year she celebrates her birthday in the Give praise whenever possible. A wrd of conimenda- j Patti is still one to conjure with. How many hundreds Swedish village of Loka, where she sings to the vi - tion helps and encourages, even though it is not t SHOULD AMERICAN OPERA ASPIRANTS STUDY ABROAD? of thousands she has delighted in her busy stage life! lagers. Upon one of these occasions she sang a ballad. entirely deserved. Human nature resents too much » I Think 1 am Just Fourteen. Her sunny disposition How well she has earned her pleasant and honorable correction. Be honest, of course—flattery never Discussed by Six of the Most Distinguished Men in American Opera leisure to her Welsh castle! and optimistic temperament will never permit her to be pays; but neither does indifference or unkindness. old in spirit. With all her dignity among the great Give your pupils musical indep n,fence. Let your ; teachers of voice production and style in our own land AMELIE MATERNA. folks of her own kin she is a Bohemian of the most pupils develop their own ideas a- tar as possible. almost indispensable if the student expects to make rollicking and unconventional sort. With the idea of gaining the opinions of many of who measure up to the abilities of those who hold It is a long step from Adelina Patti to Amelie Ma- All you can do is to give them - to work on. j himself an artist of the first rank. the best-known American Opera-tic Artists upon the forth in European music centers. terna or Frau Materna, as she is usually designated, a Do not try to make them mere imitations of your- i True, we have here in America vocal teachers quite BRIGNOLI. subject of the desirability for foreign study at this Primarily, the student who has the apparent quali¬ step from the bel canto to the “continuous melody” of self. They have minds as well vou. You can- j as good as those found in Europe, but there is much I have selected Brignoli among tenors, not because time, The Etude wrote to the following singers, who fications to prepare for an operatic career should the music-drama, and what a long step F'rau Materna < not force them, you can only len I them. have been good enough to honor us with their advice. more to consider than just the vocal side for an oper¬ took herself from the comic opera of Suppe and the he was the greatest of the last century but because atic career, and that is the histrionic side and the mat¬ learn how to sing in America and through the help of he seems to me the best exponent of bel canto of his Give your pupils pieces they The If pupils have J The arrangement is in alphabetical order. American instructors. When the voice is well de¬ opera bouffe of Offenbach to the master works of Wag¬ music they like they work ten time- as hard, though ter of interpretation and the experience of doing and ner, which made an epoch in operatic history and pro¬ lime. He was the Caruso of his day, just as indif¬ veloped, reasonably well con'ro led and a knowledge it is not always possible to give them what they I DAVID BISPHAM. seeing, for this is the best teacher of all. Therefore, foundly influenced, if not revolutionized, the operatic ferent to action and just as richly voiced, though his since the opportunity for hearing and for gaining ex¬ of foreign languages obtained, it is right to look toward want. Play their pieces over occ Finally so as to j (Eminent Operatic Baritone and Concert Singer.) music of his time! She was not as great a Wagnerian voice was more metallic. He was not without some perience in operatic work is so much greater in Europe, the country beyond the Atlantic. singer as her immediate successor, Lilli Lehmann, |or little tricks, such as forcing his voice to a climax so give them an ideal to work for. I regard your query as being applicable as well to I believe that the student who has memorized sev¬ Give a reason for everything. It i- not enough to say, j other arts as to that of the opera singer. Take, for I say the study abroad is most essential. she had not the fluent delivery, or the quality of voicu that it carried everything before it, and closing an aria In Germany, for instance, there is an opera company eral roles before sailing for Europe is better qualified with a wonderfully perfect sforsando. But as a rule “Do this, because I sav so.” Tlii - an age of in- j instance, architecture; it may be studied in America, or personal charm of the latter, but she had the aa- in nearly every small town, and although one will hear to take up the practical s'de of operatic study upon he never allowed himself to strain his voice beyond a telligent cooperation. The pupil li right to know j but the serious man will, after acquiring the essentials vantage of study with Wagner and of obtaining his‘ some very bad singing in most of these, still the op¬ arrival. But the practical study, and the experience pure musical tone and eschewed high C’s. He was a why he is doing certain things. Hie teacher who ’ of his profession here, go to Europe to study the mas¬ method and ideas at first hand, and she was his choice portunity is there to hear the operas over and over coming from it, can be had in Europe alone. Our bundle of superstitions, a famous gourmand, made a cannot give a real reason is ino ■ otent to teach. ’. terpieces to be seen there. The painter and sculptor as Brunhilde and the creator of his Kundry. She made , again at a very reasonable cost and to come in con¬ opera houses are not for the operatic beginners, as 1 handsome fortune, flung it away and died in New York A good teacher is a “guide, philo- F t and friend.” j will do the same. The linguist can learn languages us acquainted with the Bayreuth master’s conceptions tact with those who are associated with the opera most music students who have followed the question penniless. at home, but he is aware of the great advantage to and faithfully, too, for she was an artist with a con¬ He leads his pupils from the vei > beginning with and who are competent to coach a singer in the various carefully know. science. Her conscience, indeed, brought her in con¬ FORMES. careful discrimination. If they -ti from the path 1 be obtained by going abroad and mixing with the Our singers who are seeking operatic careers must natives of the country whose speech he wishes to roles, and it is the opera coach of ability that is hard flict with Cosima Wagner and the story will bear re¬ Karl Formes arrived in the United States in 1857 it is his business to help them k numberless j to find in America. Then in Europe much more at¬ have the practical training to prepare them for posi¬ acquire. So it should be with the singer. telling. The latter took exception to some details of and the first song I heard him sing was Schubert’s times until they are finally sent their way re¬ tions. The education of the opera singer begins with The long-established, concrete nations of Europe tention is given to interpretation and, especially, to Materna’s interpretation, but the artist cited Wagner Wanderer. I do not think I have really cared to hear joicing. a first appearance before an audience. It is not suffi¬ have evolved a musical art that we Should revere, and diction, something which is sadly lacking in the teach¬ as her authority. “I learned these things from the anyone sing it since that time. In its depth and sonor¬ cient merely to sing an aria capably, or to indulge in opera is one of its forms that flourishes there more ing here. master himself,” she retorted, thinking thus to ena ity his voice was like an organ pedal, and yet it could a passionate love scene with a chair—representing a sedately and more naturally than in America; and, to Then in this connection, too, a residence abroad gives the matter. But not thus was Mme. Wagner to be express tenderness and pathos most impressively. He prima donna—or to fight a duel to the death with one’s FORCING A CHILD TO BE MUSICAL. my mind, it is advisable that the student, having re¬ much better opportunity for mastering the languages, squelched. She closed the incident with the quiet re¬ had pronounced dramatic ability. His Plunket, Fal- teacher. What really is needed is a rehearsal in an ceived a thorough all-round education, and having been and all opera singers with any repertoire to speak of mark : “Poor Richard didn’t always know himself what staff and Leporello were as humorous as his Sarastro, opera house with experienced principals, a stage man¬ BY STELLA B. SIMMON'S well grounded in music and vocal art at home, and— must be familiar with French, German and Italian, he wanted,” and dismissed the singer. Rocco and Bertram were heart-stirring. His voice ager ready and able to criticize every movement and a if fitted for the stage—having devoted much attention especially at the present time. corresponded with his physique, for he was of massive chef d’orchestre whose ambition in life seems to be to operatic roles, and to language—our own as well Now that there is agitation for opera in English, PAREPA-ROSA. figure, and his leonine face, superb throat and waving Don’t force your child to be mu Don’t make to discover faults and to remind the singer of them. as others—should go abroad to perfect himself in the perhaps the necessity for the languages may be less in Euphrosyne Parepa-Rosa was a prime favorite in the black hair added in charm of stately grace to every¬ him spend valuable time and en< on music if he Just now there are no opera houses in this country very difficult profession of the opera singer. the future, but that remains to be seen. For some last century and was specially conspicuous by her im¬ thing he did. He sang when an old man, in 1889, the doesn’t care for it. Find out in t direction his, where such experience is to be had, and this makes it But, as this is a time of specializing, I must advise time at least the principal operas from the French, portant share in the advancement of English opera as year of his death, in San Francisco, attributing the pres¬ taste inclines and let him spend hi Thought on what imperative for the American opera student to go abroad aspirants to the stage not only to begin young, but German and Italian will be sung in the language in well as opera in English. I think she was the first to ervation of his voice to “God’s grace and the Italian he does like. It is only a waste money, patience to find it. As for the European dfbut, that, too, is re¬ ■ to find out at once what they can do best; to work which they were written by the leading opera compa¬ produce Mozart’s Marriage of Figaro in English in this method.” quired before the singer will even be considered by and precious time to force a chi to take lessons carefully at the technique of singing and acting, and nies. country. She had a large, pure and richly melodious THE OPERA OF THE FUTURE. the managers directing the affairs of our operatic and practice each day, resorting .-ft. n to severe pun¬ if they have only a mediocre talent, to give it all up! However, I believe it will not be long before all soprano voice. Its freedom from exaggeration bespoke organizations. The steady increase in the number of In raking over these embers of the past one thought ishment in order that the allottee mount of prac-1 If, however, in the judgment of unprejudiced people our operas will be sung in English, and because of conscientious training; its purity reflected the soul of American singers who have succeeded in opera indi¬ occurs to me—what will the future of operatic music ticing be done. The parents ar. nm out in the ! their gifts are such as, to be likely to lead to success, the large number of Americans who are and will be the woman herself. Like Alboni, she was of most gen¬ cates that within a few years we shall be in the ma¬ be? I am only sitting .by the wayside Watching the; conflict, and so is the child, and what is most disap-j then let them persevere under the best available mas¬ available for opera, and because the public is becoming erous girth, but she did not hesitate on that account to procession pass, and its music sometimes seems harsh pointing of all is the fact that pr.u m ally nothing is ters here, and later go abroad to study harder than more and more independent of Europe and things jority, and I feel that intelligence, care in the work to appear in such roles as that of the Countess in The and cacophonous and its construction strange. We accomplished after all. ever; to gain experience, as wide as possible, upon European, this will help to bring this about, and then be done and in its method of accomplishment will Marriage of Figaro, Arline in The Bohemian Girl, and surely enable the naturally equipped American singer seem to be in a transition period, and I wonder what It is safe to say, in nine out <■! very ten cases, the stage; and, if successful, then to return to Amer¬ the demand for English opera will stimulate the crea¬ others to which one might think embonpoint would will come from the musical melting pot. Shall we re¬ to win in the difficult profession of opera. that a child actually made to take- music lessons ica, to work harder still, but to reap the full reward tive musicians here. When that time arrives, perhaps prove embarrassing. All suggestions of physical in¬ turn to melody and to old forms or shall we have to Europe will have to send here for their operas and agamst his will never “amounts to anything." Why! of their labors! All of this is just what I did, and congruity. however, were silenced by the beauty of her accept the schools of Strauss, Debussy, Reger and the opera singers—stranger things have happened before. should he? It has merely been a period of long- I can only advise the student to do the same. singing, the excellence of her acting and the magnetism other impressionists? It is not for me to answer I (Director of the Boston Grand Opera Company.) drawn-out torture to him and t.. the rest of the Yes, opera singing certainly can be studied in Amer¬ of her personality. She was equally at home in Eng¬ simply sit by the wayside, and as I sit there come ica, but it can be studied better, and to better advan¬ RICCARDO MARTIN. The question of whether or not it is absolutely neces ,why parents commit thi most commoirj lish opera, grand opera, orations or song and ballad memories of Brignoli’s Spirito Gentil, Formes’ ma tage, in Europe. (The exceptionally successful American tenor of the sary for the opera student to go abroad for study o singing. We remember her Five O’clock in the Morning jestic intonation of In diesen heil’gen Halien Jenny blunder is a mysterious problem. Very often the j Metropolitan Opera Company. Mr. Martin was for a successful dfbut has been asked very frequent! just as one recalls Patti’s Sweet Home or Nilsson’s Lind’s Casta Diva, Materna’s Valkyr shout, Nilsson’s only reason is that their friends' children take les¬ GEORGE HAMLIN. a piano pupil of Edward MacDowell.) in recent years since the demand for grand opera ha Suwanee River. Her singing of I Dream’t I Divelt in jubilant delivery of her part in the great Huguenot sons, and so their own must do likewise, as they do| The question has so often been put to me as to the begun to grow. Under the present condi'ions, wit! duet as well as the non conosct il bel suol of Mignon • (Distinguished Concert Singer who will make his dfbut Marble Halls was as convincing as her Carta Diva in chiIdren to be obliged “to take a back as an Opera Singer this season.) proper course for the American singer to pursue who grand opera firmly established in but five cities in th Adelina Patti’s Ah! fors e lui and her interpolations n.°t^anTVh,eir 3 Norma, or her triumphant delivery of the great Han¬ V the child has a genuine talent, a real love I believe, it is at least very essential for a student to is ambitious to shine in opera that I feel the detailed United States—namely, Boston, New York, Ctrcagc m the music lesson scene of II Barbier; and Parepa’s del arias, all because they had finish. The finest tribute for music, do all i your power to strengthen this go abroad if he contemplates an operatic career. consideration given the matter by The Etude to be Philadelphia and New Orleans—it would be indeed to her memory was that of Madame Rudersdorf. F,delta. In this storm and stress shall I be blamed If love. I think with a sigh of Put no child can be made to love music b; It is possible, perhaps, for a singer of extraordinary particularly fitting. The future of the American opera daring man who would declare that the American singe shortly after her death: “A woman of the highest force. singer is a broad subject. In so far as it pertains to has the necessary opportunity for sfudy:ng in prepan “The days when we went gypsying a long time ago.” ability to secure an appearance and meet with success culture, endowed with innumerable talents; a pure in opera without the experience of European training the necessity of the young student to visit Europe tion for a grand Opera career, for study in gran minded woman; a sparkling, clever companion; a true and all that goes with it, but, just as a man of no edu¬ for further perfection or to obtain a successful dfbut, opera embraces not only the perfecting of one’s s'l friend; a most loving and devoted wife; a very woman 1 believe that r cation may be a great success in business in spite of I feel that individual cases require individual treatment. vocally, but the practical participation in performance longing for the joys and blessings of motherhood, and miIpertohftelth°U?ht that my ™sical soul will I this lack, it does not prove that the education is not In the main, to take first the simple question of I am very hooeful as to the outlook for g-and opet '-"nturi-s ft h>at U w‘" hve on and on through ti dying because fate snatched them away from her,” a ha^ mixture c an advantage. In fact, for an operatic career, it is study, there is little doubt that there are competent in America, and already there are plenty of indication do I thtk tern yTb0dy h?s S°"c to decay. Not onl I think it, but T believe it.-IF A Mozart. i ■

21 THE ETUDE THE ETUDE of the most eminent teachers

largest aggregation of great Singers int^'y tKt that in the near future nearly every large city in this since the remarkable ,,,ipro»en,entmens«nbl country will have an opera season of its own ; but-as matters are constituted at present, but few native sing¬ ing and dancing i e art To be brief, Mr. ers have the opportunity of rising above the average, refused to c0“sl ducate my voice and refused to The Etude Gallery of Musical Celebrities and it is principally through lack of opportunity. Amer¬ Russell often^ d for doing so. He introduced ican audiences, and 1 say this without any intent of re¬ good teachers as are available to-day. proach, demand celebrities in operatic casts. They are B ;n the acquirement ot tor *“t So o To““«h» ■'» »'"« '-*■* Where we are lacking is *■> ---a- , . _ me to rau brought into contact with unwilling to have the management “nurse” individual instruction ana 1 .... eign languages. 1 know of no country w ere ^ Boito, Puccini and other prominent singers until they develop to the full extent their latent „i America, and few such composers as guages are so badly taught as talents, and those in charge of the grand opera per- i moderate degree of formances have nothing left but to bow to the will of our students possess even meT rnuld have looked more like a royal road practical fluency in any foreign tongue, „ Nf H me and yet with all this influence I had to of the people. As for debut. 1 say without hesitation, g0/.0,™"? To summarize, 1 would say that if you, young sing¬ Here we have only great companies tn which begin ers, have the voice and the ability, go abroad by all tiers can get no chance. Our attempts along less am¬ Tbit Mr. Russell, although a teacher of vast expen- bitious lines are not of such a nature as to give nce and great knowledge of his art, ltke other singing masters knew nothing about the practical side of J HENRI SCOTT. young singer any valuable experience. Europe, other hand, has many small opera houses tn whtch the getting singers launched into opera houses, but thought (Now leading Basso of the Philadelphia-Chicago Grand debutant can gain real experience-the best of all teach that sheer merit was in itself sufficient. But I soon Opera Company. Seasons of 19,19-10, Manhattan ers after the voice is developed and a small reperto re discovered that in Europe if an American woman was Opera House, New York; 1910-11, Teatro learned. In these houses the beginner can sing ««- to get a hearing at all. it was perfectly useless to Adriano, Rome, Italy.) out fear of unfair comparison wi ll old and tried art • depend upon merit alone. Being a living example of the negative, my answer So study where you can find the best teacher and hear Fortune, however, continued to smile ■ to this question must be foreseen. If I had ever en¬ the best singers; but dtbut in Europe—preferably i with the aid of high influence I was engaged to open tertained a doubt upon the subject, my personal experi¬ Italy. There you will sing the lyric repertoire, with the grand opera season .at Covent Garden of 1904. ence and observations in Europe during the past year which all should begin, and there you will learn Italian, Madam Destinn and I made our bow together to the and a half would have removed it. the basis of correct diction and enunciation. London public for the first time, she sang Donna Anna It is doubtless known to the readers of The Etude in Don Giovanni and I sang Zerhna. while Renaud was that there is at present a number of American teachers the Don. I made a great success, but notwithstanding of singing busily engaged in prominent European- A WARNING TO AMERICAN GIRLS. this brilliant beginning it took me live years of hard cities, but I wonder how many are aware that Euro¬ work to obtain the position which the American public peans are now»coming to America to learn the art of BY ALICE NIELSON. has been good enough to give me in the opera and singing? Such is true, however. (Prima Donna Soprano of the Boston Opera Co.) Therefore, the fact being known (and it is a fact) concert field to-day. Although, as I have previously that the world’s best vocal teachers to-day are in Amer¬ I think it was Oscar Wilde who once said that all stated, I was much more fortunate than the majority ica. together with the knowledge that the study of for¬ advice is stupid, and that good advice is absolutely of American girls who go to Europe for the first time, eign languages with native teachers, giving the correct fatal. I have often realized the pathetic truth con¬ I do not hesitate to tell them that if I :ould have my pronunciation, is within the reach of everyone; also experience over again, instead of wait ng around Eu- that competent teachers of stage deportment abound in rope and fighting the undisguised i rejudice which this country, why is it necessary to go abroad to there is against American debutantes, ! should a study? You say for “atmosphere”—for experience. getting an engagement right away in « But you have the “atmosphere” right here at home, ing American opera houses. if you will hut look around you. And how often sing¬ Of course, six years ago it was not ers. ambitious for an operatic career, voluntarily lose to-day. First of all the Metropolitan Opera House chances for gaining experience by refusing to take pan was the only operatic institution in America, whereas- in some amateur organization, or with a small profes¬ to-day there are four fully equipp sional company. I have seen professional companies the United States and a complete opera i.- organization in Europe whose work fell far beneath that which is in Montreal. If one looks down th.- lists of singers often presented by amateurs in America. engaged in most of these opera hou r- a very fair per¬ A number of cases came to my notice while in Italy, centage of American names is to lu- found. and 1 be¬ of students who should take to heart the advice con¬ lieve the Boston Opera Company, tained in a statement made by Mr. Tito Ricordi. years I had the privilege of being a member, has given: of the famous Italian music publishing firm, on the opportunity to dozens of American men and worn occasion of his visit to the United States last winter; make their operatic bow. Boston, tnoreove that it was a great mistake for foreigners to go to equipped with a complete operatic s,h -,1 which i< his country in the hope of making a career there, they 1 ning in connection with the New England Cons being either oblivious or regardless of the fact that tory and which is under the directiot the Italian audiences are prejudiced against foreigners, and the difficulty of correct pronuncia.ion of the Italian than Arnaldo Conti, who was for • time leading language is sometimes too great for them to overcome. chef d’orchesire of the Boston oper A certain railway advertisement reads: "See Amer¬ What more ideal conditions for sti can an Ameri- ica first.” How much better it would be for many can girl desire? Here at, least sin of those American students who have been working in square deal, as we say. If she has not ihc necessary Europe for four or five years without accomplishing talent she will not be accepted, whereas in Europe I anything definite towards reaching the goal of their do not hesitate to say that there is -inging master ambition, if they had “studied in America first!” or singing school wherein she will not he received Impresarios of our principal opera houses are con¬ providing she is willing to pay tin 1-igh prices which, stantly hearing singers with beautiful voices, and they are demanded of her. As to hoping that «.1 frankly admit that there is nothing in Europe like the get the truth about her qualifications for an operatic American voices. But what use are they to the im¬ career in Europe she never will, at 1. while she has presario? Even supposing they know one or two. or enough money to purchase unfulfilled promises. even five operas, if they have had no experience what¬ The streets of Paris and the streets of Milan are ever on the stage, he is obliged to pass them by—for the tained in these words when I have endeavored to per¬ literally watered with the tears of American girls present. suade some of the innumerable students who ask my whose dreams are unfulfilled, whose hopes are disap-1 To the serious student with ambitions for an oper¬ advice not to go to Europe, but the determination and pointed and whose ambitions are unattained N atic career. I recommend the familiar saying, slightly strong will which, when used in the right direction "f them remain over there from sheer lack of COU modified, which has been my motto for many years, produces such admirable results for the American to return to their parents with the sad stories w viz: “Opportunity knocks at everyone’s door—who is woman, proves their worst enemy when it leads them they dare not tell. ready!" as it always does, to sail for those shores, with the ■ Th%conclusion is obvious, and let parents take w Given a good memory, patience, a capacity for work, conviction that a great operatic future awaits them on tng. I he American girl of voice and talent who ability to withstand the flattery of admiring friends, the other side of the ocean. jo-day procure a hearing in her own country will and a willingness to dispense with false pride in the It is in vain that one quotes the innumerable cases matter of experience, there is absolutely no necessity off oben,ab e V? 80 c*ccvb“p\ and she will he better of failure, misery and even starvation which have been for the' opera student to go abroad either to study or new lousar|d times if she devotes her life to sonic thrust under our notice as the result of these European for a debut. her PUrpose for "hich undoubtedly nature has fitted adventures, and it even serves no purpose when I am HERBERT WITHERSPOON. tempted to outline some of my own hitter experiences on the other side; and yet, I was more fortunate than (Leading Basso of the Metropolitan Opera Company.) the rest. I did not go to Europe, as everybody knows I believe the art of singing can be studied as well l Ukln^u,P study of grand opera| in America as anywhere else. There are few excel¬ . x , , . 1 full-fledged comic: opera prima' lent vocal teachers, and we have our share of the good donna at the head of my own company and scored - -“Jf uung tnat holds us hack is , ones, while there is less danger of falling into the what was considered by the London public a 2 Tift men dare do! what men J. hands of a charlatan in one’s home country than abroad. s at the Shaftesbury theatre. great In our large cities we hear the best artists, and in the . M there through'the'kVe Qonsuelo, Duchess Metropolitan Opera House of New York we have the of Manchester, that I made the acquaintance of Mr while Ut ‘f We "ould attain Jacques Halevy 23 the etude entirely. Think that if you fail in your efforts, thous¬ THE ETUDE ands Of singers have failed in a similar W » their student days. Success in singing »; at theend of a tall ladder, the rungs of which ar« repe THE STORY OF THE i„„edi»te and enormous appreciation. failures. We climb up over our allures to:suee€,u. Learn to fear nothing, the public least of all. It In February, 1909, THE ETUDE commenced the first of thi- series of port, ait-biographies em^ ea, w >' biographies have £ j Q the singer gives the audience the least suspicion that was an original project created in THE ETUDE offices and is entirely unlike any thousands of delighted students and teach«^ ^ore^irntwo “BEL CANTO” she is in fear of their verdict, the audience will de¬ Garbett and the plan of cutting out the pictures and mourning them in books has been followe y Jers wJth information which c tect it at once and the verdict will, be bad. Also do have now been published. In several cases these^have P[ Gallery w.ll be confnued as long as pract.cal. The Foundation of All Successful Operatic Singing not fear the criticism of jealous rivals. “Affirm success. Say to yourself, I will surely iterview obtained especially for THE ETUDE from the prima donna coloratura soprano of the succeed if I persevere.’ In this way you will - Metropolitan Opera House, New Yoik quire those habits of tranquility which are so es¬ CLEMENT PHILIEERT LEO CHARLES LOUIS AMBROISE DELIBES. sential for the singer to possess. GUSTAVE CHARPENTIER. MME. BERNICE de PASQUALI THOMAS, (Shar-pahn’-te-ay) (Day-leeb') THE REASON FOR THE LACK OF WELL TRAINED Charpentier was born at Dieuze, (Toh'-mas) D£ubes was born at St. Germain du VOICES. Thomas was born at Metz, Lorraine, Val, France, February, 21, 1836, and Alsace-Lorraine, June 25, 1860. At the "There are abundant opportunities just now for August 5, 1811, and died in Paris, Feb¬ died in Paris, January 16, 1891 He age of fifteen he went into business finely trained singers. In fact there is a real dearth ruary 12, 1896. He was the son of a went to Paris in 1848 and studied sol- for two years, but studied music at g musician, and played the violin and of ‘well equipped’ voices. Managers are scouring ttu 5 fege at the Conservatoire, also singing crowing of a rooster? One is a treat to the ear the Lille Conservatoire. After carry- piano while still a child. At the Con¬ world for singers with ability as well as the natural in the Madeleine choir and elsewhere. :. de Basquati, who succeeded j ing off many prizes he went to the £ servatoire he won the first prize for the other is a shock. When our young singers learn voice. Why does this dearth exist? Simply because He studied piano, organ and harmony cellar Sembrich Paris Conservatoire in 1881, and stud¬ § piano, 1829, for harmony, 1830, and the Opera House h that people do not attend concerts to have their the trend of modern musical work is far too rapid. suggests, tut an !*J She was born in Boston, and is ied violin tinder Massart and composi¬ .s Grand Prix in 1832. He also studied under Le Couppey, Benoist. Bazin and ‘'‘"XLZhkToi 'the “Daughters of the American Resolution, ears shocked but to have them delighted with beauti¬ Results are expected in an impossible space of time. Adolphe Adam, and in 1853 became or¬ mr career s particularly interesting to Btbdiprefers be- tion under Pessard. In 1885 he en¬ piano with Kalkbrenner, harmony with “ «7i nf hp'r musical training teas received riant in acw ful sound, they will be nearer the right idea in voice The pupil and the maestro work for a few months tered Massenet's composition class, .5 Barbereau and composition with the ganist at the church of St. Pierre de CYnrk Cituf nihThas sung with great success in Europe, and, lo and behold! a prima donna! Can any one Chaillot, and at other churches, before and two years later won the Grand c venerable Lesueur—who U3ed to call who knows anything'about the art of singing fail to Prix de Rome. Among the works he finally becoming organist at St. Jean St. him his “leading-note,” because he was preserve the voice. From the' very first lesson realize how absurd this to? More voices are ruine brought back with him from Italy was f. so sensitive and because he wa3 Le- Francois, 1862-71. In 1853 he was also ap¬ learn how to make the most by this haste than by anything else. It is like expect¬ the orchestral suite, Impressions d'lta'.ie. i sueur’s seventh pupil to win the Grand pointed accompanist at the Theatre E the most widely discussed vocal methods. \ ing the child to do the feats of the athlete without which rapidly became famous, and is Prix. He returned from Italy with a Lyrique, and soon devoted himself to the athlete’s training. There are singers in opera frequently heard In America. He also | cantata, a mass, a fantasia for piano dramatic composition. He was so suc¬ CENTURIES OF EXPERIMENTAL EXPERIENCE. now who have barely passed the. what might be composed his La Vie du PoPte, a “sym¬ and orchestra, and other smaller cessful in this that, in 1863, he was called, rudimentary stage. phony-drama” for orchestra, solo rnd | • In no land is song so much a part of the daily works. Very soon, however, he com¬ appointed accompanist at the Opera, “With the decline of the older operas, singers chorus, to words of his own. He life of the individual as in Italy. The Italian peas¬ menced producing works for the Opera and two years later became second evidently came to the conclusion that it was not wrote other works, including the opera ant literally wakes up singing and gees to bed sing¬ 1 Comique, and it was here that his gen¬ chorus master. It was during this necessary to study for the perfection of tone-qual¬ Orphce, and much choral and orches¬ ing Naturally a kind of respect, honor and even ius found full scope. He produced period that he wrote his best works, ity evenness of execution and voca1 agility. The tral music, but the most remarkable V reverence attaches to the art of beautiful voice pro¬ a many tuneful operas, most of which in the form of ballet music, including modern writers did not write such fioratura passages, work Charpentier has yet accomplished are now forgotten. The overture to the delightful Coppflia balet He also duction in the land of Scarlatti, Palestrina and y then why should it be necessary for the student is his “musical romance" Louise, which Raymond is still performed, but Mig- wrote a three-act opera, Le Roi 1'a dit, Verdi, that one does not find in other countries. was produced at the Opera Comique, 2 *r, bother himself with years of study upon exercises non (1866) is frequently given entire which was produced in 1873. In spite When the Italian singing teachers looked for a Paris, in 1900. This work was first and vocalises designed to prepare him for the operas £ in France and elsewhere. The deli¬ of much charming music, it was not a word to describe their vocal methods they very heard in America in 1908, when it was of Bellini, Rossini, Spontini. Donizetti, Scarlatti. 1 cate entr’acte from Mignon is very great success, and he returned to the naturally selected the most appropriate Bel Canto Car.ssimi or other masters of the florid school. W hai produced in New York under Ham- C popular, and coloratura sopranos re¬ which means nothing more or less than Beautiful merstein's management. Here, as else¬ l lighter form, producing the Sylvia bal¬ a fatuous reasoning. Are we to obliterate the les¬ gard the polonaise from this work let and other tuneful works. His . Singing. . , .• sons of history which indicate that voices trained where, it created a great impression; 0 with the same veneration they have . ■g Lakmf, a dramatic work produced at “Probably no words have been more abused in in such a school as that of Patti. Jenny Lind, Sem- and is one of the most notable ex¬ for the Jewel song from Faust. His the opera in 1883, has attained con¬ music teaching than ‘bel canto,’ and probably no brich, Lehmann, Malibran, Rubini and others, have amples of modern French opera. Char¬ greatest operatic work, however, is siderable popularity. Delibes became words have a more direct meaning or a wider sig¬ phenomenal endurance, and are able to retain their pentier is deeply interested in the Hamlet (1858). Thomas succeeded Auber professor of advanced composition at nificance. What then is ‘good singing’ as the Lal¬ freshness long after other voices have faded? No. social problems of the day, and has as director of the Conservatoire in 1871, the Conservatoire in 1881. As a com¬ lans understand it? Principally the production of a if we would have the wonderful vitality and longevity voiced many of his opinions in this and instituted many reforms, and did a poser his fame chiefly rests upon liis perfectly controlled and exquisitely beautiful tone. work—its remarkable libretto is his own vast amount of most valuable work. of the voices of the past we must employ the ballet music. (The Elu„ Simple as this may seem and simple as it really is, the WOrk. (The Etude Gallery., (The Etude Gallery.) methods of the past. laws underlying the best way of teaching how to secure a beautiful tone are the evolution of empirical ex¬ THE DELICATE NATURE OF THE HUMAN VOICE. periences coming down through the centuries. “Of ail instruments the human voice is by far the FRANZ VON SUPPE. ANNA OLIVIA FREMSTAD. JACQUES FRANCOIS F. E. “It is a significant fact that practically all of the most delicate and the most fragile. The wonder is Suppe, whose complete name was Olive Fremstad was bom in Stock¬ HALEVY. great singers in Wagner roles have first been trained that it will stand as much ‘punishment’ as is con¬ Francesco Ezekiale Ermenegildo Cava- holm, Sweden, but was brought to (Ah-lay'-ve.) in what is so loosely termed ‘bel canto’ me.hods. stantly given to it. Some novices seem to treat liere Suppe Demelli, was bom at Spa- America at the age of 12. Her parents Hal£vy, whose real name was Levi, Lilli Lehmann, Schumann-Heink, Nordica and others it with as little respect as though it were made out lato, or aboard ship near it, April 18, settled in St. Peter, Minn., but in 1890 was born in Paris, May 27, 1799, and were capable of singing fine coloratura passages, of brass like a tuba or a trombone. The voice is 1820, and died May 21, 1895. He ■i Mme. Fremstad came to New York. died at Nice, March 17, 1862. He entered before they undertook the works of the great master subject to physical and psychical influences. Every played the flute at his eleventh year. I the Conservatoire in 1809, and gained a She had played the piano at the age of Beyreuth. singer knows how acutely all human emotion's are studied harmony when he was thirteen. prize in solfdge in 1810, and a second « of nine, and soon organized a piano reflected in the voice, at the same time all physical and produced a mass in his fifteenth prize for harmony in 1811. He then en¬ THE SECRET OF CONSERVING THE VOICE. £ class. She became soloist at St. Pat¬ ailments are immediately active upon the voice of the tered Cherubini’s class, and eventually year. In spite of this musical ability. .s rick’s Cathedral, but in 1893 gave this “In the mass of traditions, suggestions and advice won the Grand Prix de Rome. He had singer. his father was opposed to his follow¬ x up to go to Berlin, where she remained which go to make the ‘bel canto’ style, probably “There is a certain freshness or ‘edge’ which may¬ the usual difficulty in obtaining recogni¬ ing a musical career, and sent him to \ for eighteen months as a pupil of Lilli nothing is so important to American students as that be worn off the voice by ordinary conversation on the University of Padua. Suppe con¬ tion on his return from Rome 1 n 1827, Lehmann. She made her debut in 1895 which pertains to conserving the voice. Whether the day of the concert or the opera. Some singers tinued to study music, however, and his L’Artisan was successfully produced, Mme. Bernice de Pasquali. as Asucena in II Trovatore with such our girls are inordinately fond of display or whether find it necessary to preserve the voice by refraining , progressed rapidly. When the death .s and this paved the way for other operatic success that a year later she sang in they are unable to control their vocal organs I do from all unnecessary talking prior to singing. Lon . of his father occurred, he joined his works. His reputation increased, but he the Bayreuth Festival. In 1897 she not know, but one is continually treated to instances "How is the student to know when he is strain¬ continued practice is also very bad. An hour fs mother in Vienna, and after dividing B was still obliged to write whatever was appeared at the Royal Opera, Vienna, of the most ludicrous prodigality of voied. The ing the voice? This is simple enough to ascertain. his efforts between practicing medi¬ ikely to attract attention, often to very quite sufficient on the day of the concert. During 1 as Brangane in Tristan and Isolde, re¬ whole idea of these young singers seems to be to At the very instant that the slightest constriction or cine, teaching Italian, and foUowing poor librettos. In 1835. however, he the first years of study, half an hour a day is often maining in Vienna for three years. make a “hit” by shouting or even screeching. There effort is noticed strain is very likely to be present. his musical bent', he finally confined brought out his best known work, La enough practice. More practice should only be done g She then went to Munich and became can be no milder terms for the straining of the tones Much of this depends upon administering exactly the himself to the last named career, and 2 Jmve The Jewess-and ten months under special conditions and with the direction of a very popular as Carmen. While she so frequently heard'. This prodigality has only one right amount of breath to the vocal chords at the accepted an honorary post as conduc¬ 2 thoroughly competent, teacher. was at Munich she appeared for two fP,a successful comedy opera called result—loss of voice. moment of singing. Too much breath or too little tor at a Vienna theatre. Similar but a r-cr/air. The impression created by “Singing in the open air. when particles of dust seasons at Covent Garden, London, “The great Rubini once wrote to his friend, the breath is bad. The student finds by patient experi¬ are blowing about, is particularly bad. The throat more profitable posts were obtained V these excellent works resulted in finally where she first sang the role of Venus tenor Duprez, ‘You lost your voice because you ment under the direction of the experienced teacher at Pressburg and Baden, but Suppe £ establishing Halevy’s reputation, and seems to become irritated at once. In my mind in Tannhiiuser. Mme. Olive Fremstad always sarg with your capital. I have kept mine just how much breath to use. All sorts, of devices finally returned to Vienna, and in 1865 o procured his entrance info the Institut. tobacco smoke is also extremely injurious to the first appeared in New York in 1903, because I have used only the interest.” This his¬ are employed to test the breath, but it is probable became conductor of the Leopoldstadt 2 Many other dramatic works followed, voice, notwithstanding the fret that some singers ap¬ and renewed her triumphs in the above torical epigram ought to be hung in all the vocal that the best devices of all are those which all sing¬ theatre, where he remained until his g* but nothing to equal La Juive in power parently resist its effects for years. I once suffered role. the ! —t appearing a. studios of America. Our American voices .are too ers use as the ultimate test, the ear and the feeling death. As a composer he produced • 8 and generai excellence. He became one severely from the effects of being in a room filled a very large number of light operas, ■f Fricka, Briinnhilde, Kundry, Selika. and beautiful, too rare to be wasted, practically thrown of delightfui relaxation surrounding the vocal organs with tobacco smoke and was unable to sing for at Santuoaa. She also created a role of away by expending the capita1 before it hats been farces and other similar works. Au¬ o toir? P,r°fessors of the Conserva- during the process of singing. least two months. I also think that it is a bad plan Salome in the American production thorities differ as to the exact num¬ 1 teacher f V * Stilt a student was a able to earn any interest. to sing immediately after eating. The peristalic ac¬ of Strauss’ opera of that name. She “Moreover, the thing which has the most telling ber of his works, but they include at 3 professor ofSOhftge' Hovertures, Poet cer of the Academy. As a Wagner nSl T1 ,be most notable be- nights to the woods to hear that wonderful singer of singer, particularly the one who aspires to become life, but the exaggerated privations and excessive and Peasant, etc. (Th9 Etode 0aIlery, singer Mme. Fremstad is supreme the forests. Did you ever hear of any one forming taught Bii aZ.m 3nd Mass6’ He also an operatic singer, should endeavor to discard fear care which some singers take is quite unnecessary. his daughter * ° afterwards married ■ ;i party for the express purpose of listening to the 25

THE ETUDE 24 reading ahead. STRENGTHENING THE VOICE. The main thing is tc endeavor to determine what “I ant continually asked how the voice ma>’ is a normal life and then live as near to the normal strengthened. Some students seem to think tnat as possible. If you find that some article of diet must have some wonderful formula which they The importance of reading ahead cannot be overesti- ; disagrees with you, remember to avoid that article, inject hypodermically and which will bring 1 ®nl 1 ne . “ .... „Hamburg theatre, tacit containing from 40 to THE STORY OF “PARSIFAL.” 50 airs, besides operas in collaboration with others, markable degree. HOW WAGNER WROTE “PARSIFAL.” "The old Italian teachers and writers upon voice, Act I. Forest near the castle of the Grail Knights. It is extremely difficult and sacred music. Grove's Dictionary gives the fol¬ Usually, the blurred effect is caused by the fingers Parsifal was called by. notwithstanding the florid style in which their Amfortas,< keeper of the Holy Grail, and sworn to to give an idea, of Parsi- ■ lowing interesting account of him: being placed on all the keys to he pressed down. Wagner a “Buhnenweih- ; pupils were expected to sing, did not have much to abjure women, has fallen to the charms of Kundry., fal in a conden'sed ver- ' do with fanciful exercises. They gave their lives in "Reiser was luxurious and self-indulgent, and led After this the hand is pushed from left to right, and festspiel” or consecra- . thus losing the Sacred Lance. Klingsor, the ma¬ sion, since the perform¬ the quest of the 'bel canto,’ and many of them had an adventurous life, hut without sacrificing his love the whole chord is given a “mashed.” indistinct exe¬ tional stage festival play. gician, secured the Lance and gives Amfortas an ance itself occupies . difficulty in convincing their pupils that the simplest of art or his taste for intellectual enjoyments. In cution which is anything but aii .esthetic joy. To He' has preserved the incurable wound. Kundry brings balsam to relieve several hours, and since exercises were often the hardest. Take for instance 1700 he opened a series of winter concerts, which correct this we must have that crisp "clear-cutness” religious -element in a formed a remarkable combination of intellectual Amfortas: A swan sinks to the ground pierced it is’necessary for the the invaluable scale exercise: which so distinguishes the parent instrument of this remarkable manner. The and sensual gratification. The most accomplished by Parsifal’s arrow. This is thought akin to mur¬ hearer- to understand embellishment. play was first produced: virtuosi, the finest and best-looking singers, a good der by the Grail Knights. Parsifal tells them that July 28, 1882, at Bay¬ several traditions con¬ • rchestra and carefully selected programs furnish-, Select a chord with four note- tor each hand. he .knows not whence he came. He savagely at¬ reuth. While it pre¬ nected with the plot. Sound these notes front lowest to Irgliest. counting tacks Kundry for telling him that his mother is ;4 l . LEM-r-H ing the former, and a banquet of choice viands and serves the “leit-motiv” The Grail Knights are wines the latter. In 1703 he assumed the direction one, two, three, four, five. six. -c\en. eight—one dead. The Knights assume that Parsifal is the scheme of construction, a body of religious war¬ PP ~~ff =- PP — PP simHi- of the opera in conjunction with Driisicke, but his count to each note. Count slowly, i lave the fingers “guileless fool” whom it has been prophesied was the versification differs riors sworn to .protect partner absconded, and the whole burden fell upon lifted well above the keys, and at the proper time the only one who could cure Amfortas. There is from Wagner’s previous the Holy Grail', .sup¬ i lie shoulders of Reiser. He proved equal to the let each one fall with a quick, sharp stroke on its a transformation of scenery to the Grail Temple, 'masterpieces; in ' The posed by tradition to be. emergency, for in one year (1709) he composed where a great' celebration is in' progress. Here key. When this can be done with perfect evenness the'"vessel from which.' eight operas, married the daughter of a Hamburg Kins- The leg-ends .oft' Gurncmans questions Parsifal. His answers arc and clearness, gradually quicken tl , rate of execu¬ the Holy . Grail which Christ drank at the Last patrician, and musician to the municipality ‘Olden¬ unintelligible, and he is cast forth from the .Grail tion. Let the time grow more rapid and more rapid, Supper, and in which “Sung in this manner this exercise is one of the burg,’ and, having completely reinstated his affairs, ' form the basis of the hll you can no longer count to tile single notes. Temple. His. precious blood was, most difficult things to sing. Nevertheless some plunged into all his former extravagant indulgence.” i ■ opera ; were - always, Act II. ' Klingsor’s Magic Castle, klingsor em¬ Then plav two notes to a count: then four; then received on Calvary. The stcred spear’is supposed stupid pupils will rush on to florid exercises before uppermost in- Wagner’s mind. In the legends, ipt- ploys Kundry to overcome Parsifal. The scene eight; and finally play all the note- with the utmost to be. the spear with which Christ's side was pierced. they can begin to master this exercise. To sing it instance, Lohengrin is the son of Parsifal. Wagner changes to a beautiful Garden filled with lovely Despite these religious symbols, the performances arc right it must lie regarded with almost devotional rev¬ AN IMPORTANT EXAMINATION. rapidity, allowing for all only a small, initial part began to. write the' music of Parsifal in: his sixty- maidens. -" Parsifal resists their enchantments! and accomplished in such a churchly manner that there erence. It must be practiced diligently for years. Mmk. Emma Eames, the famous operatic soprano, of a count in moderate movement. fifth year. It took nearly five years to complete the spurns Kundry. Klingsor hurls the Sacred Spear is no suggestion of anything , sacrilegious. The Every tone is a problem, a problem which must be suggests that all operatic aspirants, before going The one essential is that all the time each tone work for. performance, although the . poem Itself at Parsifal. A miracle occurs and it remains sus¬ solved in the brain and in the body of the singer and abroad for study, should have their voices examined must stand out clearly by itself—not staccato, but was finished' in 1877, and the music in ' 1879. By pended in the air. Parsifal seizes it and makes the characters of the opera are Amfortas (baritone), not in the mind of the teacher. The student must by a competent and impartial committee, and should in a pearly legato. If the tones become in the least the terms of Wagner’s will this Opera was restricted ' sign of the cross. The scene changes instantly to who, by falling rt> the charms of one Kutidr; bold up every tone in comparison with his ideal. he insured sufficient funds to guarantee a living in blurred—and, for some time, they will be blurred— to The Bayreuth Opera House until 1913. However, a desert. Kundry curses Parsifal and tells him that under the influence of the magician Klings&rf los Every note must ring sweet and clear, pure and free. the sacred spear , and received an incurable wount whatever European capital may be selected. She” in¬ egin again slowly, and gradually work up the iii 4903 the opera'was produced in New York unoer he will seek the Holy Grail in vain. Every tone must he as susceptible to the emotions from it. Titurel (basso), father of Amfortas sists that many of the American students who go abroad velocity. Do this repeatedly. The trouble will be tile direction of' Alfred Hertz with the following Act HI. Vale near the Grail Castle. Many^years as a mobile face. Every tone must be capable of be¬ have to live under conditions of greatest privation Gurnemans (basso), an ancient knight \ P'arsifd many times repaid in the added enjoyment you will singers in the cast:. Tffrnina, Burgestaller, Muehl- have elapsed. It is the morning of Good Friday, in ing made the means for some human expression. and that many have so little real vocal talent that their (tenor); Klingsor (baritone), a magician, a get from this charming embellishment. mann, Biass and. Van Rooy.' The'Parsifal legends the Spring. The aged Gurnemam attended by Kun- Some singers practice their exercises in such a per¬ work will be wasted. She continues : Kundry (mezzo-soprano). Kundry is supposed are founded upon, the semi-epje poems of Wolfram dry now lives as a hermit. Parsifal enters with functory manner that they get as a result voices so "Only this morning my doctor told me he had been Occasionally, in fortissimo passages, for massive be the woman who sneered at Christ upon-the cross vpn EsChenbach, written about 1204. An excep¬ the Sacred Spear. Gurnemans recognizes him as hard and so stiff that they sound as though they called in by a young American woman who asked him ec i is advisable to play the two hands together, and who was thus condemned to a life of death tionally good presentation. was given in English the real head of the Grail Knights. Parsifal pro¬ come from me allic instruments wh:ch could only be to give her a tonic The doctor made an investigation "eginn-ng w,th the lowest tone for each hand and less misery. The first-Kundry was Maternal an upder ,the 'direction :of Henry W. Savage. The ceeds to the Temple. There he heals Amfortas' altered in a factory. Flexibility, mobility or sus¬ as to how she had been living. He found that she p'muUaneously soundi,,‘< one tone with each hand. wound with the Spear. The Sacred Grail is il¬ the first Parsifal, Winklemann. Since then rftosl ot ceptibility to expression a-e quite as impor'an* as above illustration is? from a picture of the Savage cooked enough rice to last her a week on Sundavs 1 le same method of execution must be observed. lumined, and a dove descends from, the dome of the great Wagnerian singers have appeared in the mere sweetness. After the above exercise has been Meanwhile she had been taking singing lessons and production. opera. The most recent Kundry is Olive Fremstadt, practicing.” dUU Many critics fail, to class Wagner’s Parsifal as the cathedral. Parsifal proclaims himself King as mastered the pupil may pass to the chromatic scale charmTf ‘the^Et'^ Which is ”'C ^ who appeared at the last- performances -given' at the his greatest work. Some feel that his masterpiece Kitndry falls in the death which relieves'her of her fscala semitonata sostcnuto) and this scale should Metropolitan Opera House, in New York. th?feEatbth°mfie disC?Ura?ed if you do not master is Die Meistersinger. cursed existence. he sting in the same slow, sustained manner as the "I can find the soul' (Geist) of music' in no other place but in love.”—Richard Wagner. technical • 6 ^,rS.t tna1, Eactl n«w victory over a anist’s goal0’"4 "BS US just *° mtlch n*arer thC THE ETUDE 26 THE ETU DE

CHiMES OF THE MONASTERY— F. SABATHIL. This is another descriptive piece by a modern MISERERE writer. The chiming effect is very pretty and the Transcribed by Richard Hoffman from “IL TROVATORE” G.VLRD1 STUDY NOTES ON ciosing measures in solemn choral style give jus^ proper ecclesiastical touch. The bell effect should not ETUDE MUSIC be over-done. Let it sound softly, as though coming By PRESTON WARE OREM ' from a distance, rather than cause it to be too promt- nent. Play the closing passage softly and smoothly.

PETITE RAPSODIE HONGROISE—F. G. RATH- "MISERERE” FROM “IL TROVATORE”—VERDI- v BUN. HOFFMAN. This is a Hungarian rhapsody in miniature, the Verdi’s “U Trovatore” is one of the most popular style of Liszt being imitated cleverly. It has the usual of all operas. It holds its own despite the handicap Lassu or low introduction in A minor, and the wilder of a lurid find extravagant libretto, the ravages of and more rapid Friska in F major. Pupils of inter¬ time, the sriders of the critics, and the competition of mediate grade will like this piece, and it should be¬ more modern works. A good melody will not down, come a favorite at recitals. and "II Trovatore” is full of them. Possibly the finest number is the celebrated “Miserere” and, no matter ; ENTREATY (FOR THE LEFT HAND ALONE)— what may be said of the remainder of opera, this H. LICHNER. particular piece is a splendid bit of dramatic writing.,;; Pieces for the left hand alone are much in vogue There are innumerable arrangements of this number','' at the present time. Several have appeared iti The but one of .file most effective, for pifino solo is that Etude of late, and have been welcomed. We now by Hoffman,., taken from his potpourri entitled ‘‘Sou-r> present another, moderate in difficulty and very mel¬ venir de.Trqvgtore.’’ odious. If the pedal be employed properly, as indi¬ cated, the piece will go very smoothly, and it should EVENING STAR-R. WAGNER. sound quite as well as though played by two hands. Wagner’s “Tannhasuscr” contains a number of mel¬ odies which have become widely popular. The “Song MERRY CHIMES—N. DE BACKER. of the Evening Star” has appeared in The Etube,, This is a graceful drawing-room piece in the ma¬ previously as an organ solo, for. violin and for four zurka rhythm, easy to play, but brilliant in effect. The hands. The present arrangement for piano solo is by single grace notes in this piece will be more effective Lange. It is the best of the moderately difficult ar¬ ■if played immediately before the beat. They are not rangements. 'acciaccature or short appoggiature, as they are npt Tod B. Galloway was born in Columbus, Ohio, ii diatonically above or below the principal melpdy notes GAVOTTE FROM “MIGNON”—A. THOMAS. 1863. His father, the Honorable Samuel Galloway, " which they precede, but they are to be played more was distinguished in public life in Ohio for many “Mignon" is the masterpiece of the celebrated French •in arpeggio style. years. Mr. Galloway was educated at the common " composer Ambroise Thomas. A number of the mel¬ schools of his - native city and at Amherst College, odies from this opera have become very well known REVERIE AFTER THE BALL—E. BROUSTET. and liked. Of these the “Gavotte,” an instrumental i Massachusetts* after which he was admitted to the bar number, is the most popular. It is very effective, in - This is another drawing-room piece, in the style and practiced1: that profession before being elected the piano arrangement and rather easy to play, but ' f of a polka-caprice. It is played staccato chiefly, some¬ Judge of Probate, in which capacity he served two! it requires a dainty and tasteful interpretation. , what in the manner of the famous “Pizzicati” from terms. Subsequently he was Secretary to the Governor .Delibes’ “Sylvia.” Pizzicato, as applied to stringed of Ohio. While Judge Galloway’s profession has been * CARMEN OVERTURE (FOUR HANDS) — G. instruments, means to pluck the strings instead of that of the law, he has found time to indulge his love] playing with the bow. On the piano this device can of music, and has composed a number of songs which BIZET. be suggested only by playing with a brisk and con¬ are individual and characteristic. 11 e published first The overture to Bizet’s masterpiece sets, the key¬ tinued staccato. “Seven Memory Songs.” This included the exception-: note of the whole opera; it is brief, but of strong ally successful “The Gypsy Trail.” Later he published] dramatic import. It starts off with the stirring, al¬ ALUMNI REUNION MARCH-R. S. MORRISON. “Friendship Songs,” and a number t >! others. most barbaric, military fanfare which is heard so often in the opera, and it introduces the well-known song This is a lively march and two-step, winding up with of the toreador. Its modulations are striking, and the tune “Auld Lang Syne.” It is from a set of char¬ PERSONAL MESSAGES IN MUSIC. the whole piece , bristles with animation. The duet ar¬ acteristic pieces devoted to "College Life.” Any pupil rangement for piano is by the composer himself ; con¬ in the early third grade should do well with this piece. sequently, his original intentions are strictly preserved. As this is an operatic number of The Etude, possibly ATTENTION! MARCH-CHAS. LINDSAY. What you sing is what you are. The way in whii no better four-hand piece could be offered. This attractive elementary teaching piece is a de¬ you play a musical instrument is an unfailing index cided novelty from the fact that not only are both your character. ROMANCE—S. RACHMANINOFF. hands in the treble clef, but that only the white keys If some aspiring teachers realized what a vital pa This is a beautiful number by the well-known mod¬ of piano are employed. In spite of this latter limita¬ they have in not only the musical training of childri ern Russian composer and pianist. Rachmaninoff’s tion, the piece is so constructed as to give the effect ii ,*be f°rniat'on of character, they would rath “Prelude in C sharp minor” has become a standard of being in several related keys. This is characteristic sell ribbon behind a counter than engage in a woi study and concert piece for advanced students and of the entire set of pieces from which this number for which they are so obviously unfitted. players. His “Romance,” arranged by Siloti, is less is taken. lo illustrate. A girl of twenty who has studied tl difficult technically, but it will require extreme finish piano or eleven years, and who has considerable abilit and delicacy. It is one of those pieces which gain HUNGARIAN SKETCH (VIOLIN AND PIANO) declares that she has no use for dirges, by which si an added charm with each repetition. —G. HORVATH. means such compositions as Handel’s Largo, Chopin Nocturne, or Rubinstein’s Melody in F. The .cache, MEXICAN DANCE-L. JORDA. This is a bright and sparkling number for violin by the well-known Hungarian composer. It will re¬ b is^JL"? ?mafment came faltering].—“I suppo: Here is a decided novelty, an original Mexican quire neat and clean bowing. anH rdr.eadfuI-bl’t Lot‘a always liked lively pieces be Dance by a native Mexican composer. This charming W L !he >!C<\,t0, find thinffs her with a lot . piece is No. 1 in a set of dances. It must be played in 'a languorous manner, and rather deliberately. The favorite TY W?" L°,ta’s frie"ds ask f°r of training f°n W'th “"''deuce in her eleven yea rhythms may appear rather complicated at first, but a This number is to be found in its original f< little close study will unravel them. This piece is among Grieg’s lyric pieces for piano solo. As Another8’aH1SaPP°!ntment 1S genera,,> their portion. well worth one’s time and attention. It is decidedly, ranged by Mr. Kraft, the well-known American c fonuS wbti anued pU|>il.of a worthy instructor pe effective when well played. cert organist, it makes a most acceptable pipe or and reading mechamcal perfection of techniqt piece, and in fact seems just to fit the instrument ’ that a ldT„gn’ but w,thal such pitiful lack of feelin THE MILL AT SANS SOUCI—H. SCHNEIDER. arranger has suggested an excellent registration wl S5,*oSssrstvi1* h» ~ »«» “Sans Souci” is the palace erected by the architect should be followed wherever possible. recognized as =, n ? ? ?e boy or girl who ls easl Knobelsdorff for Frederick the Great, in 1745-47. It tation of the teacher’, m .,So."and-So-” because his im stands on an eminence overlooking the town of Pots¬ Imitation is the T?0*? 0r Personality is so exat dam, a suburb of Berlin. The famous old “Windmill” blight on L h,I t c fn,it of hwhnc/. but it is Mr. Tod B. Galloway’s many admirers will be a Rernemho .I T °f '"^duality. within sight of the palace is the one piece of property to see him pictured in this issue, and to learn so) what you are able ^ mU.s,ca! W0r,<1 is hungry for ju in the immediate vicinity which Frederick the Great in thing of his career. His song, “Dear Little Hut’: nowise could acquire, the sturdy miller refusing to. his most recent composition. It is a quaint and v comes for you to gain f^ ‘t- -Whenever the chani occasion as a God „■ " aPPreciative ear, regard th; relinquish it either for gold or otherwise. The com¬ taking number with, a touch of Oriental color position by Schneider is a descriptive piece suggesting tng of some soul "or? °PPTtunit>' to satisfy the lorn Mr. H. W. Petrie’s “Until the End of Time” i the whirr of the mill. It is a well-written number of goodness that’™-,, a.waken some dormant qualil broad and expressive song, which we consider , and will repay careful study. It should be liked as a of his best efforts. It will make an excellent num and better1 at least y tbe worId 3 little bright! recital number. for teaching purposes. ra and if you’ Ieast you Wl11 have given of your bet

yy°ou.“flve’ 2» THE ETUDE 31 THE ETUDE the etude CARMEN OVERTURE

<9-

Copyrig-ht 1911 by Theo.Presser Co. THE ETUDE

PBIMO the etude MEXICAN DANCE No.l LUIS G.JORDA Moderato

Arranged by A.Siloti ROMANCE S.RACHMANINOFF, Op.8,No.2 Andante m.m.J = 48

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Copyright 1911 by Theo. Presser Co. THE ETUDE 37 the etude THE MILL AT SANS S0UC1

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MERRY CHIMES CLOCHETTES JOYEUSES NESTOR HE BACKER MAZURKA DE SALON 43 THE ETUDE

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Copyright 1911 by Theo. Presser Co. British Copyright Secured the etude 44 47 THE ETUDE THE ETUDE 46 alumni reunion MARCH AND TWO STEP R. S. MORRISON

ATTENTION! MARCH CHAS. LINDSAY Tempo di Marcia M. M. J = 1 3 2 1

Copyright 1911 by Theo. Presser Co. Copyright 1911 by Theo. Presser Co, British Copyright Secured British Copyright Secured the etude 49

To Margaret Elizabeth CRADLE SONG i SwtOboe or Clarinet and Tremolo AN DER WIEGE o ration-- Ch. or Gt: Soft Flute 8' EDVARD GRIEG, Op.68,No.5 ( Ped: Bourdon 16'coupled to Ch.or Gt. Transcribed for Organ by Edwin Arthur Krait

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PEDAL 51 THE ETUDE the ETUDE 0 ffntdabtle THE ETUDE 53

lying in the case at*police headquarters little better than firewood. Giggles saw her father’s mental condition at u glance, and with the smile which had been respon¬ sible for her nickname, she threw her arms around his shoulder, saying: “Never mind, dear old Daddy, it might be a great deal worse.” “Worse?” exclaimed her father, sitting upon her ,ed and covering his face with his hands. “Worse? The Mystery of the Lethbridge “Strad” I reckon you don’t know what it means to cover everything you’ve got with a six thousand dollar By JAMES FRANCIS COOKE mortgage just to stake one big chance, and then have that chance smashed in less time than it takes [The first part of this story appeared in The Etude for nanner, which has baf- a cyclone to wipe up a barn. I don’t see how it December. The following newspaper reports, however, make Ire detective force from it possible for the reader to get the main facts of the first hedd gained admission t could be any worse.” installment and peruse the second part, even though he dressing roi flight above the “Think pf^-ucia Malet, father,” said Giggles, seri- failed to secure the Special Christmas issue of The Etude.] __right stage__e in the big hall. The violin was said to have been .ously. “By gum, you’re right!” said the earnest West¬ ' On the morning after the thrilling event in the worth $10,000. Everything points to the work of a lunatic. erner, rising with new energy. “1 don’t know how dressing room at Carnegie Hall, Giggles was Miss Florence Ashton Lethbridge, viarziale^ to go home and tell her mother 1 haven’t found the . y ■ i i_ , . . , , , ] i |*^j ^ K 1 -K~~| awakened from a troubled sleep by her landlady, whose home is in Bentonvllle, Kansas, and who has been studying in New least track of her daughter. The night after her Mrs. Cartnody, who appeared at the door, her arms York for four years, claims that she . concert she seems to have dropped completely out laden with practically every paper published in New has no enemies who would be likely to perform such an act, and the fact that of sight, and if I’ve asked one person I’ve asked live This lit - tie home-stead is York, including two German papers, two Jewish pa¬ /hen shall his wand’rings c ease? the head and scroll of the violin were hundred to tfy to find out whatever became of her. *YVhen shall tfie trav-’ler’s lmarch be ov - er? V pers, two Italian papers, a Norwegian journal.and found to be missing seems to Indicate that the work might have been done Giggles, I'd rather lose every gol-darned fiddle that one or two other representatives of the polyglot jour¬ by some one who had become deranged was ever made than lose you. Old Mrs. Malet’s nalism of the great city. The well-meaning old upon the subject of old violins. These parts are worthless without the rest trouble makes mine seem about as serious as a lady had, in her excitement, given the maid carte of the instrument. The head was cinder in the eye.” blanche to buy everything she saw on the news¬ carved in a peculiar and distinctive manner, and Miss Lethbridge claims “Besides,” said Giggles, “Dan and Mrs. Varasowski stand. that she could identify it at once. and everybody says that the advertisement this wit! vvfcresc. “Miss Giggles,” she whispered, ‘‘I didn’t mean to The police were informed immediate¬ 1 f viarziale ly. and a search of all the adjoining bring me will be worth five years of concert work.” wake you but really it’s sumthin’ awful the way rooms and passages was made. Thus ■ “I believe it,” laughed her father. “Look, here's a they’ve got you rigged out in these here papers. in the passage way leading from the letter from a vaudeville manager who wants yon to Here’s no less than four different pictures of women, stage door to the dressing room were all friends of Miss Lethbridge. They come see him this morning about starting upon what and every one of them with your name under it, claim that no one was seen to pass he calls the ‘big time’ next week, and here's a let¬ Florence Ashton Lethbridge. This here one makes you them. The work was done with the pkill of a magician. The following ter from that Constable fellow yon turned down last look like Lillian Russell, and this one makes you persons were in the passage wav at night. See what he’s got to say.” look like Carrie Nation. Here, dearie, look at this the time: Mr. Daniel Ankatei, a mer¬ chant; Mr. Elliot Constable, member Giggles opened the letter, and read, “Dear Miss one—ain’t it awful? Honest, if it hadn’t been for of the well-known Constable family: Lethbridge:—Believe me, no one was more shocked me havin’ a bottle of Dopoline by my bed, I wouldn't Travesco Kellardini. a sineer: Ignace Varasowski. a pianist: Jan Zalawski a to learn of your loss than I. Of course, it is quite have slept a wink all night.” Polish attache of the hall; Mr. Jeremi h Notwithstanding the ordeal through which Giggles Lethbridge, the soloist's father, and useless to hope to repair the instrument now. and Mrs. ^ Marie Antoinette Carmody, her it would seem that Fate were pointing the way for had passed, she could not resist the temptation to you to relinquish a career which at best can only he look at the papers with a curious interest, despite fraught with anxiety and ceaseless disturbance. As the timidity with which she viewed so much un¬ “There now.” said Mrs. Carmody. “Think of them 1 have assured you many times I am always pray¬ expected publicity. fools makin’ me a grandmother to a grown woman ing that the time may come when I may have the “This here paper,” continued the excited old like you and me only fifty-eight. I ain’t goin’ to joy of learning that you will consider my proposal matron; "this here one is the fellow what got me never have no more faith in newspapers. I know of marriage seriously. This, of course, would place out of bed at two o’clock in the morning to give ’em now. But laws me, it’s nine o’clock already! both you and your father in an independent posi¬ the latest facts. I was so mad, I could have shot Get dressed and come down to get your breakfast at once. Your father’s had hisen. Don’t forget that tion and bring limitless ioy to Your devoted As a matter of fact, Mrs. Carmody had never we’ve got to get down to police headquarters at ten had such a delightful experience in her life, and the o’clock.” Elliot Constable. maid said that she actually made the reporter a cup Mrs. Carmody dropped her papers on the floor P. S.—I am sending you a diamond crescent with Christmas wishes.” of hot coffee while she indulged in the delectable with a shout. She threw up her arms and let them pleasure of telling the details of what was already fall around Giggles’ neck. “Reads like a bill of sale,” said the excited West¬ known in the newspaper offices as “the Lethbridge “Anybody might think I ain’t got no sense. I erner. “Write him for me. Giggles, that out where complete forgot to wish you Merry Christmas.” I come from we sell our stock, but we don’t sell This is what Giggles read in the upper right-hand “Merry Christmas!” said Giggles, trying to smile. our daughters. And you can also drop in a little corner of the first page of a leading New York paper; Mrs. Carmody saw at once the effort she was hint that men at his age don’t get red noses with¬ making, and shook her good naturedly. saying: out earning them. Why, the way you turned hint “Look here now. Giggles, you’ve got a reputation down last night for Dan Ankatei made me feel like to live up to. When anyone in the house was in singing The Star Spangled Banner backwards. That $10,000 STRADIVARIUS trouble you'always went to them with a smile that was real Kansas, that was. Giggles, real Kansas! just wiped it all away. Why, they’ve got to thinkin’ Send back his jewelry, and tell him you ain't that VIOLIN DEMOLISHED BY that you don’t know what the word trouble means. kind.” You’ve got to show ’em now that you haven’t been “Come on down,” shouted Mrs. Carmody, in a putting up a bluff all these years. Lord knows, voice designed to pierce the roof. “You ain’t got UNKNOWN FANATIC your father’s so cross this morning there ain’t no more’n enough time to get breakfast and get down one been able to get a word out of him. And think to police headquarters.” of this bein’ Christmas morning, and me getting These orders were peremptory, and in a few min¬ Unexpected Thrill at Ameri¬ a seventy-five-cent wreath for the parlor window utes Giggles and her father were seated in a stuffy can Symphony Orchestra and all that. Pity ye ain’t got no work to help ye subway car, lined with smiling individuals carrying forget it. I spent fifteen years trying to convince all kinds of Christmas bundles to all kinds of people Concert Bill Carmody that work was better than rum to in all kinds of homes, in all parts of the great city help yer wash yer troubles away; but he never Once at the police headquarters, they were treated Miss Lethbridge, Beautiful and seemed to get it through his head. Laws me, I got to a variety of experiences which Jeremiah Leth¬ Talented Violinist, Suffers Irrep¬ to go right away and singe that turkey. You ought bridge said “got more and more on his nerves every arable Loss at the Hour of to see it. It’s a regular Jumbo. Shhh! Here minute.” comes your father, looking like the world was going a Great Musical Triumph. They were obliged to review the remains of the My Krish-nal My Krish-nal From •'a - ny one else but theel violin, while a committee of astute detectives held Head and Scroll Missing. Mrs. Carmody disappeared in the direction of a /?- ■■ t "r "7* ^ ^ a perfectly worthless inquest over the bits of broken 0 very savory odor of mince pies and cranberry sauce wood. They were solemnly called upon to view the At the Christmas Eve American Sym¬ phony Concert held last night at Car¬ which was already arising from her little realm in little golden lyre on the tailpiece. The wonderful negie Hall, tile audience was treated to the rear basement. lustre of the varnish, the brilliant claret color and an unexpected thrill- when it learned that the priceless Stradivarlus violin, Jeremiah Lethbridge was mad, disconsolate, irri¬ the break where the missing head and scroll had which had just been played upon witli tated, indignant, vindictive, unreasonable, pessimis¬ been wrenched from the bodv were all discussed tremendous success by an unusually tic, unconsolable and sick at heart. He seemed to beautiful violinist. Florence Ashton with the secrecy of a junta of filibusters. They were Lethbridge, making her dfibut before feel the loss of the instrument more than did his required to sign affidavits that those were the re^ the New York public had been smashed daughter. As a matter of fact, he had lain awake into scraps by an unknown miscreant. mains of the violin that had been broken and then Miss Lethbridge left the instrument in for hours thinking how he had slaved in order to they were permitted to go home for the day The its case during the few moments in have his daughter get a worthy musical education, which she was upon the stage acknowl¬ next morning they were requested to try to iden¬ edging the applause of the audience. how he had mortgaged his house to further the pur¬ tify at least twenty suspects brought from all parts Upon her return the valuable old fiddle pose, and how he had added a second mortgage upon was found lying upon the floor in of the city, none of them being persons who had splinters. This fanatic had in some his farm to purchase the instrument that was now ever been inside of Carnegie Hall. On the follow 55 THE ETUDE 54 THE ETIDE had already put in their indelible markings. Her those that are so simple that they can almost be read ing day they were called upon to review a proces dent of a week before, was now one of the most eyes shone through that haunting light that tells 0f at sight to begin with. Let a number of them be sion of violins taken from various pawnbrokers discussed artists before the public.. It dawnedknows upon misery and privation. At first he felt resentful when learned, progressing gradually to those which are more shops all over the city, with the idea that the orig her that the public i£ interested in what it knows he remembered__ the calamity she had brought upon difficult. For pieces you will find a sufficient number inal violin might have been stolen and a false in about, and that it very often turns away from the “^‘^“‘“but then his innate sympathy for suffer" listed in the October Etupe under the head of “A strument broken and substituted for the real instru unknown. She saw at a glance that the “a"age” • carried him to the realization of the terrible Graded Course for Piano Students.” The second nient. The police showed at least a creditable were striving to purchase the publicity which had h which the girl had no doubt endured grade “Albums” ought to provide you with material. tivity in endeavoring to reduce the number of clues come to her so unexpectedly. Fortunately, she had pmgburst *£of ebblatantlatant musmusicic rose frfrom the‘ orchestra—the really “made good,” but it soon became apparent to by exhaustive elimination. violins seemed to squeak, the clarinets blared, the LITTLE FINGER AND THUMB. Notwithstanding this, the ‘‘Lethbridge violin her that every time her name got into print her brass instruments shouted, and the piccolos shrieked. ••In an article In a recent number of The PIANO OR VIOLIN. you with the same kind of music from the piano. A Etude, instructions are given to place the little case” still remained a mystery even to those won¬ services seemed to be more in demand. She was A roar of laughter filled the house. The comedian studying the primer of advertising, and learned in a “1 am seventeen yeai •s of age. and have studied distinguished artist in Boston used to tell me that he finger about the same distance from the end of the derful little journalistic sleuths who, with the devo¬ in a brilliant burst of wit had tumbled over a wheel¬ both piano and violin. 1being able to nlay fi-o'm the key as the thumb. It has hi few days what some artists never learn in a life¬ could tell from the manner in which a pupil knocked i- the ends tion of a La Salle, follow every clue with a sleep¬ barrow, and Broadway was howling with delight. fourth to the fifth on pupils placing their 1‘ ' time. All successful advertising is based upon the __- f sufficient skill on the piano upon his studio door whether he would be able to ____ the thumb less energy solely for the glory of “making a beat.” Through the crackling applause and the din of the ro he a gooff accompanist, and use it for a back¬ al.v' cn” the keys,’ i exercises and scales, rock foundation of human nature. learn to paint or not. The person with no nervous at m this manner they are Every day the interest grew. The Lethbridge case music Dan could see only one thing, and this was ground for organ study. M.v friends tell me 1 will “It seems to me was discussed over a hundred thousand tables every In the meantime, Dan had been spending all of be unwise to abandon this aim, while m.v violin energy in the hand would never put any in his or her ff ___ .ittle finger side of the hand the wan, wasted, paint-smeared face of poor little teacher tells me I can play as well as any orches¬ up, and the first and second joints of the fingers night. By this time, the history of the violin was his spare time in the same vocation that had occu¬ painting. He said he had watched this throughout his Lucia Malet. What sort of a musical comedy was tra musician in the country in three or four years.” wi.l stand,, up more perpendicularly over the keys, invested with a collection of tradition* which would pied Giggles’ other friends. He felt that it was the M. S. long life, and had never known it to fail. Your pupil rather ttatfft slant'ng with the ends pointing towards this, in which the grim mask of tragedy could play the thumb. And it occurs to me that the weak have delighted Edgar Allan Poe or Paul Heyse. opportunity for him to show his real worth to the can only be helped by physical training and the effort such an important part? We can print only a portion of this lady’s letter. In fingers and the muscles of the outside of the band The daily life of Giggles was discussed in all the little woman whose happiness meant so much to to build up a robust physical system. — ' i better trengthened if the. latter is iri » He rushed out into the night and hailed a taxi, answer to her violin teacher’s plea, I would say that 1 a journals. It was also discovered that if the head him. He ran down half a dozen false clues, and 4. By making her a musician so far as her work which took him and the news of his discovery to there is very little opportunity, if any, that is at all i- the 1 and scroll were found, the violin could be repaired was on the trail of another, which took him to a progresses. The common direction to look at the bass i this I) Mrs. Carmody’s boarding house. Giggles and her remunerative, for women violinists in the orchestra. —possibly without injury to the tone. Best of all, Broadway theatre to watch a certain violinist who note of the last chord does not always work, if the key father wanted to start at once for the theatre, but She will have to confine her activities to teaching and offers for concerts were piling in upon Giggles in a had the reputation for being a fanatic upon old be minor, and is a makeshift at best. It should only Dan persuaded them to wait until the following public playing. In public playing she will be unable way that would have made an established virtuoso violins, and who had. been proclaiming in all the be given to those singers, who are very numerous, who If you will form your hand in correct position, and night. The next day was the last day of the year, to gain a livelihood except as a member of some good leap with ioy. music stores that he had been present on the night do not pretend to be musicians. The pupil should place it on the table at right angles to the edge, you and was uneventful, save for another letter from concert company. Even this will not be permanent, The disastrous loss was not without its bright side, of the famous concert at Carnegie Hall. learn absolutely the key that every signature stands will observe that the tip of the little finger and the Elliot Constable, using all of his powers of persua¬ but eventually she will drift into teaching. At least and this was caused principally by the many at¬ Dan arrived at the theatre late. The play was a for. They should know as surely as they know that point of the thumb are almost in a straight line with sion to attempt to induce Giggles to give up her such is the average experience. It will be better for tempts of amateur detectives who enlisted them¬ widely advertised musical comedy. He had hardly c-a-t spells cat, that B flat, E flat and A flat as signa¬ the edge of the table. Sitting down to the keyboard selves in the search, through their career and consider him seriously as her to understand this before making her choice. ture stand either for E flat major or C minor. They and placing the hands directly in front of the arm will friendship for Giggles. Mrs. Car- a life mate. Giggles now invariably She complains that if she fakes up piano in the will soon learn that they can determine which by play¬ result in the . same position on the keys. Passing the mody, for instance, felt warranted in threw his letters in the fire after college where opportunity offers, that she will have to ing- a few chords, and as their familiarity with the right hand in front of the body down the keyboard searching the room of Francesco reading them. She was sick of his go to the very beginning and practice the Virgil Prac¬ staff grows, they will afterwards learn to do this by will result in the little finger being drawn nearer the Kellardini, who has always looked continual intimations that money tice Clavier system. This, however, need not alarm simply looking at the first chords. black keys. Passing in the opposite direction, the forward to the time when 'some such would eventually win her love. her, for if her work has been well done thus far it 5. The names of the intervals should be taught from tendency will be the reverse unless a special effort is pleasant disaster would bring her the Early in the evening, Giggles and will' only require a comparatively short time to catch Ihe first. The general names are learned very easily; made to counteract it by turning the wrist slightly publicity which seems so delicious to her father, Mrs. Carmody and Dan up with the Virgil principles. Her advancement is their specific names will come with the growth of outwards. This slight turning of the wrist in order some prime donne. Mrs. Carmody went to the stage door of the theatre sufficient, so that she can take up the organ with musicianship. to admit the passage of the thumb is correct, as was interpreted the singer’s jealousy as where Lucia was engaged. They had profit. This will be a distinct advantage to her in remarked by Paderewski in The Etude a few months the workings of a criminal con¬ planned to surprise her upon her professional life, for it will not only be a pleasurable AN EXPERIENCE. since. Meanwhile you will also observe that you science. Even the fact that a most arrival. After they had carefully outlet for her musical energies, but will also furnish “My first instructor taught me to play the piano should have such full control of the hand that it can minute secret analysis of the con¬ scrutinized all of the actors as they her with many opportunities for musical and social with knuckles level and all the finger tips resting take any position needed in order to produce any tents of Kellardini’s closets, bureau on the kevs Then, cn the count, the finger needed entered, they finally applied to the contact with the best element in a community. It is had to lift high with a quick jerk in order to get effect at any instant. Modern piano playing demands and trunk failed to reveal the missing door man for information. impossible for the Round Table to say, “Do so and down as ‘fast and loud as possible.' Result, after that the hand be able to take almost every position head and scroll could not weaken some years of hard study, no velocity, stiffness, and After many descriptions he was able so,” in a case like this, for there can only be a partial an intolerable pain up the arms. 1 concluded my that is talked about at one time or another. In spite Mrs. Carmody’s suspicions. to place the girl in his mind, and in¬ understanding of conditions. It would seem, however, study In despair. of this, however, the normal position should be mas¬ Ignace Varasowski, “the dreamy that more opportunities would be opened up by follow¬ •'Some years later I began again under an eminent formed them that she lived with the pianist, who instantly detected the difficulty, as it tered first. son of Poland,” made Giggles des¬ ing up the piano and organ idea. had been his own—the constant upward strain of perate by playing the gloomiest kind wardrobe mistress, Mrs. Dillon. Mrs. Dillon was called, and after her ing to’ ‘equalize tone.’ I soon acquired a good of music in the room directly over SEVERAL POINTS IN TEACHING. low Heller. suspicions were allayed, she revealed touch, rapid, relaxed, artistic. For fast Work I keep Op. 46. and E Minor Sonata of Haydn? Giggles’ head. Not satisfied with •I. in teaehinp the sca'v.s should I give them in fingers close to the keys; for slow, steady practice that the girl, whose stage name was ■ e all k *'2. Would Chopin's waltzes be too difficult? Tschaikowsky’s Funeral March or the chromatic order cf succession'? aiwnys tne sensatic.. “3. Is it practicable to give sonatinas by dem¬ second movement from Beethoven’s Marcia Wellington, was then up at -2. Should I give the pure minor to connection down, the finger, of course, always return .. enti an-l Kuhiau after the first grade? her home confined to her bed. with the mnlor scales stantly after the stroke to Its original position. “4. Which are the easiest studies of Bach, and Opus 26, he improvised dirges of his -8. Whut can I do to give a lifeless pupil some ‘‘How can children be taught to play scales with when should they lie begun? “God knows,” said Mrs. Dillon, vim? She seems to ‘take in' all I explain to her. .vet "5. I have a little girl, ten years old, who Is own, which doubtless seemed to him when she goes to the piano, she looks and acts as if firm tone and lifted fingers? Unless the fingers are most fitting requiems for the ruined with an accent that made no. effort to kept poised over the keys, ready on the count to playing Ilerz Scales, but as she has very weak she were scarcely alive. strike down, how is it possible to teach a good fingers I should like to know whether to continue violin. In fact, he seemed to take conceal her nationality, “its high •4. Now should I tench the pupil to determine the that hook? Would not the arpeggios and double key of a piece of music? touch? It seems almost impossible to teach young the loss more to heart than anyone. toime that some of her friends was children to poise the hand correctly at the start.”— note scales be too hard for her?” R. M. ”5. When should I begin to teach the names of I'EUPLEXED. He would stand on the stairs and Copyright, doin’ somethin’ for her. If it hadn't the intervals?” ^ 1. You will find in the October and November num¬ announce in his funny pot-pourri of By courtesy of Franz Hanfstaengel been for the sisters and the doctor 1. When the scales are first given it is better that The foregoing is printed complete, as it will furnish bers of The Etudf. a graded list of etudes and pieces. languages, “He is vandal, that man. from Saint Michael’s bringin’ her the food for thought to thousands of teachers and pupils. For the present you will find enough there to answer He is diable! Ah! mon del! vas they follow the natural succession of sharps, or fla's, “Giggles often right food and medicine to-day she The first finger exercises should teach up and down your immediate necessities. You will find what you fiir ein Zustand ist id! Look you, as the case may be. A pupil understands them better might be dead now. Sure she was motions without strain. From the first, muscular con¬ need in the fourth-grade selections. in free country of stars and stripes if the sharps or flats are introduced one at a time. starvin’ herself trying to save up trol should be aimed at. For this reason a great deal 2. The waltzes in A minor and D flat major are this villain come and assassinate the soul that has live To use the chromatic order of succession would con¬ money enough to go home. Last of two-finger practice should be used. Just as soon as much used at this stage of progress. Inexperienced in those glorious instrument for two hundred years. taken his seat near the conductor, when he glanced fuse the mind of a beginner. It is perfectly simple, up at the stage and saw a face which made him night the manager told her that he didn’t want any some control of the fingers is gained, aim at the poised teachers, however, are apt to under-estimate the diffi¬ E, un cane malissimo, non e vero. But I shall catch this however, to alternate the sharps and flats, if you de¬ invalids in the chorus,- and fired her. My husband is a position, or the practice results will be similar to those murderer. Eh bien! I shall catch!" tremble with apprehension. There in the chorus was sire, giving one sharp and one flat, then two sharps culty of the Chopin waltzes. They are played by the woman for whom Jeremiah Lethbridge had been pohsman, and he says that he’d like to lay his hand outlined above. Place the hand on the keyboard with artists at what seems incredible speed to young players. It was this spirit that led Varasowski to wait out¬ and two flats, and so on. searching for so many days. Dan and Lucia Malet on the man that married her the day after her first the right thumb on E. and the second, third and fourth Even the D flat major waltz can hardly be done side the rear entrance to Carnegie Hall every night 2. At the very beginning most teachers give the had grown up together, way out in Bentonville, and concert in New York, and then after livin’ with her fingers on G flat, A flat and B flat. Then let the pupil justice to except by an advanced player. The one in at the exact hour when the violin had been demol¬ major scales only', leaving the minor scales to fo.low there was no possible doubt in his mind that he was for a year, without lettin’ her tell anvwan she was mar¬ draw the hand forward over the white keys, maintain¬ ished. He had some theory that murderers always later. Pupi's thrive better if their minds are not A minor is not so exacting in this regard. Its sentiment, right Not even the heavy coating of grease paint, the ried, runs away and deserts her. Sure, Hell ain’t hot return to the scenes of their crime. At last his op¬ crowded with many ideas too rapidly. Personally, I ing exactly the same position. Practice the two-finger however, is on so high a level that only very musical penciled eyebrows, the tinted lips, could conceal her enough for divvies like thim. Come back at tin portunity came. One night he pounced upon his prefer to use the harmonic minor scales first. exercises carefully, letting each finger return to posi¬ students are able to enter into it. Nevertheless, pupils identity. He stepped to the back of the parquet to minutes after eleven and yez can all go home with man with the ferocity of a savage, and before he tion when through making the tone. The thumb should ought to practice music that is in advance of them, avoid being recognized. p q t to Mary Ann Dillon, and welcome to yez. If a friend in 3. This question belongs to the physiological and knew it, both he and his victim were in the nearest pathological departments. As The Etude has not yet rise to a position nearly as high as the fingers, and both musically and technically, if they are to grow in The whole story came back to him. He could seP police station. The victim happened to be a gentle¬ tj, 18 r !nend indeed’ y« *re needed right now.” established these departments, and probably will not needs a good deal of special attention because of its ability and taste. It is not always well to encourage her singing in her old place in the choir of fi? J-he little rescue party walked around Broadway natural clumsiness. Careful attention and work will man from North Carolina, who had no difficulty in encroach upon ground that belongs to the medical them to play it in the presence of others at first. proving to the sergeant that he was spending his first Bentonville Methodist Church. He could hea £ W m tbe restaurants, watching the armies of doubtless bring the results you desire. 3. The easiest sonatinas of Kuhiau and Clementi may¬ fresh, sweet vo.ce ring out in “Beulah Land.” He Doisteroiis people intent upon ushering i i the New journals, I may say that it is hardly possible to pre¬ day in New York City. Varasowski insisted that scribe a remedy for cases in which treatment probably be used to advantage in the second grade. the irate Southerner had one ear larger than the W,th what Pfide her Parents told of her with as much noise, indigestible food and in- UNDERSTANDING AND ABILITY. 4. The First Study of Bach is the easiest book of wonderful success at the conservatory in New York should have begun several generations before the other. All admitted this, but failed to see that nan!w!”g- iquo,r a* possible. Notwithstanding the child was born. The young lady is very likely an un- ‘T have n pupil whose understanfi'ng of music is selections that can be found. It may be used in the Varasowski s claim that, according to Lombroso, this Then came the great concert and the newspaper clip¬ time Passed slowly for the anxious far in excess of her technical ability. She has third grade. finished product of nature. The world is full of them, finished two' grades of the Standard Couree very proved the victim to be a degenerate and a very pings which prophesied a great future An a Dan bought some fruit at perfectly un- and it is exceedingly difficult to reconstruct them. It satisfactorily, and is now on Heller, Op. 47. Her 5. No book of technical exercises, such as the one likely person to go about smashing violins. Poor -ah what a tragedy it was!He saw ht father techn’e. however, is so far behind her knowledge flowerB ?pCeS' G'ggleS and her father bought some may be her nervous system, or her muscular system, you mention, nor any other, is intended to be used Ignace was obliged to apologize and pay twenty-five going to the post office every day and saying- “Don’t Howers at Forty-second street rates. Mrs. Carmody that I do no’t knew what to do with her She makes Aat is at fault. To improve conditions along these awful blunders In playing her pieces.”—M. L. E. like an instruction book by practicing its exercises dollars in costs and fines for disturbing the peace. CT,/1 n°, ktter from our Lucia?” the t£ b b°!tle of bay rum at a drug store in lines training should have begun in infancy. As such from beginning to end. They are only compendiums In fact, it was all Dan Ankatel could do to pre¬ . T S ®m dlng’ Insisting that “while rum makes If your pupil plays her etudes smoothly, and blun¬ a thing never occurs to the average parent,-however, of exercises from which the teacher may select that vent the gentleman from North Carolina from carry- own father St°hee leadingTocS'^Ben^vSe11 had aw a» ec\bay,rUm beats Dutch for taking them ders in her pieces, the only inference I can draw is that such cases will continue to multiply. It will take a which is suitable for the pupil at this or that point in ing out his threat to “eat that Dago alive.” an *160 purchased a hot-water bottle and she has been trying to play pieces that were more diffi¬ strong mentality on the part of the t>upil to bu Id his progress. The pupil you mention ought to be able The incident got into the morning papers and added alcohol stove for emergencies. Thus armed and cult than her ability would permit. If she can play herself up physically. Many who are apparently of an to take up arpeggios in their easier forms, but her more fuel to the great beacon light of publicity which b tlme°£’ they.went back to the stage door just etudes well, I cannot understand why she cannot play energetic nature are so deficient physically that they fingers are probably not yet ready for double-note now surrounded the Lethbridge case. It was then ing out meet thC excited wardrobe mistress com- pieces equally well if they are no more difficult. Such never learn to play well, but always in a lifeless exercises. The practice of double-note scales belongs that Giggles learned a great truth. Managers being the condition of affairs, I should recommend manner. I used to have a theory that I could tell to a more advanced stage of progress. Used with fairly bes.eged her with offers for her services. ,'£?8*nn°tJ.far t0 the Di*lon home—that is, con- that she take a systematic course of pieces, beginning the moment I shook hands with a person whether he pupils who are not properly prepared for them, they Florence Ashton Lethbridge, the unknown violin stu- ine tn g '• efl.'tance horizontally—and not mention- •with those that are so simple that the possibility of could learn to play the piano or not. The man who engender a rigid and constrained condition in the S he six flights of stairs which had to be climbed blundering is eliminated. It is a good plan to use muscles. Continued on page 68 Presents you with a lifeless, fishy grip will present 57 THE ETUDE 56 THE ETUDE . cause the larynx is allowed to ascend and This “mouthing,” as it is now called close the throat. The greatest enemy of is wrong, for it shows the want, of mus- ive new songs for medium voio BYT. L. KREBS 6 the “open throat” i§ the high larynx. It cular suppleness (the jaw trying to do 4*4* ® 4* ® 4*4* THE NIGHT HATH A THOUSAND EYFs is the function of the soft palate to alter the work of the organs of articulation), s I EKNAL IIOI*E l.l l Lilll A TONIC IDYLL FROM ltlHD LIFE11' the shape of the mouth for the produc- the free vibration of air in the vowel NYDIA’S LOVE SONG * Sent Postpaid on receipt of $1.00 tion of the higher notes-and not of the chamber is rendered impossible and every Horsford’s Acid Phosphate PHILHARMONY PUBLISHING CO. larynx. This can be verified by observ- closure of the mouth is accompanied br¬ DEPARTMENT FOR SINGERS ing the extended condition and lower the high larynx. Dora Duty Tones in ♦ 1 Half a teaspoon in half a glass of position of the soft palate in singing in the The Technique of Speech says “ ’ Opinions and Advice from Foremost Singers, © water, refreshes and invigorates the head voice than in the lower registers. the student of diction, whether singer” or Teachers and Writers in the Music entire system. A wholesome tonic. Centres of the World HOW TO CONTROL THE LAEVNK. o£ GEO. W. MUNRO As the larynx moves a little for each must, first of all. correct this fault by PIANO vowel, consonant, pitch and intensity, this learning to open the mouth properly.” ' UPPER SOPRANO TONES Voice Building is no valid reason why it should be left $ a specialty alone. Without being “fixed’' it can be two difficult vowels LOST VOICES RESTORED steadied. In fact this must be done to The two vowels generally found to be The Piano with a THE LARYNX, ITS POSITION AND “FIXED" LARYNX. COME to CHICAGO to study resist the flow of breath from the lungs, somewhat difficult to produce with th- MOVEMENTS IN SINGING. The discovery of this advantageous low Music—where you have the oppor¬ An uncontrolled larynx means an uncon- lower jaw well depressed are oo and ee tunity to hear Grand Opera, Orches¬ Reputation! position lias given rise to some false theo¬ tra Concerts, and the great visiting trolled tone. Browne and Behnke, in The closure of the lips necessary for By DR. HERBERT SANDERS. ries, the most erroneous of which is that Voice, Sang and Speech, state that the oo should not be aided by allowing th- known as the "fixed” larynx. There is, A Large Number of Teachers are Using 516 Kimball Hall larynx possesses what are known as the jaw to rise, but simply bv allowing the An experience of over sixty years de¬ Probably every student of vocal science of course, a distinction between a "low” “extrinsic laryngeal muscles, best de- tongue and lips by concerted action to voted to building the Emerson Piano has lias difficulty, at some time or other, in larynx and a “fixed” larynx. The former Systematic Voice Training scribed as the “depressors and “ele- form the vowel. 'The raised jaw and ascertaining the significance of the move¬ has proved its desirability by its accom¬ By D. A. CLIPPINCER vators,” which, as their names imply, larynx will not rob the vowe' of its ns >- naturally perfected its quality. Its excel¬ have the power of lowering or raising nance, and, as it is. it is the least res,man ments of the larynx. Perhaps it would panied improved tone; the latter is un¬ The Price is One Dollar lence has established its reputation. scientific, for, as the larynx is tied to the THE WODELL SCHOOL FOR SINGERS the larynx. But whether it is possible to of all the vowels The vowel ee is usual'v be unreasonable to expect it otherwise Address: 410 KIMBALL HALL, Chicago. Ills. Write to 605 Pierce Building. Copley Sq., Boston, when authors, singers and teachers—the root of the tongue, it must move in cor¬ Mass., for specially favorable terms for securing a first- control the larynx independently of the the weakest spot in a singer's enunc'a- class vocal education from the rudiments to professional movements of jaw and tongue is possibly tion, since it is generally sung through pillars of the art—cannot agree among respondence with every movement of the attainment. Special courses in Oratorio. Interpretation Its tone charms; its responsive touch themselves as to whether the larynx tongue whether in singing or speaking. and Choral Conducting. Successful Summer School of little importance to the singer. Few the teeth. In order to secure the correct Louise St. John Westervelt just closed with Teachers in attendance from points as seem to have this power anyway. But resonance for this vowel, practice on permits all the finer phases of musical should be fixed, or whether its control It is not to be wondered at, then, that far apart as Louisiana and Vermont, Western Canada should be conscious or unconscious. The teachers and singers have attributed any Teacher of Voice and Missouri and Pennsylvania. the preceding observations put into actual lab. leh and lee on one continuous tone expression. practice will prove how imperative it is with the lower jaw stiff and depressed, time has come, however, when the correct ugly and unpleasant tones to the “fixed” Pupils prepared for teaching and choir visible movements of the larynx should larynx. With tongue and larynx at vari¬ work, concert and opera. that the mouth should be well opened in The consonant 1 must be the result of singing so that the larynx can assume its ton-uie movement only, The pure, sweet, sustained tone has been be generally known and this knowledge ance no other result could be expected. Ohio Building. 509 S. Wabash Ave., Chicago, III. most favorable position and the throat Anyone can test for himself the prin- practically applied in vocal training. The As the “fixed” larynx must of necessity a prime factor in making the Emerson the its most “open" condition for the attain- ciples here laid down, and it is safe to outcome of this would undoubtedly be constrict the movements of the tongue, ment of the fullest development and assert that with diligent application they favorite with that class of rruiic lovers beneficial in assisting the development of the tone must inevitably suffer, for how, VOCAL INSTRUCTION largest compass of the voice. Many will carry with them the conviction of the voice, and especially in extending and without perfect freedom and correspond¬ who can appreciate musical quality. IIM PARIS singers (and other voice-trainers will their truth and will result in a marked adding resonance to the upper register. ence of tongue and larynx, are we to EFFA ElllS support my contention) have been unable improvement in both the singing and In the following observations all points articulate? GEORGE E. SHEA (Georges Chais) gain their full vocal compass simply speaking voice. This practical application Five hundred thousand individual's open to dispute have been carefully It is possible that the low larynx has S. rue Gounod Keyboard harmony and 105 Eartraining because they will not open their mouth t be the test of their truth. avoided, so that the reader can here re¬ been blamed for many vocal defects which One of the first American men to sing in Opera in France have used the Emerson Piano during the have been the direct result of a high Exercises enable students of sufficiently wide. Some believe that on gard himself as being on perfectly safe larynx. Certainly it,is that when the larynx all grades to easily and rapidly high notes it is necessary to “shade” the past 60 years. ground. The principles here stated he is allowed to rise with the tone the mus¬ npell, write, hear and play ail vowels by partly closing the mouth, but can therefore incorporate into his teach¬ kinds of chord combinations, IMPOSSIBLE ASPIRATIONS. cles governing the vocal cords have diffi¬ the intensity of a note can be determined ing without fear of any'but the most de¬ resolutions and modulations. The judgment of such a constituency is culty in acting, and only do so under Write by the force and direction of the breath sirable and often astonishing results. undue strain. blast. Others, in their anxiety to keep BY S. CAMILLO ENGEL. conclusive. Not a few masters state that the move¬ Effa Ellis Illustrated Music School the jaw muscles supple, are afraid to open ITS MECHANISM. 203-4-5-6 Boston Store Bldg. ments of the larynx are automatic, and their mouths enough. The common dan¬ What would we think of the per¬ OMAHA. NEBR. Dealers in all the principal cities throughout the It is unnecessary for any practical pur¬ when the singer attempts to bring it under ger. 1 believe, is not in that direction, son who came to a piano teacher and United States. Send for illustrated catalogue. pose for the singer to understand the conscious control it loses its automatic for the nearly closed mouth is. in sing¬ said to him: “I do not see wh- I can¬ mechanism of the larynx in detail. This response to the demands of the musical ing. often an indication of muscular ten¬ not play the piano like a virtuoso; sense. It gets, so to speak, out of gear, SEE “ THE ETUDE ” PREMIUM LIST ON THIRD COVER PAGE would be interesting, but it is outside the sion, and the mouth, on being more everybody says that I possess a per¬ with the result that the voice loses in scope of the present article. It must suf¬ opened, will often cause the fect piano hand." Now, I am quite EMERSON PIANO CO. quality. The only truth here lies in the fice to state that the larynx or voice-box relax. A month well open during the positive that no p'ano teacher ever was generally accepted fact that in order to DR. (which is higher in women than in men) singing of head notes " ill often do more nonplussed by such a remark. But in 560 Harrison Ave., Boston, Mass. obtain a supple vocal mechanism the mind GEORGE is formed of numerous cartilages con¬ to give muscular suppleness and ease of singing it is different. T recall two must be fixed intently not on the means henschel nected by fibrous bands or ligaments. It (i. e,, the mechanism), but the end (i. e„ will give Song Recitals to his own accompaniment production than anv other artifice. If cases. In the first the would-be aspir¬ is situated on the top of the windpipe, _ the tone). Therefore attention to the ,n 13 American cities during the 1912-13 season in doubt observe the best singers, and ant came from Seattle and to me with and is open above and below for the especially note their suppleness of iaw almost these identical words: “Why larynx may be harmful, and would be, if Dr. Henschel will also give special instruction to a limited number of Pro breath to flow through in order to set into the mind were fixed on it unduly, but it fessionals and Teachers of Voice movement even in the production of their cannot I sing, having a voice that vibration the vocal cords. In shape it is is possible to control it without the mind highest notes, when the mon'li is open to -everybody finds so excellent?” An- triangular above and cylindrical below. being on it at all, as will be proved later. rONrFRT mDr/™mS and dates WiU have the attention of its widest extent Dr. Fillihrown. in other from the State of Pennsylvania. It is the apex of the triangle that causes _C0NCERT^DIRECT0R, M. H. HANSON, 437 Fifth Ave., New Yori Resonance in Singing and Speaking, au- impatient of work, pointed at the fact the prominence in the front of the neck REASONS FOR HOLDING THE LARYNX thoritatively sums up the matter: “The that she was a relation of a popular which is known as “Adam’s Apple”—so LOW. larynx and tongue should not rise with tenor singer, and that her father sang called because of the tradition which says (1) It is generally understood that every the pitch of the voice, hut drop naturally and therefore she naturally ought to that when Adam ate of the forbidden musical instrument requires some enclosed George Chadwick Stock TEACHER OF SINGIN( with the lower jaw as the mouth ooens know how to sing herself. It is a fruit it stuck in his throat and made it space near the seat of vibration, so that Studio Established 1893 Y M r~A nm „-Z-7- in ascending the scale. The proper posi- Herculean task to make people of that bulge out. It is important to remember the enclosed air can vibrate in svmpathv TPa.L„, , c. Y' t-- A. Bldg., New Haven, Conr Hon of the longue will insure a proper stamp see the error of their reasoning. that the larynx is attached by ligaments Position for the larynx." Teachers ought not to he judged too with the original vibrations, or, as we say Perhaps help may cometoyouThrumyAdPTmc"1"'11 they are unable to solv' to the tongue-bone, and that the tongue- “give it resonance.” This enclosed space -_y u my Ad In the December ETUDE page 851. Read it careful!] harshly, if rather than lose a pupil they bone is connected with the root of the (or partly enclosed—as in the violin FUNCTION OF THE LOWER .TAW IN obsequiously flatter him. tongue. which has the f holes) is called a “reso¬ SINGING. A tlrrd pupil told me that as she did ITS MOVEMENTS. nator.” One of our chief vocal resonators bronchial The lower jaw should he active neither "«t .intend to become a professional I-et us for a moment study the visible is the chest. When the larynx is low and BROWN’S TROCHE song, nor speech. Its function is she did not wish me to he so par- the upper chest arched and' raised the in movements of the larynx. Open the merely to open the mouth or vowel cham- t!™,ar ,Tt the,J£±!f strument of vibration and the cavity of her TI,;, , , , . time and trouble if he is not particular, mouth as if to sing and while doing so hoarseness loss of voirAnri k* neverJ3een surpassed as a specific for her This ,s not done by a downward R)it anvthin

our advertisers. THE ETUDE THE ETUDE 59 rapid, notes of twice the value may be An organist with knowledge a”? ex" s°n^ thoughts on organ QUEER ORGANS. * substituted. a perience is often able so to modify a MUSIC AND ADAPTATIONS. A Matchless ■ piano piece that it will produce a very The bass notes in a piano accompani¬ In an exhaustive work on ‘^Organs good effect on the organ, but still there is BOONEScLOrganist ment are often written as short notes, The chief and most unanswerable argu¬ and Organ Building,” by C. A. Ed¬ and the hand is lifted to play a re¬ ment. for the use of organ transcriptions Complexion For 15 Cents. something lacking. Stearns Bldg., Portland, Ore. wards, of London, there are described peated chord higher up; on the organ lies m the fact, as Dr. Palmer, organist That small sum is the price of Pears’ Soap, We do not wish to be understood as INSTRUCTIONS: PIANO AND ORGAN some very strange organs. As this ORGAN DEPARTMENT these bass notes should be held, pref¬ of Canterbury Cathedral, has put it re¬ with its power to repair the harm done by writing to depreciate the organ by work may not be known to some of erably by a soft pedal. This prolonging cently , that. there is “not enough inter¬ common soaps and to give healthful, Edited for January by DR. HUGH A. CLARKE these remarks. Our object is far other, our readers we make some quotations. of the bass note is attained on the esting and inspired original organ music fresh and lovely skin. There’s beauty in viz., to point out- wherein its greatness to go round.” This saying may seem Mention is made of one in which keys, Professor of Music at the University of Pennsylvania FREDERICK MAXSON piano by the use of the damper pedal. consists. If the dulceana and stops of like qual¬ rather severe, but when one considers the pipes, case and even the bellows were The true understanding of this great¬ ity are not loud enough, the open diap¬ literature of the organ in comparison made of' alabaster. ness can only come by loving study of CONCERT ORGANIST ason, if not too loud, may be used. It with that of other instruments it really Another had a case covered with the works written for the organ by men does appear somewhat limited. If we Pears’ Instruction in Piano, Organ, Theory makes the best accompaniment for a angels, animals and heads. The angels except Bach, Handel and Mendelssohn who thoroughly understood, not only 1003 South 47th Street, Philadelphia, Pa. bass voice. The only reed stop that had trumpets which they raised to their M SOAP THE CHANGES IN ORGAN MUSIC sesses in the highest degree that which jts resources and capabilities, but its should ever be used with a solo voice we find that none of the really great 15c. a Cake for the Unscented composers has written anything for the lips. Others played on bells and kettle¬ The changes that have come about is totally wanting in the organ, viz: hnlltat,ons f well, is the swell oboe; it is very effective if organ. Aside from the works of the drums. One angel larger than the rest in organ music are manifold, and may accent—that slight, almost impercepti- , Fo,y,t“nately ‘he number of writers for not used too continuously. H. HALL & COMPANY soared above and beat time with a be traced to a variety of causes, some ble stress by means of which the the. klnS °* instruments is growing New Haven, Conn. It requires long practice to enable one composers mentioned above there is no J. WARREN ANDREWS baton. As though this were not enough, of which have been in operation for to translate, at once, a piano accom¬ other organ music in existence fit to be Special Short Courses in ORGAN STUDY, skilled pianist or violinist produces his rapMyu Here 'n ouTr own land we have compared with the great musical master¬ in Form of Lectures anJ Illustrations, specially piepared centuries, others of which are quite re¬ chiefest effects a goodly number. In a recent concert paniment into one for the organ, but there was a firmament over the organ, pieces which were not written for the and adapted to the needs of those who can spend but a cent. One of the oldest and most a , . ,,, , given by one of the most renowned or- PIPE ORGANS it is well worth studying. Few songs furnished with a moving sun and moon, short time in the d'y. Send for Catalog. Distinguished for Artistic Voicing organ. The organ is a noble instrument powerful has been the constant im¬ cenfn Aerf7 t f CT exists in America there were composi- are published with an organ accompani¬ and with jingling stars (called cymbal Address THE CHURCH Of THE DIVINE PATERNITY endo pedal, ' cannot producq the tions by several native composers that Dignified and Churclil;. in many respects and it unquestionably Central Park West and 76th Street. New York provement that has t-tken place in the ment. The oratorio solos have a con¬ stars). There were also nightingales and crescendo of a full orchestra, ip which take rank with the very highest, has a great future before it; but great construction of the organ, by means of densed orchestral accompaniment, that cuckoos and eagles that flapped their every instrument ,s employed. The The organ is quite able to stand on composers so far have preferred other which its ever increasing resources Established Sen Verb, 1S5I also requires to be readjusted to fit it crescendo pedal is a poor substitute, its own merits and needs not to borrow instruments, less mechanical, less rigid wings. Unfortunately, Edwards’ author¬ for the organ. have been placed with ever-increasing because as each stop is added there from the orchestra or the piano. It GEO. KILGEN & SON in resources and capable of more defi¬ ity, one named Seidel, who was organist facility under the control of one pair of Church Organs is a sudden augmentation of the sound cannot do so without losing some of its nite emotional expression. Many of in Breslau at the beginning of the eight¬ hands and feet. instead of the gradual increase of the distinctive quality of native majesty, Pipe Organ Builders THE GLORY OF THE ORGAN. us cannot agree with Dr. A. Eagle- eenth century, does not tell where this This improvement which, now rapid, orchestra. Some one has made the following From a work called “My Thoughts field Hull, who advances the claim, in wonderful organ was. Some modern now slow, stretched over many cen¬ Another weak point is the inability fanciful comparison between the organ About Music and Musicians,” by H. H. his new book on Organ Playing, that builders who have a fancy for putting turies, began, about the beginning of Main Office & Works of the organ to give rapidly repeated al)d the orchestra: Statham, the following excerpts con¬ “organ music is perhaps the highest strange contrivances into their organs the nineteenth century, to advance chords with good effect; this effect is The orchestra is like a great painting cerning organ music are gleaned: branch of music” or that “the organ is might get some hint from this for a Hook=Hastings Co. with rapid strides, until it has, at the the peculiar province of the string in- in oil, with its delicate, almost in¬ "The great glory of the organ con¬ able to reflect the complex emotions, startling “effect.” present time, reached a pitch of per¬ struments (only rarely resorted to sensible, gradations of light, shade and Church Organs sists in the fact that it alone, among ideas and aspirations of our twentieth- At Saintes, in France, a certain fection beyond which it seems hardly with “wood” or “brass”). The strings color- which melt by imperceptible de- BUILT BY instruments for the production of music, century civilization.” There is much Father Julian built an organ the pipes possible to advance. good organ music, but there is not make these repetitions with a clearness Srees into each other, HUTCHINGS ORGAN CO. plans a great power of sound—‘an om¬ of which were made of pasteboard. One The natural result has been a corre¬ and precision that no other instrument The organ is like a magnificent enough of the right sort. THE BENNETT ORGAN COMPANY BOSTON, MASS. nipotence of music’ as Schumann calls it is said to have been built in Paris, the sponding increase in the “technic” of can equal, the organ least of all—and stained giass window—the colors are —under the control of one mind and Fortunately there is much good music pipes of which were made of playing ORGAN BUILDERS the organist which has brought about by the best writers of all periods which ROCK ISLAND - • - ILLINOIS this rapid reiteration of chords is of pl’re- and !nstead of melting into each hands.” cards. a decided change in the character of sounds well on the organ. After all The organs we build are ae near perfection constant use in the orchestra. 0 .r are separated by sharp lines, Taking into consideration these quali¬ The writer has seen a set of pipes, the music now written for the instru- good music is always good music and as skill and money can maka them. Again, with the exception of the 7‘cb resembIe the sudden changes in ties, viz: its power, variety and sustain¬ one of pasteboard, one of wood, one of pure music always proves itself no flute, and possibly clarinet, the organ , stop? of tlle or£an- Each has a ing power, it seems evident at once Pipe Organs of Highest Grade Onh matter under what guise. If it be metal and one lined with cloth, all of The slow moving, stately counter¬ stops with the names of orchestral in- g 0ry ofults own‘ Tlle orchestra cannot that the true province of such an in¬ legitimate to transcribe a Beethoven which sound exactly alike. They are point of our ancestors, with its in¬ struments bear but a faint resemblance V* P1*0* of ^ organ, nor the Our Instruments comprise all leaf ures whic strument is to give expression to the are of real value. Many years of practfci symphony or a Mendelssohn overture for the work of the great acoustician Koe¬ BURRITT L. MARLOWE volved imitations and fugal devices, to their namesakes. Who will say g * °f the orchestra' intellectual, rather than the emotional experience. Wrile (or spedficalionj the pianoforte it is'equally legitimate to nig, of Paris. His object was to has given place to a species of com¬ after hearing the trumpet introduction __ element in music. • do so for the organ, perhaps even more show that the tone quality of a pipe position that vies in brilliancy with to the march in Tannhauser played on EMMONS HOWARD Westfield. Mass Mr. Statham is very savage in his the piano. Its ever-changing harmonic so. In fact, the practice of the great was a matter of voicing, not of ma¬ 1912 Logan Sheet the organ or the trombone introduc- TRANSCRIBING PIANO MUSIC strictures on the modern French combinations and successions replace composers themselves justifies transcrip¬ terial used in making. The pipe thus tion to Elijah, that they have any but FOR THR nprjHMUS C school, with the exception of St. Saens, tions, for most of them have “arranged” runs counter to the immemorial belief of the' diatonic plainness of the older a faint resemblance to the originals? ■ hUK THE ORGAN, BUILDERS OF - w. w.- Widor, Salome and Guilmant. He writes: either themselves or somebody else. organ builders that the tone quality was NO more lost, torn or ragged time. The endless variety and ex¬ The foregoing remarks apply, but often becomes the duty of the “The French organ composers have SHEET MUSIC Witness Bach’s transcription of the largely dependent upon the choice of the quisite tone quality of the modern solo with less force, to playing piano music ^"urch organist to accompany a solo kimball Pipe Organ: sinned vilely against good taste: their PRETTIER and BETTER ^KRAMER Vivaldi Violin Concertos as an early material of which the pipe was made. stops have brought about a style of or¬ on the organ—with less force, be- *ro“ a Pianoforte copy. To the ex¬ COMPANY For CWclin, A.di- popular organ music by such com¬ than MOROCCO gan music in which the solo stops have instance4. In transcribing orchestral and MUSIC fOLDCR cause there is not, or cannot be, any Penenced. organist this presents little ILL. toriums and Residence posers as Batiste and his clan is only But the builders must be in some degree OPENS FLAT. Hold. 200 the chief role, too often supported by other music for the organ it is not nec¬ sheets firmly. Price, 60c. attempt to imitate thei piano on the 1 any’. difficulty, but to the inexperi¬ fit to be played at a wild beast show, mistaken, since it is the air in the pipe a meagre accompaniment, with a pedal - mexperi- Hundreds of Kimb" Organs have essary to imitate tone colors and com¬ Flexible. Dealers Write. organ. encedJiced itIt isIS nottint by any„„„ means_ easy. and even their best composers have that vibrates, not the pipe itself. part for the left foot, the right foot bum in prominent church! ? thro^hout“ binations, rather let the music speak for I he following suggestions may be of the United States meanwhile manipulating the swell Every composer who knows his busi¬ descended deep into the valley of the itself, giving it the best rendition possible. pedal. ness always keeps in mind the char¬ some assistance to beginners: shadow of Kickshaws (!!) but there is Music which depends for its success Never play rapidly repeated chords The wonderful appliances, by means acter, the'capabilities and the limita¬ Prices from $i,$00 to $100,01 this to be said for them, that at their solely upon color had best be avoided. they are not suited to the organ, the of which the swiftest alternations of tions of the instrument for which he worst they ire not absolutely dull, and A photograph has effects of light and effect may be secured by holding down GUILMANT power and registration may be brought wrvrites.>ies. -wowNow the piano is inferior inii the lower * r Jy homing down at their best are original, interesting shade, also extreme detail, but it does the lower notes of the chord and about, have given rise to another class? power, range and variety to the organ. neatinn fh« 77 °1 7 cbord and r“- and graceful,” not reproduce colors, yet the photo¬ fK i of compositions which may, with jus¬ but it possesses in a high degree that G hold the C°E a^d* 6 t<>P’ 7S~C E Mr. Statham is inclined to be force¬ graph has become one of the most satis¬ ORGAN SCHOOL tice, be termed symphonic. Many of which the organ lacks completely, that peaZ lords 7 Re¬ ful in his denunciations; for example, factory art products. DR. WILLIAM C. CARL, Director these compositions, the work of the is. accent All the beauty of piano play- and, on a small oreln cll,msy’ he does not approve of playing Han¬ One thing the organist must always greatest musicians of the present day, Austin Organs del’s choruses as orgpn solos, he admits bear in mind: that is the psychological 7 1,es !n tk;S. A child may play a the bellows “rocking ttf 3P* *? Set Guilmant Method Taught Exclusively are replete with all the devices of phrase of half a dozen notes with ab- which is that the sound 7 Kk,SU,‘ °f that some of them, the fugues, may be proposition that the player having the counterpoint and the resources of solute correctness, while the same Tf ti. « i j . . wobbles.” tolerated, but he winds up by saying music before him and knowing what he Winter Term, January 2d. modern harmony. that “the lowest deep that can be de¬ is playing hears it far differently from Send for New Catalogue. Phrase may be played by an artist with eompanim”^ and" ^ aC‘ 0Uk latest creation in t If the figures of Bach may be in¬ a score of differing effects, depending tate the renetiti H WOrds necess!' New Amsterdam Theati scended to in this way is to play the the listener in the audience. Very often stanced as the culmination of the old on the almost infinitesimal gradations voice part do n r °f 3 note in the . New York, is not so lar Hallelujah Chorus on the organ. A man contrapuntal intricacies which seem clear Address, 34 West Twelfth St., New York school, these symphonic compositions °\ Ttens,ty and accem at the command gan but hold Jh r!Peat ,f on the or- as its near neighbor in t who is known to have done this should enough to the player reach the audience may be called the culmination of the of the artist. gj bUt hold the notes as if they were Hotel Aster, but it has sor ot the same wonderful orchi be avoided.” We fear that were this only as a confused blur. The player new. They preserve the dignity of the This is absolutely impossible on the If the tral effects. dictum to be put in force there would should endeavor to put himself as far old school, but add to it the endless 1,300 MOLLER PIPE ORGANS ?a°,” organ, no matter who-presses the keys above theSr?' 3Sqend Residence, hotel, theatre ai soon be a great dearth of organists. as possible in the place of the listener.— 72 In New York; 45 in Baltimore; 38 In Philadelphia; 32 InCInelnnatlT1 8 InWaah'ngton [ variety and wide range of expression concert hall pipe organs a P. W. Orem. down, be it the youngest beginner or stops of flute auJf^ d the use °{ going to have a great share I have thought these quotations 20 In Hagerstown. For Catalog ., address IVI. P. MILLER, HAGERSTOWN, MD ' that is the chief characteristic of mod¬ Guilmant; the sounds have the same those of stein Jty’,-USe m preference ern music. our musical development as worth giving, because their author is a intensity and the same lack of accent, dulceana andTSictonZ’nZ as th* People, and a tremendous sha The mention of the symphony nat¬ tecognized authority in musical criti¬ It is therefore evident that the chief does not aonlv m ' °f course this in our musical enjoyment. cism. They are extracted from lec¬ urally leads to some remarks on the Built with self-players, EDWIN element of beauty in the piano piece is sage, in whfch a nh “ °b,lgato Pa¬ warned : also wi,?, ychimc tures given at the Royal Institution custom of making transcriptions of lest when it is played on the organ. a solo ston is , Ph,rase of »dody, orchestral music for the organ. Doubt¬ harps, xylophone, celesta ar and other places in England ARTHUR Again, the arpeggio on .he Piano the°voiceOP' “ to contra^ with less many of these transcriptions are of great beauty; transferrea tc the A nbnn * Elions” iD® °rCheStral PC effective enough, because the music is organ it is a horror. The writer has sists Pf accompaniment often con A representative will call i The organ is the most complex of so good that it is hardly possible to your desire; or let us sen alas, had to listen to Mend ■; .sohn’s beautif^on^h^-arpeggios: there are" you literature. a instruments) it is the most har¬ spoil it. But they lack the distinctive monious of all: it is the grandest of all. quality of organ music—the work of Spring Song” played on the organ at the orgL Th 6 7"° but very ugly on KRAFT t stands transcendentally not only masters of the instrument. a wedding. The effect of these short within riie limit? rh°uId be condensed a ove every other instrument, but The orchestra is universally admitted arpeggios, so slight and delicate on the arpeggio exSwd- f °ctave- Thus an Organ Recital Tour Now Booking V°ve every other combination of in- to be the most perfect means for musi¬ Austin Organ Co. ***** No orchestra that ever ex- cal expression ever devised. Tt pos- 173 Woodland Street ed ”as the breadth, majesty and For dates and terms address Trinity Cathedral, Cleveland, O. HARTFORD, CONNECTICUT grandeur that belong to this Prince of struments.—Henry Ward Beecher, Please mention THE ETUDE when addressing our advertise: 60 THE ETUDE THE ETUDE 61 evenings and 1 matinee, per week, $42. For longer engagements than one week, The Violinists’ Friend M, per week, $35. All extra performances is the House of importance. It is also absolutely neces¬ pro rata. Single performances with one August Gemiinder & Sons sary for the grand opera musician to be able to transpose at sight, for the key of day rehearsal, $8; extra day rehearsals, The famous Violin Makers and Repairers. any part of the opera may be put up or per man, $3. Rules in regard to length We have what you want. Answers to of rehearsals, etc., same as for Class 1. down at any time to suit the necessities Department for Violinists us and see the of the singers. The director may even Violin Inquiries GRAND OPERA, CLASS 3. order a transposition in the middle of a Orchestra musicians, where the price of performance, where no rehearsal is pos- Edited by ROBERT BRAINE New York the choicest seats does not exceed $2, sible. a general proposition, heavy for one week only, 6 evenings and one Good health is also a prime require¬ h the hands and ai Is injur _wing and'left hand work matinee performance, per week, $35. ment for the opera musician. The work o£ a violinist, since 'i heavy labor has For a longer engagement than ohe week, is very taxing, as rehearsals are long, tendency—-—* . --y. me muscles. The mus¬ ... ^-WuRUlZER-, cles of a violinist must-be supple and elastic per week $28. Extra performances pro and performances last from 8 to 11, 11.30 to the last degree, since such lightning quick¬ ... ,. .rata. Single performances with one day ORCHESTRAL HARP^/ or even 12 o’clock. During all this time ness is required of them. Even prize nguters THE OPERA ORCHESTRA. point, of architecture with those ,n the rehearsal %8. The leader of the orches- whose work requires great aghity and swift¬ ||||||!/ Accepted World’s Standard the nervous system of the performer is ness of action, as well as strength, do not. No branch of musical activity is of prmcipalprincipal capitalscapita's of Europe. The priceonce shall ’receive double these prices. IlllUf Write for beautiful Catalogue. keyed up to a high tension, and his vigi¬ in their training, do a great quantity of , IJ# Easy payments We supply thlu.S. neavy work, suen as exercising with enormous greater importance to the violinist and seats at t*le Metropolitan was raised For comic opera, musical comedy, Iw Governm t with Musical Instruments lance cannot be relaxed for a moment. dumb-bells, lilting huge weights, violin student than the production of *as‘ season an average of 20 per operettas, etc., the musicians are paid IjW The Rudolph Wurlitzer Co. The strings have much more to do than LUC, practice with duuii s at all, it i with comparatively light Winter Cruises opera. To the professional orchestra wlthout any effect on the attendance; in $25 per week for seven performances, # 172 E.4tb, Cincinnati 342 S.Wabash, Chicaro the wind instruments, and when not play¬ = i Established 1866_ -- .o develop his violinist the opera, in its various forms, fact the attendance was greater last year and extra performances pro rata. ing are busy counting rests, so as to it should b e lighter forms. Very Arranged by the few violinists c. _ .students do gym- offers the greatest source of income by t*)an ®ver before. Boston and Philadel- It must be remembered that all the bring their next passage in at the proper nasium work to develop t_ _ _ reason of the large number of strings ph,a have erected handsome temples as -above ,---prices are the -minimum. The a view to improving their playing, since the FROSOLONO ANTONIO time. | muscles involved in violin playing are not required for its orchestra; to the violin homes of grand opera, and there is hard- leading first violinist (concertmeister), To an ambitious musician, a position necessarily those used in ordinary exercise. student it is valuable as a school of ex- }y a *arSe c‘ty in the United States that receives a much higher salary than the SS1SX Solo Violinist in a grand opera orchestra has often been Very few great violinists use any special ex- Hamburg-American Line || "r the purpose of keeping in condi- pression and musical style; figuring on a permanent building rest, as do certain other members of the a stepping stone to higher things. Many for grand opera. orchestra, who are especially proficient. an orchestral violinist has stepped from Under Perfect Conditions to poser and arranger of violin music its Cles in proper condition! myriad melodies offer a never failing .There is the greatest activity in oper- Some of these receive as high as $75 per the ranks to a position as a singer in the The amount of manual labor which you supply of rich musical material to be a“^ ,f‘rcles _w°rld Chicago week. Prices for the same class of work cast, or to the director’s post, and not a say you do for brief periods, three times a week, would not, I shou.d think, affect yout South America worked up in suitable forms for the use permanent grand opera com- are little if any lower in other American few have achieved success as composers playing Injuriously. It is only where heavy of. the violin student and the artist. pany under the directorship of Andreas cities than they are in New York, but are STENGER VIOLINS of operas, largely from their experience manual labor is continued daily for several Take a Delightful Cruise to South America, by the S. S. Dippel, late of the Metropolitan Opera very much lower in Europe. hours a day that the muscles become perma¬ Theatres devoted chiefly to the drama Have distinguishing features over gained in the orchestra. The salaries of nently stiff. Bluecher (12,500 tons), the largest cruising steamer sailing from House, New York, and it is only a ques- all other modern violins can get along with small orchestras or Superior Tone, Pure OU Varnish and eminent directors of grand opera are one America to the other. . Offers every luxury and comfort. until she will have REQUIREMENTS FOR GRAND OPERA. Fine workmanship very large, sums as high as $10,000 hav¬ C. Melt.—The wrist must not touch the none, as, witness the action of several opera house built on ambitious lines. ribs of the violin when playing in the second Leaving New York, January 20, 1912. Ports of call : PORT New York managers in dispensing with To fill a position in a grand opera or¬ ing sometimes been paid to the orchestra position. This is one of the most frequent OF SPAIN, PERNAMBUCO, SANTOS, BUENOS AIRES (across New Orleans has supported alongsea- chestra, a violinist must have a broad, director for a season of opera. In our faults a pupil falls into when playing in their orchestras altogether, even for this position. As a rule teachers prefer to the Andes), PUNTA ARENAS, (through the Straights of Magel¬ of French opera for years, San highly advanced technic, great experi¬ own country the director of a traveling take up tbe study of the third position before entr'acte music. For the production of Francisco enjoys grand opera for lan), VALPARAISO, RIO DE JANEIRO, BAHIA, PARA, ence as a musician, the faculty of follow¬ opera company, of no special note, usually commencing the second. opera, however, a complete orchestra is month. each year, and the other large Sawyer Musical Agency BRIDGETOWN, and a visit to the Panama Carnal. Optional side absolutely essential for an adequate ing the beat of the director with unfail¬ receives from $60 to $100 per week. II. L.—Great teachers of the violin in American cities furnish good support to Ill8 *uu gooa nealln. ine g trips everywhere. Duration of cruise 80 days. Cost, $350 and up. presentation of the composer’s ideas. ing accuracy, and good health. The gen- Europe do not accept all pupils who apply. short seasons of grand opera, produced eral public attending the opera has GISELA WEBER They do not conduct violin teaching as a The orchestra is the life and foundation business, but as an art. A pupil must show 20,000 miles through quiet waters. by traveling opera companies. There is conception of the high standard of musi- TESTED STRINGS. of every production of opera. In the Solo Violinist marked talent before they will take him. Ii A bad, worn-out gas mantle gives a Is often a matter of great suipr.se to Ameri¬ great opera houses of the world devoted r„°th?ST0tni^ g, r ‘hat every large city cal knowledge required in the orchestra, can pupils that these great teachers will not feeble, sickly light, no matter what the exclusively to the production of grand paratively few years have its owif M?"y 3 mem!?er of.the orchestra quite take their money, even although they offer Grand Annual Cruise to the Orient i opera unknown to fame, has greater musical pressure and quality of the gas. In the more than the teacher's regular fee opera, such as those in London, Paris, house and permanent grand opera teachers have a reputation, and insist o_ By the most palatial cruising steamer afloat, S. S. “VICTORIA same manner poor violin strings, either talning it. It is a good deal as it would be sir.,';'he"M«^s p",”„7 ““sSTSKlSJr «*. a**. LUISE” (16,500 tons). Sailing from New York, January 30, See THE ETUDE Premium List false or of poor quality, or worn out, In the case of a great violin maker; he would °?'/* °< 1Ne* Yo* °r'h'<,r»* »Pm is growing by top, ,nd hom’d, ” —!,*K' W,h'!e uot try to make a violin and put his name 1912, on a 78-Day Cruise to Portugal, Spain, the Mediterra¬ of from 75 to 100 men are employed, all and Mexico City has just erected a new opera of the Italian type, such will rob the finest violin of its good tone to it out of some cross-grained, gnav.ed, as II Trovatore and Sonambula, present on Third Cover Page. Strings should be changed reasonably sappy piece of wood which some one brought nean, and the Orient. Cost, $325 and upward. The “ Victoria executive musicians of the highest class, opera house, which will take its place to him to be fashioned into a violin. Many As nearly two-thirds of the membership among the handsomest structures of the no great difficulties to a good orchestral often, whether they break or not, and students try to become professional violin- Luise ” is equipped with modern features providing every luxury violinist, some of the more modern e not the talent. It would L and comfort on long cruises. ol these orchestras consists of the first kind in the worldworld. false lengths should not be used at all. r tor such aspirants to study s' operas, especially those by Wagner, are and second violins, violas, cellos and All this activity in opera spells pros¬ ROOT VIOLINS Although more expensive, it will be r own amusement, and adopt s< very difficult. Wagner was a supreme double basses, it will be readily seen perity for the orchestra violinist. found the best policy in the end to use what this means to players on string in¬ master of writing for the orchestra, and tested strings, which can be obtained of G. A. S.—The manuscript which you en¬ Italy and Egypt struments in the way of a- livelihood. in his music dramas, he did not spare any large music dealer. These strings close is the Minuet No. 2 in G, and is one AN ORCHESTRA PLAYER’S SALARY. of six minuets for the piano, written by SpeciaHrig by the superb transatlantic liner “Kaiserin Augusta Extra musicians are also frequently re¬ are warranted not to be false, and to be Beethoven, and published originally by Victoria,” the largest and most luxurious steamer oi the service. quired on the stage in certain operas. correct in fifths, thus saving the violinist lireitkopf and Hartei. The set is known as the "Six Minuets,” and is a posthumous Equipped with Ritz-Carlton Restaurant, Palm Garden, Prices $5.0( a vast amount of time which he would work. Two good arrangements for the violin COMIC OPERA. to $150.00 otherwise spend in hunting out good and piano of this work can be oblained, one Gymnasium, Electric Baths, Elevators. Will leave New For the production of comic opera, edited by Burmester, and the other by Am- York, February 14, 1912, for Madeira, Gibralter, Algiers, terial.£S=S5tl~P-' No class of orchestral work is eoZjrtmeJZ oPtbT ’ aC.t,Cdi.-aS lengths from ordinary untested strings. brosio. This charming composition is played musical comedies, and similar works, ii The late J. T. Carrodus, the eminent in concert frequently by Mischa Elman and Villefranche (Nice), Genoa, Naples and Port Said. Time f. . .--.- ■—> - better paid than that required for first I Z! f e w h orchestra during other noted violinists, and as it is not tech¬ theatres and opera houses of ordinary class grand opera. Salaries are higher a In °f Wagner opera in Europe, English violinist, in advocating the use of nically difficult, 1 would advise violin.sts for sight-seeing at each port. To or from Port Said, $165 and up. size, orchestras of from 20 to 50 men in New York and other krge American theT per®onal diction of the corn- tested strings, stated that he personally everywhere to add it to their repertoire, espe¬ To or from all other ports, $115 and up. E. T. ROOT & SONS cially as an encore number. A piano arrange¬ arc employed. Gilbert and Sullivan, in cities than anywhere in the world In (!!"' In Du Walkure• when the had often spent almost an entire day in 0 Patton Bldg., CHICAGO, ILI ment of this minuet appeared in Tub Etude the production of their famous comic New York City, the scale of the musical fa™Pus passa8es were reached, repre¬ choosing a good set of strings for use in in October, 1009. operas at the Savoy theatre in London, union, American Federation of Musicians uflifi of,Valkyries trough the an important public performance before E. H.—The copy of the label you send is West Indies furnished steady employment for years in force at present is as'follow* US,C’anS’ Jilhelmj, speaking of the part given tested strings came into vogue. If a a correct Stradivarius label, but whether it, orchestra of between 40 and 50 to the first violins, turned to Wagner or your violin, is genuine could only be de¬ Five Delightful Cruises to Panama Canail, Venezuela and Bermuda, string has to be put on in a hurry during len. Comic opera and musical comedv, PRICE LIST, GRAND OPERA CLASS l and said, “The part you have wrftten “Chemical Violin-Bridges” termined by an expert. leaving New York by the Palatial Twin-screw Steamers a performance, or in the middle of an 2 For the beginning, you could probably diich are extremely popular in our own Orchestra musicians for gram make a bow costing $4 or $3 answer, but for inera • ? f '™pos®;ble- Wagner replied, “I orchestral selection, the violinist with a S. S. Moltke (12,500 tons), 28 days, Jan. 23, Feb. ountry furnish employment to thou- (in any language), for not more thanP 5 Wish to give the effect of these mythical line solo work, you would find a bow costing from $25 to $50 a great assistance. 24, 1912.$150 and up amis ot violinists and other string in- performances each week, $35; extra per- beings sweeping through the air The tested string feels safe, while the player strument players. violins will have to do the best they can 25c with an ordinary length ig as likely to get S. S. Hamburg (11,000 tons), 21. days, Feb. 10 ,avers formances pro rata. Extra musicians W. K.—There is no one violinist who can Grand opera, all over the world, and with one day rehearsal each perform" with it, I think the effect will be pro- a bad as a good one. be considered the “greatest in the world.” March 7, 1912.$125 and up Violin strings are the vocal chords of There would be a great difference of opinion especially in the United States and South ance, $8. Musicians on such a subject if submitted to various S. S. Moltke (12,500 tons), 16 days, March 16 igaged for longer isTot Slaved "u ?*** *he Passage the violin, and it is impossible to devote : js constandv growing in popu- than one week are permittedpitted to give civ , . played' Tbe passage was tried, musical authorities; besides, o— - CORDE DE LUXE too much care to them. Every violin excel in one style of music i ‘912.$85 and up its'or TV"6 dTaLnd f°r yi0'iniStS f°r rChearsals before the season begins^free S? *"*“*“■ ^pZl'S its orchestras will be on an increasing of charge. All necessary rehearsals dur- Vagners wonderful instinct in writing Player should have a string gauge, so as 0I12. It is pretty well agreed that Antonius Stradivarius was the greatest of all violin scalfc for many years to come. Oscar ing the season for new works are given ,charactensPc effects for the orchestra to get strings of the thickness which he makers, although many eminent violinists Grand Annual Event Hammerstein, the New York impresario free. For repetition ^"rn'clre ffian'one •sr* VIOLIN I has found to give the best results for his Va1kvPS’ isCTCt rTue “Ride of USED BY LEADING ARTISTS v‘olin: The eye is very deceptive in just built a p of the most famous GVYou would have to write to Maud 15c Each $1.50 per Dozei choosing violin str.ings of the proper Powell herself for the intorumtion you j AROUND THE WORLD thickness, and it is much better to use quire about h Catalog of line violins sent free in t_.. permanent h^ £2?^ d^y ** the gauge. An occasional rubbing down November, 1912, and February, 1913, by the Large Cruising Steam¬ New York, ...... _ MUSICIANS’ SUPPLY CO. warded. Metropolitan Opera $4. All evening, rehearsals are charged 7 ,mstrument thoroughlv no half of the strings with a bit of silk slightly ship, “VICTORIA LUISE” (16,500 tons). r r> C —As a rule Stradivarius made the House, supports a five months' season of the moistened with almond oil will be found grand opera, in whicht months season °f the same as performances. No rehearsal mve'ST Tu d° * a11' He must also is of his violins of maple, the bellies of ‘b are gathered to- shall exceed four hours. Each addi- , had niudi experience in orchestral • eneficial in the case of players who suffer or spruce, and the Inner framework, con- A few accommodations available on S. S. Cleveland, from San gether the greatest ne of the blocks and linings, of willow collection of song- lional hour or fraction thereof, per man P’aying and following the director’s beat tr°m Perspiration. Francisco, Feb. 6, 1912. birds to be heard on this planet. It Ts $1 a the banks of the Po about Cremona, 1 tHk ’ much Efrt° MUS'Cal composition is so stock of strings should be kept on isionall.v he varied from these woods, a also said that it will be only a short GRAND OPERA, CLASS 2 h liberty taken with tempos • vas fond of making experiments. It is a time before New York will hav and, in a wide-mouthed glass jar with osslble for an expert to say whether au Your comfort and pleasure assured. Send for booklets giving information, etc. a ground glass stopper, which perfectly violin Is genuine or not bv a written de- otion as it would be for a bank cashier to deludes the air. whether a bank-note which he had nevei HAMBURG-AMERICAN LINE Oto., Which win ,L„„ S£gr2 Tr " 0I" *1 *«,*>“ '»'■> ««■”? S . t, 0°h ** dl™- was counterfeit or genuine. Your on y •se is to get the opinion of an expei t who * ,or on'wcek -fc6 ;i Splfrove me that you can control your- seen many Stradivarius violins and knows 41-45 Broadway, New York t0 heir characteristics. You must remember 1 and I’ll say that you are an educated : iniina have been cunning y Boston Philadelphia Pittsburgh Chicago St. Louis San Francisco ‘^advertisers0” THE E™Dfi>"eiSr«sing ;vithout this ali other education is d for next to nothing.—Mrs. Oliphant. Please mention THE ETUDE when addressing our advertisers. 63 62 THE ETUDE THE ETUDE MAGICAL MUSIC. “That sounds fine, but how can I make Lave fine PianoS t0 praCtice °n ; y°U are “Suddenly up went the window and out On one of the children volunteering to U dressed, well fed, your parents are came Curtz’s head. S) © #» John and Bessie do that?” -ious for you to learn and your New Resolves : Don’t put it into her leave the room, some composer of the Who’s that playing down there?’ he opera is selected and his p cture hidden. eachers encourage and pet you. You are screamed. mind by saying it yourself. On being, recalled, the child, ignorant of promised a year m New York or Europe, It’s Joseph Haydn.’ Work: Come! Come! They will do the hiding place, must commence a dili¬ ljnd still you fuss and complain about it, never fear. I want all the boys and Well, whose music are you playing, gent: search, taking the piano as a gu de. that’s what I want to know?’ girls to take part. I want them to feel THE CHILDREN’S PAGE First, from the composition played he pr“Now,SI’H just tell you a few things I that this is a fine place to come—a place “ ‘Mine.’ Haydn was thoroughly scared must guess the composer, then he must wjw and perhaps you will understand and wished he hadn’t come. Edited by JO-SHIPLEY WATSON of broad culture and much love. 1 want hunt for him. The loud tones will mean tetter when your next practice time “‘Yours?’ shrieked Curtz, and down hr, them to know that “to take lessons and that he is very near the picture and the comes Why, I remember when people came and seized Joseph by the collar and "to practice” is a glorious privilege. I soft tones that he is far from it. Hayed upon little jingly spinets and harp¬ dragged him upstairs. ‘Now, don’t you want them to be prompt to lessons and Another way of playing the same game sichords, instruments that your mother dare to leave!’ he thundered. © 4fr3H§i I want them to try hard. is for the child who has been out of the New Resolves: And I’m sure they’ll room to try to discover on his return would put in the garret. When pianos “He lighted all the candles in the room, were made few except the leading society and Joseph saw a beautiful piano stand¬ all think you are preaching—can’t we which composer they are thinking of. He $600 Prize Offer for A great deal of stantly inaugurated and carried out by “NEW YEAR’S EVE IN THE into note-reading, time-killing affairs in give them something new? (A rose- must begin by guessing the first letter of people could afford them. Piano music ing there, covered with opera scores. Vocal Compositions interest has been this house tending to aid the profes¬ STUDIO.” which the teacher reaps all the benefit. colored light floods the studio and the the composer’s name. The only clue af¬ was not enjoyed then as it is now. Poor “ ’Now, young man, you are the chap shown in this sionals in their work. Scene: Miss Marsh's Studio. Time, New Resolves: For my part I long door opens silently. Enter New Year forded Him of solving the riddle must be Beethoven used to writhe under what he I’ve been looking for. I’ve a new libretto Contest, and we have had many letters Text books of many descriptions are Advice, Work, Rewards, and New Re¬ for more recitals. What’s all this music holding a box.) the loud or soft tones of the piano as he considered personal slights. Then, as here and I want the music for it and of inquiry from composers near and constantly being issued even of greater solves, are sealed around the study table. studying for, if not to be used as we , New Y’ear : I’m new—can’t you give calls the letter. now, people talked in drawing-rooms whe i you’re the fellow to make it. Come, my far. In order to afford a better oppor¬ importance than the sheet music pub¬ Curtains are drawn and the lights are use our goodwill and our smile. It's me to them? /All rise and bow.) anyone played the piano. I recall a time boy, don’t be frightened. I was so afraid tunity for those living at a distance to lications' above mentioned. Perhaps of turned lotv. for everyday, • like soap and water, to All together : What better gift—and 'at the house of Prince -, Beethoven you’d get away before I got down. Come compete, and also to give a little more greater importance from the teacher’s Time (smiling and bowing): It's fine HILDA’S DREAM. take the dust of commonplaceness away. the box that Inspiration and Aspiration and Ries, the famous musicians, were over to the piano and try.’ time for all, it has been thought advis¬ side is the fact that beyond the pub¬ to come here each year and plan for lishing of sheet music and music books Rewards: Quite right — when I can packed, what shall we do with it? Hilda hrd been counting aloud for a asked to play together, and a young no¬ “Joseph sat down before the piano and able to extend the close of the contest these people. I wonder what would be¬ of educational value is the carrying In make the tiniest child feel that she is New Year: Open it. long time, in a droning, sing-song voice. bleman talked loudly during their playing. he tried many ideas, but none seemed to to March 31, after which time the ad¬ come of tis any way, without plans! stock constantly all publications by using her music to make some one happy, (Places the box on the table. Progress The windows were open wide and the Finally, in a fury. Beethoven lifted Ries’ fit. He was in despair. Here was his op¬ judications will be made promptly. Work (opening an account book): It then I know that she will never shrink every American and European pub¬ opens the lid; they look in and behold room was sweet with honeysuckle. Hilda bands from the piano and shouted, ‘Stop! portunity. Was he going to' fail? At To the many inquirers and for the bet¬ would all be a horrible jumble! from using this greatest of all gifts, just ter information of all we would state lisher to a very large extent. This Rewards (shifting uneasily in his Success. They take out bits of it and was twelve. She loved music, but she I will not play for such dogs!’ and away last he hit upon a theme that suited. He to help others. (Loud knocking outside.) that there is no reservation as to the means prompt filling of mail orders chair): If there were np plans I’d never place them about the studio. The clock hated to count aloud and she hated exer¬ he went in spite of every effort to apolo- worked upon it until daylight, and when All Together: Come in! Come in! number of manuscripts any one com¬ whether from the teachers or from the get in edgeways. strikes one. All vanish except New Year, cises. they looked at the score, Act I was fin¬ (Enter Progress.) poser may submit. Any composer may trade, and in every case at the very Advice (selecting a more comfortable who seals the box with Joy and places “Oh, my!” said Hilda, “if I could just ished. Progress (out of breath): I’m late. I be represented in any or all of the best discount it is possible to receive chair): Thank goodness I can exist it in the piano.) play and not do all this stuff!” and she HOW BEETHOVEN PRACTICED. HILDA'S AWAKENING. classes and he may send in as many anywhere. without plans. The worst of it is I’ve was putting the Practical Things in the threw Plaidy on the floor and banged New Year: At-last 1912 and I are “You complain about an hour and a manuscripts as he sees fit. It is not Our first bundle of catalogues, which grown so dreadfully commonplace. box, you know those twins, Inspiration down the piano lid. She leaned her head “ ‘Good!’ and Curtz gave him a rousing alone—and now lets see if they will find necessary for the composer to specify contains thematic lists of various New Resolves (yawning and stretching and Aspiration, are always so up in the upon the closed lid and shut her eyes. half at the piano. What do you think of slap on the shoulder. . . .” the place where the box has been put! in which class he wishes each manu¬ grades of publications for piano or himself): Not more so than I, my dear clouds that they forget all about plans "Ouch! ouch!” cried a thin, musical Beethoven, who, when he was a boy. was “Oh, my! Stop! Stop!” and Hilda script to be considered, although he voice or both and full information with friend. It’s my turn again, to step for¬ for more sight reading in 1912. I’m truly voice, the very sweetest voice she had kept at the piano for hours, and was given sprank up and rubbed her shoulder. may do so if he prefers. regard to our system of dealing and our ward and lead these students on to new surprised at the note stumblers I’ve had ever heard. a good beating every time he left it with¬ Mrs. Strong was standing near her. life. I’m tired to death of yearly re¬ to check up this year.' “My gracious! whoever can that be?” out his father’s permission ? Mozart had All manuscripts that are not success¬ discounts, will be cheerfully sent on “Why, Hilda, dear, you must have been ful will be returned promptly to the application. solves! Why not daily, even hourly Advice: Please save their feelings by said Hilda, in surprise. pupils who thought nothing of five hours asleep. Didn’t you feel that last slap I Here is a partial list of well-knowi sender after the close of the Contest. By all means investigate the On Sale resolutions? Perhaps we would get not mentioning names. "It’s I, Watch out, now 1 I’m the a day at the piano. Think of it! gave you?” somewhere then! operas every music student should know system, including the new music On Work : We need more sight-reading Spirit of Music.” “You are promised a year in New York “I thought it was Curtz,” said the be¬ Time (looking toward the door): Oh. A Magnificent The adjective “mag- Sale for piano, vocal and octavo. If and more duet-playing, that’s positively Study the libretto (the words of th< Hilda raised the lid, and there, hanging win Europe; and in those days I remem¬ wildered Hilda, and the Spirit of Music here are the twins! a lost art in these days of cram. opera), listen to the pianoforte transcr’p from middle C, by one finger, dangled the Supplement. nificent” is one which almost a hundred thousand teachers ber well, the musicians had to find for laugKed aloud at the joke he had played. find it of value, it is almost positive (Inspiration and Aspiration enter, Rewards : What better pastime in the tions and talking-machine records of th limp form of the Spirit of Music. should be used with themselves noble patrons, rich people, who “Come, dear, after this you must not that an On Sale selection from us will both speaking at once): We knew where years to come than to sit down evenings principal songs, and study the life of tin “See here what you've done. I shall reserve, but it would be difficult to find would help them on in their study. These practice so long at a time. You’re all be of use to every teacher. The terms to find you. You’ve been grumbling—oh, and play, four handed with some neigh¬ composer: not be able to help you for a week or a word which could be used with more we can always tell. We have a box out¬ bor? people went to their concerts and got propriety in describing the unusual supple¬ under which this is sent, as well as the Humperdinck. The Children of th more; you’ve mashed my finger,” and the “Oh, Mamma!” cried Hilda joyfully, side and in it are packed the most won¬ New Resolves: Can’t we make this pensions for them. Some musicians were ment which was given with the Christ¬ discount, are very liberal. King; Hansel and Gretel. Spirit of Music held his finger in his “I know some one who will always be derful wonders. They (the teacher and plainer to the teachers. We must. taken into the homes of the nobility, mas issue of The Etude (Decem¬ Balfe, The Bohemian Girl. mouth and looked sorrowfully at Hilda. near to help me if I try.” children) will marvel at so much com¬ Advice : What a shame Must isn’t with where they might work free from worry ber, 1911). The title “The Musical Hall Gallery of Eminent This is an age of Verdi, 11 Trovatore; Rigoletto; Aida. “I’m awfully sorry, but I didn’t know “Who?” asked Mrs. Strong. ing out of so small a box. But the big¬ us any more. at the cost of their independence. Y’ou of Fame” indicates its purpose. It was Musicians of To-day exact information, Vagner, The Ring of the Nibelung; you were in there, and, anyway, I didn’t “Why, it’s the Spirit of Music.” gest wonder of all didn’t have to go Work: It’s all in the age; he had to girls need only to close the parlor door designed to show a kind of congress of and Yesterday. We are no longer Lohengrin; The Mastersingers of Nurem¬ know anyone helped me practice but in the box. We might have put it go, he was so awfully out of style. It’s myself.” and you are free from all annoyance, and the greatest masters of music. Bee¬ satisfied to take straight into the piano, into the music, berg; Parsifal; The Flying Dutchman.. the playtime age, things have to be at¬ “I m always in there," he said. “Don’t your parents are only too glad to hear thoven has the center position, for the things on trust, and it is so in into the door bell and down the tele¬ Sullivan, Pinafore; The Mikado, tractive and pleasing and very sugary to you know the days you practice well I you at work. Think how different it was STARS OF THE OPERA. artist evidently thought that Beethoven niusic as in other matters. We want phone, even into their smile and their Mozart, The Magic Flute. make them go down. work with you like a tiger, and when it’s with Bach and Handel, with Joseph was the greatest. Wagner is on one to know how the master-musicians “Good morning,” only we felt they would Meyerbeer. The Prophet. (A game for the history class.) Progress: You forget the box, my over I skip and dance with joy bec us: Haydn and Beethoven! side and Bach on the other, and the worked, where and when they lived, not recognize it unless it came out of Mascagni, Cavalleria Rusticana. To each player is given a card with friends, it may change all. you have made so much progress. Days other musicians are in their relative what they accomplished—and we also something, so we put it in with the rest. Flo tow, Martha. “I suppose you know that George Han¬ the name of an opera star and her lead¬ Inspiration and Aspiration: “Re¬ like this, though, are hard on me. and I positions according to the artist’s con¬ want to know what they looked like. It’s Hope. del’s father abhorred music? As soon as ing role. Calve—Carmen; Burrian—Tri¬ sults” is one of the things we put on De Koven, Robin Hood. just have to give it up and h de between ception. It was in response to these demands Aspiration : We put in Hope for the top, that together with the “Royal Road.” George began to show a taste for mus:c, stan; Melba—Lucia; Fremstad—I soldo ; Bizet, Carmen. the keys. That's where I was going when The color is a soft neutral olive, a that the Gallery of Musical Celebrities teacher, and a list of new music to try Work : I hope you put in the realiza¬ his father took him out of school for Gadski—Brit n n hilde; Caruso—Joh rison ; Beethoven, Fidelio. you shut the lid on me." He sat down fast color as are all these photograv¬ wqs published in The Etude. This over; it is said that the teacher who tion that I am the “Royal Road,” other¬ fear some one would teach him the notes. Weber, Freischiitz. on C sharp, looked at his finger, straight¬ Eames—Eva, etc. ures. and it is eminently suited for feature has been running now for three has no opportunity to hunt novelties in wise it will prove misleading. A friend of the family found a little dumb A blindfolded leader stands in the Thomas, Mignon. ened his coat and pulled oil his boo^ framing and hanging over the piano in years. In response to a wide demand, the city is badly handicapped, but this Inspiration: We tried to make that spinet for him, and. being sorry for center of a circle of children. He is Rossini, William Tell. Hilda thought he was too cunning for your home. The imported copies of the first year's Gallery was published is not always the case. more conspicuous than ever before, be¬ George, he hid it in the attic for him to the manager. Touching one of the chil¬ Donizetti, Lucia di Lammermoor. any use and started to pick him up. this picture sold for from $3.00 to $6.00 in book form. This book has now Time (jumping up): To be sure! A cause Americans, even the children, are practice upon. And there, all by himself, dren he says. “What opera singer is The following transcriptions from some Don’t do that!” he shouted. “Of co rse, in art stores. By securing an enor¬ been supplemented by another volume saucy clerk, perhaps, or an indifferent looking for short cuts. If we can make Jhe little fellow learned the notes and this?" The child answers '‘Calve, come one! Counting carfare and time lost of the operas in the foregoing 1 st may you couldn't grasp me, anyway. I'm like mous number of impressions we were compiled from the portrait-biographies these pupils see that the lesser things how to finger. If you had been set down hear me sing.” Each gives the name of she’s much better off wi‘h Uncle Sam’s be found in The Etude of 1910 and 191 1 • the shine of the sun and the perfume of able to give it away free with every which have since appeared in The done perfectly lead to the bigger things February 1911 \ stand each other so perfectly; but let’s help you at practice time. And I’ll tell a hundred thousand teachers, have an cal literature. This and the fact that pure “Method” they are apt to overlook Wagner, Nibelung March, arranged therC°mP°Se' but very litt,e to eat’ ant' see what are some of the Practical you. Hilda Strong, and every other girl Musical enthusiasm must be never- On Sale package of, Theodore Pres- the musicians treated are those of the little things like tunes. Goodness knows Things that Progress has put in the box. he m a3S 1,0 0ne to listen to ,he music ending. Far too often we let ourselves ser publications in their studio at all past and present in whom the world is we ought to have scores of tunes and in this century, you don’t know what you serena’ S0 one n’Sbt he started out to Progress : Programs to be worked up have to be. grateful for 1” and his eyes sink into indifference for the art, because times. A large proportion of these interested to-day. The introductory oceans of melody and plenty of stories, y- ade Pferr Curtz, the director of the teachers receive during the winter by teacher and pupil. “The Seasons,” snapped as he changed his seat to F sharp. of the drudgery it entails. Let us learn advance price of the new volume is jokes and anecdotes. tET, for oper? house. He played away months another smaller .package at “Then and Now,” “Summer Scenes in Lilda knew he was nervous and excited to be like Browning’s thrush, who Sings 35 cents each, postpaid. The work will Advice: You are entirely right, my be used as a piano arrangement. den Ti?S t'me in tlle c°o1 moonlit gar- regular intervals to be used to freshen Musicland,” “Forgotten Tunes.” from the way he kept stamping his feet each song twice over, Lest you should be published, however, in time for the good friend, so many lessons are turned Use the above selections in piaying the froo. he house was dark and only the the regular selection. This On Sale sys¬ Advtce : And the teacher will say, following game of § on^poor E sharp. think he never can .recapture, The first holiday season. Musical Celebrities, the ansW(J?e™d to hear his music and to tem is only one of many efforts con¬ “First,” he went on angrily, “you girls >n dull croaks. fine careless rapture." first of these volumes, sells during the THE ETUDE 65 64 THE ETUDE

unusually low rate of 20c, although th'. fit to make many additions to portant volumes of the entire set. It holidays for SO cents. We will make 0HL„„__LOUIS ARTHUR RUSSELL, will be less than a V2C a. page, for t,‘: haS !!Linal book, enhancing its value will be equal in quality to the successful Cabnegie Hall, New York Citv, or the Pub¬ a special cash price during December very best music in this line. The work the dieSpurpose of the readers of The numbers already issued. lishers, regarding the Introduction and use of Extended to March-31,1912 the Russell Systems of Music Study for Pian¬ and January on the two volumes'of 75 will be ready for delivery during th f°r It now includes the most com- The special introductory price during cents. Both books will also be pub¬ ists, Vocalists, and Theory Class Work, the month of December and this win E^.e treatment of the problem the current month will be 20c postpaid Russell books are coming into use among lished in leather binding at a uniform earnest musicians throughout the country. H Tllew Bear ^Welcome positively the last month that the work to the foundation of piano if cash accompanies the order. If price of $1.00 each, postpaid. The can be had at the Special price, ft \ perhnic Interpretation and all the nec- charged, postage will be additional. NEW EDITION RUSSELL BOOKS at regular price is $1.50. Special prices. "Singer's Practice Material. $600 Prize Offer ©o ©ut* ffrtenbs—©Ifc anfc Ulcw one of those works about which thos te " details of this most interesting 30 cents; “Hand Culture” 40 c; “Pianist s who have ordered one copy will sa £e of musical work to be found in Maybells for the We will continue First Reader” 30c; “Graded Studies 30c; Calendars. Our new calendar “Rhythm and Accent” 30c; “Scales’ 30c; “Why did I not order five copies in¬ P book. After the first of January Pianoforte, Op. 44. the Special Offer offering for 1912 mmmtE CIRCULATION of The Etude has “Arpeggios” 30c: "Sight-Singing" 30c; Tau- stead of one?’’ any special introductory price of 20 By F. Spindler. during the current ' Hand Expander” $1.00. All postpaid. Es- has been received with a great increased 50 per cent, during the last '• * ’’ohincr 1'n , ('fllTIPCiA Hall, MeW YOl’k %ts (which by the way is vastly out month on this use¬ deal of favor. It has proven one of Vocal Compositions r_l ^ §43 five years. This has brought us a vast Instructive Album. This work is fa,. fnroportion with the great worth of ful and popular little volume. These the most popular calendars that we lPbook itself) will be withdrawn. one-page pieces are really very musical “THE MUSICIAN’S LETTERS TO HIS HE publisher of The Etude have ever put out An illustration L/lj KlA number of new friends. We wish that By Carl Koelling. alongtowardcom NEPHEW” which have been appearing in That is in order to take advantage of and pleasing, in addition to their edu¬ The Etude during the last few months were O makes the following offer, of this new calendar will be seen were possible to hold a monster recep- . t Potion. The book originally published in “The American History being convinced that a com¬ is what the title indicates, only that the this very low price, you must order cational quality. Our edition of this and Encyclopedia of Music,” issued by Irving on page 7 of this issue. The panel tion and greet all of them personally, petition of this kind will awaken a calendar and the post card frame calendar title gives no clue to the character of right away. work will be edited by Mr. Newton Squires. This-| wider interest in vocal composition but we are unfortunately compelled to . i ■ with a list of the subjects to be obtained these instructive pieces. They are very Swift, who is an educational teacher and ___ many original contributions from and stimulate to effort many com¬ resort to the somewhat distant form of a type greeting. pleasing while they are instructive. Mr Ooeratic Album for We shall continue composer and who has written many at¬ teachers, composers and artists of a similar posers, both those who are known in all will be found in the same adver¬ standing with Mr. Bowman. tisement. The price of all is 10c each, Nevertheless, at this Happy New Year Season we desire to Koelling is very happy in writing for' the Pianoforte. on special offer tractive pieces for young players. and those who are as yet striving for during the current Our special, introductory price during recognition, bringing to the winners $1.00 per dozen postpaid. greet all our old friends and our new friends with the medium grade pupils. He always has AMERICAN MADE VIOLIN circles the something earnest to say and says it in month, the Operatic Album for the. current month will he 15c postpaid globe. Miss Nlcoline Zedeler, who toured a desirable publicity in addition to warmest possible cordiality and the deepest gratitude for the world with the Sousa Band, played ex¬ the immediate financial return. It the most pleasing manner. Those who the Pianoforte which was announced if cash accompanies the order. If clusively upon a “Gemiinder Model” violin— New Beginners’ This method re- seems unnecessary to note that the their sincere support. charged, postage will be additional. an instrument costing only $500 and said to Method for the mains on the Spe- order this book will be delighted with it last month. Operatic transcriptions of possess qualities of endurance, tone, finish, fame of the composer will in no way Pianoforte. cial Offer during We want all earnest workers of The Etude to know It is a work that will be acceptable to all sorts have always been popular and etc., making it superior in many eases to influence the selection and that the some old Cremona violins. The fact that Miss thepresentmonth. that there are many, many names on our lists which have any pupil between the second and third probably always will be. A work of Zedeler’s violin withstood all kinds of cli¬ songs will be selected by absolutely It is the object of the publisher to have been there for nearly three decades. These good old friends grades. Order this month as it will this sort affords an excellent opportun¬ matic conditions is most creditable. August impartial judges. it ready before the winter season is over. most likely be withdrawn with the Feb¬ ity to have one’s favorite melodies all Gemiinder & Sons, 42 E. 23d St., New York. Six hundred dollars will be divided of The Etude write us, every now and then, and tell us This work will be one of the best we ruary issue. close at hand. Our new collection will Special Notices LOST IN DREAMS,” the famous musical among the successful composers in have ever issued for beginners, but it what The Etude has meant to them all these years. The The Special price is but 25c post¬ be a comprehensive one; one of the L i by Lautenschlager, which is to be the following manner: will be along entirely different lines from paid. _reproduced on page 54. Is published best that we can hope is that our many new friends will best that it is possible to compile. by Franz Hanfstaengel, 28 W. 38th St., New Class One These may be either anything we have ever issued as an ele¬ The special introductory price during York. This very beautiful picture Is particu¬ _ . 0 of a popular or semi- extract a similar value from these pages. larly suited for studio decoration. It is made mentary piano book. First of all there Album for the This elementary the current month will be 20c postpaid Concert bongs Classical character. We do not feel that The Etude has reached its largest in the following styles and sizes : Fine Car¬ will not be anything in it that has Young, Op. 131. instructive work if cash accompanies the order. If bon Prints, Folio size, $1.50 per copy; Royal Maiden I,” by Parker; “ Villanelle.” by Dell'- ever appeared before in any work audience by any means. We feel that there are thousands By F. Spindler. will be added size, $3.00: Imperial size, $5.00; Imperial Acqua; '“The Bobolink,” by Wilson; 'Spring¬ charged postage will be additional. structions. Ellen Pric Gravure, $5.00. Hand colored Gravure, time.” by Wooler and “Carmena,” by Wilson. that we have published. The material who would be benefited by taking it regularly if they only complete in one $12.00. Because of Its rarity and high will be new and extremely elementary. artistic value It Is particularly suited for a knew how good it was. Won’t you do your share in telling volume to the Presser Collection. It is Nursery Songs This work is now high-class musical present. There will be cuts of the hands and a comprehensive study book for young and Games ready, but the spe¬ them about it? We are leaving nothing undone to give you Asselta, 434 Bleeker St.. Utica. N. Y. EDUCATIONAL WORK with the Victor very close attention is given to every students, starting from the very begin” cial offer will be the very brightest and most helpful magazine possible. We Talking Machine has assumed such an im¬ detail as the pupil progresses. Nothing ning and progressing logically. It con¬ continued during the current month. portance that it has been necessary for the Sacred Songs byRathbu”f"iH^id will be overlooked to make this work thank you for your hearty support and shall be grateful for company to issue a little booklet of twelve 43 the Voice of Jesus sists of 24 little studies, both hands in The songs in this collection are chiefly Washington Music Co., Washington, D. C. pages describing the use of the machine for Say,” by Rathbun ; "Pilgrims of the Night,” the best elementary work that it is pos¬ any assistance which The Etude co-workers in the field the treble clef, the left hand playing an of the traditional sort, both words and educational purposes in the home and the hv Parker! “The Homeland.” hv Schneeker : sible to make. school. This, together with the 32-page Illus¬ may render to us. octave lower than the right; 15 studies, music. They are songs which children trated booklet describing the wonderful new The introductory price is but 20c both hands in the treble clef, with the really love to sing; those that have i. Bac., Lansdowne. Pa. records by Paderewski, Elman, de Pachmann, postpaid if cash accompanies the order. Kubelik, de Gogorza, Victor Herbert, Dal- hands playing independent parts; 15 been handed down from generation to UP THE INCLINE, March and Two-step. mores, Boris Hambourg and many others, will pieces introducing the treble and bass generation. The melodies are all sim¬ Ripples of the Rhine, Waltz. The Granger, bu sent gratis to all who send a postal request Class Three Such Kunz’s Canons for This important March. Castle Echoes, Waltz. 15c each; to the Victor Talking Machine Co., Camden, clefs with freer motion of the hands. ple and of easy compass. The accom¬ the Pianoforte. educational work the four 40c. A. S. Hood, Manchester, N. H. Characteristic Songs moth’eT who desire something new and pleas¬ These studies are all short but very paniments are all easy to play and ef¬ ° Brown, ” is hereby with¬ Virtuoso Pianist. This important TEACHERS WANTED. Teachers of EVERY LADY DESIRES to keep her by Gottschalk ; “April Fooling,” by Robinson; ing in the second and third grades of piano musical. They may be taken up just fective. “ By the Garden Gate,” by Whitney Coombs ; drawn from the Special Offer as we ex- By C. L. Hanon. educational work Plano, Voice, Violin, Theory wanted for attractive appearance, while at the theatre, “Slumber Song:,” by Newcombe; “Lolita,” music will be delighted with this set. after the pupil has made a beginning of The special introductory price dur¬ January and September openings. Address attending receptions, when shopping, while pect to have it on the market before the . is still on Special traveling, and on all occasions should carry by Tracy and “Cowboy Song,” by Troyer. the rudiments. ing the current month will be 15c post¬ The interstate Teachers’ Agency, Macheea next issue of the journal appears. The The advance price will be 20c post¬ Offer. This is a technical work that is Building, New Orleans. in her purse a booklet of Gouraud's Oriental The Special Introductory price of Beauty Leaves. This is a dainty little book¬ work is entirely engraved and is now On paid if cash accompanies the order. paid if cash accompanies the order. not surpassed by any one at the present this book will be 20c postpaid if cash ac¬ let of exquisitely perfumed powdered leaves press. The editing and mechanical which are easily removed and applied to the time. It is used more largely for the companies the order. If charged, post¬ New Gradus Ad The volume of Class Four or songs poinHng „ work of printing have been done with Editions Reprinted. It is always inter¬ Automatic Sheet Music Binder. Send hu skin. It is Invaluable when the face be¬ higher grades of piano technic than any age will be additional. Parnassum Arpeg- this new course of ness card and ten cents for sample to I comes moist and flushed and is far superior »» .. c moral. Such as Smiles the greatest care. We can unhesitat¬ esting to know other works extant. It is also used by Feist. Feist Bldg., New York, N. Y. to a powder puff, ns It does not spill and Motto Songs and Frowns.” by ingly say that we have the very best what other persons in the same line gios. By I. Philipp study devoted to soil the clothes. It removes dirt, soot and ° Matthias Field;'’Three the leading musical institutions in Paris Music Pupils’ Les- This is a useful WANTED. Mr. Joseph grease from the face, imparting a cool, deli¬ edition of this important work. of work are doing. There is no bet¬ Arpeggios is now cate bloom to the complexion. Put up in and Brussels, and is recommended by son Book and Prac- little booklet in. of Chicago, would be grate- ter method of obtaining this knowledge nearly ready. We consider the Arpeg¬ anv one who has a complete White and Pink and sent anywhere on re¬ all the great pianists of the present day. tice Record, By which we are gio section to be one of the most im¬ f The Etude. Address 27 E. ceipt of ten cents In stamp or coin. F. T. Vocal Studies. We have in the in our business than to give a list of It may be taken up by any one who is F. F. Guard about to publish. Hopkins, 37 Great Jones St., New York, N. Y. By H. W. Petrie. course of printing the works which are selling to such as far advanced as Czerny’s Velocity or It will enable both Class Five Such as “O Heart of a melodic set of an extent that it is necessary to often the teacher and pupil to keep a com. vocal studies by this popular author. even a grade before that. Even one Home Songs “There Lifu^Gwi reprint large editions. The following plete record of one season’s work, "Etude” Music Club Buttons AMATEURS' The studies have a two-fold object. who has passed through Op. 636 of are such works. We would be very all neatly tabulated. Each page gives “A Little While,” by CtSmam™" by NoITi8: First they are excellent gymnastics for willing to send any or all of these on ^errk”y Wil1 be able t0 take "P this space for keeping a record of a pupil’s the voice, and second they are most ex¬ EVERY ORGANIST NEEDS MY TEN inspection to professional musicians at practice during one week, and gives cellent music. The accompaniments will Our Special Offer price is 40c post¬ LESSONS explaining all about stops, com¬ CLASS PINS the same liberal discounts as given additional space for the teacher to binations. easy way to find pedals, easy not embarrass the average singer. The when ordered outright. paid if cash accompanies the order. modulation, harmony, collections of organ S^eclal^desi^ns for musical clubs and classes Class Six mark the result of the lesson. This en¬ music, etc. Sent anywhere in the world for studies are also comprehensively ar¬ or Sacred Duets ables one at a glance to compute the *5. Satisfaction guaranteed. Francis .1. Nature Songs Love Songs ranged. They are extremely modern, TBEO. PRESSER, rKiSfiSM*. O'Brien. 20 years organist of The Gesu, 857 "‘'BENT &’BUSH "cor11"6" Such as “The Violet,” by Hervey; “Spring Czerny-Liebling Selected Studies, amount of practice for a week and the Corinthian Ave.. Philadelphia. 15 School St., • Boston, Mags. and will no doubt be acceptable to a Book II , . appeared on | Song, by MacKenzie; “Messageof the Rose.” complete average obtained at the lesson by Gottschalk; The Gypsy Trail, ” by Galloway. great many vocal teachers who are School and Home Marches market and the Special Offer is here looking for something new and pleasing withdrawn. The work may now be h including work in technics, scales, Graded Material for the Pipe Organ. pieces, theory, etc. in the vocal study line. Rogers at the regular price. It may also NORTHWESTERN OHIO SCHOOL OF We will send these studies to those sent on sale to anyone desiring it, w The Special price on this little book¬ Springtime, Song Cycle by Miss Ash¬ BLANK MUSIC PAPER - CONDITIONS— ordering them in advance at 25c. al¬ has an account with the house The let will be 5c postpaid if cash accom¬ The most durable of any paper ---.r.„dl„cm,thiVlc Iwleer paper standing many erasures. This ford i made exactly the same^o ^number 0?year °and we haVe the first complaint to hear. »PIANO TUNING Competitors mus though the price when published will are no fewer than 26 pieces in this o panies the order. If charged, postage Paper has been made exactly - - comply with the Twelve Lyrics, by Goring Thomas ' be about four times this amount. They lection They are all in the first gra will be additional. MADE IN 12, 14. 16 LINE AND VOCAL, SIZE 14x22. The contest is open to composers of will be acceptable to anyone interested Mathews’ Graded Course of Studies, Be sure and get that manufactured by this house. every nationality. Grades I, II, III. IV or a little beyond it. They are the Di The contest will close March 31st, 1912 in vocal music. Master Lesons in Mr. Bowman’s TABLETS, ETC. All entries must be addressed to ” The Santa Claus Party, Children’s Can¬ of,rr trjbIe clef Pieces- Any beginti Piano Playing. “Letters From a ..Price, 2 Etude Vocal Prize Contest,” 1712 Chestnut tata by Gardiner-Gottschalk will be delighted to receive this c Clarke*. Harmony Tablet. ves 7 x 1056 inches in size. Street, Philadelphia. Pa., U. S. A. Instructive Clavier This set of piano lection We look forward to a go .T Musician to His neluding Synopsis of Harmony. Faust School of Tuning All manuscripts must have the follow- Morning Star, Christmas Cantata by future for it. 8 Nephew, which have been published in lOffe*’* Harmony Table! Pieces for the Youth, pieces is half way 100 Sheet,. 7 x 856 Wide Spacing . Spencer Camp. part in The Etude, will now be discon¬ Course Infinite* Tuiringr, ^Re|»ilrintf. Regulating >^»le- "F«nthe State Ifocal Prize Comest.”*^ By Geza Horvath. between studies Clarke’s Harmony Tablets The name and full address of the com¬ and pieces. They tinued in the journal as the book will T BLANK MUSIC COPY BOOKS poser must be written upon the last page Exercises for Sight Singing Classes— Pieces . we snail cant °f eacBmanuscript submitted. are in grades two and three. The stud¬ soon be published separately, under the The best copy book, on the market in every way-paper, rataST, »'nd,ng' . 25c Each song must be complete, i.e., text W. W. Gilchrist. B t? *kt the Special C title of “Master Lessons in Piano 0 staves, 24 pages 15c 8 staves, 36 pages • 35c voice part and piano accompaniment ies all have names and each has a dis¬ %F. Neumann. during the pre 8 staves, 24 pages ! ! 20c 8 staves, 64 pages . • • • ^ 27.20fOAIKSBORO

_ARTISTS AND TEACHERS HsIsLHSs B-ls‘ ilrllrrrjTJZt! JRANI£NTi;-^%g^ BISBEETPSafgw.,,, sa*isi5fflL3*S Atlantic city burrowes . «B?5s£Ki£wa sSfSvSSaSwa* BARRY fiOLLEY^i^S BEAUMONT.;.^ DUNNING ™' BECKER FLETCHER^gg-S-r becker kern

BUVINGERISm .,, „„'• STORERKIND£RGARTEN ' ' ' collins :::::: :;:;rr schools and colleges DENjSON g«k-"-j.-r.gas ARRILLAGA DEVINE.LENADORIA BARTEL:!,:":,..v,„ DICKSON.«*.SSC B^ETHCRIErz:S#£r t§!: sM sssssmiss DffiVON;.rt-a** SypNljr=^z im: a4s=si ggsKss Paderewski plays for the Victor All the i garton I:,:":;™,irv„™ CApifoL^g^sk sksst ' • " ;ist calls forth from the piano captivate you with their gilberta carlsSstl: quisite beauty in his Victor Records. GOODRICH “»s: CHANDLER WORKS WITHOUT FAITH HARGRAVE'" =ST±' DETROIT "'Z.,; And be sure to hear the KAUFMANN , Durham'' \v„. Victor-Victrola kroeger hahn school ” magee:",::.::::.:;.hawthorne M0NTEITH. KNOX. .. „ er 2 18. MONZEL V-..LESCHETIZKY Seven years ago my health gave out entirely. I grew so weak that the exer¬ moulton marks' ■,. tion of walking, if only a few feet, made it necessar.necessar fornr me to lie down. My ls concerned A very keen in- THE PHILADELPHIA ORCHESTRA PETERSILEAMORRISON " iends the- „ ! was marked for con- terest >“ ^^manenfoperaS

PROSCHOWSKYS5S NASHVILLE SSS: 7SZ: t in .. “ ““:f “ ied faithf: h, to get relief from med- _ ,h„RaonTmea™ steelc;::^ . newhaven .-., icines. till, a! ’ant, after having employed 191 13 :: :: April 13—1912 all kinds of drugs, the doctor acknowl¬ STEWART -5a.” NORTHWESTERN edged that 1;, did not believe it was in ®eb w POR the twelfth Season, the fifth under the baton his power t.. cure me. Feel of the of Mr. Pohlig, the 25 Afternoon and 25 Even¬ „ ,...... OREGON szs::, “While in this condition a friend in- C ing Symphonic Concerts at the Academy of Music, duced me to quit coffee and try Postum, Hj®c and I did - without the least hope that it would do me any good. I did not like it at first, but when it was prop¬ erly made I found it was a most deli- „ PROMINENT SOLOIST c'ous and refreshing beverage. I am es- SSS^T“onto? pecially fond of it served at dinner ice- 0f his How opera houses with __iwkdction by ui spokane rr=z:— cold, with cream. the^walttne* list” 'who °fa1ted’ to “In a month's time I began to im- the opening night. Two of the prove, and in a few weeks my indiges¬ Business Office, 1314 P« HARMONY'-'SSSgfe TACOMA tion ceased to trouble me, and my headache entirely. I am so per¬ SHEPARDVIRGlpefeZZ^ fectly well now that I do not look like the same person, and I have so gained GORDON’S GRADED PIANO COURSE VON GRABILL VIRGIL "T\Z "7. rSZL flesh that I am 15 pounds heaviet 68 THE ETUDE THE ETUDE 69

Continued.from page 54 Constable trembled like a leaf. In tones before c ■ie reached the little flat. Mrs. that were hardly audible he muttered: Dillon y. .-.~t... tj,—e parlor,^ where her “I must have been mad, insane. I saw EASTERN SCHOOLS patient was propped upon a lounge, amiand thatum ...instrument—a “ miserable—uwie little goJ^* courses including Piano- with her uncontrollable wealth of charity “By the harp of Tara,” shouted Dillon You Can Learn Piano Tuning at Home by Devo¬ and womanliness which was buried deep “that must be the thing that the Daih ting Your Spake Moments to the Study of Oue 4632 Chester Ave., Philadelphia, Pa. Hat**: i 150 to ***5 ^y^r.^NO EXTRAS. in her character. The chorus girl was News offered a prize of one thousanc Correspondence System. S6tU jear begins September 20th. Students from 20 states. dazed. She raised herself upon her elbow dollars for. Come on, me laddie buck It is a profession that can be converted into money and said: “You’ve come to take me home? it’s the little steel coop for yours to-night.’ at any time or place in the civilized world a1 Yes, you’ve come to take me home, but “Look here, officer,” shouted the misery- WHAT OUR STUDENTS SAY an hour’s notice. Our exclusive, patented COUHTmeHT SYSTEM OF MUSICAL KINDERGARTEN I can’t go. You don’t know. I don’t dare stricken scion of one of New York’- mechanical aids make our instructions clear, face my father, my mother; they would proudest families, “look here, let me gr “I tuned 24 pianos last week at T«che. pn.no from tb. .tart, right reading, tran.poring, rhythm and ear trltaing understandable and practical even to those never forgive me. I’m married. My hus- and I’ll make it two thousand.” K j each. Am making as high as -5 per week tuning.” who have had no previous musical training. , ,correspondence band is coming back to me to-night. I “None of that, young man. Sure, bribin' K. Weller Daniels. know he’s coming. He is the best man js a bad resolution for a young man tc THE WORLD RENOWNED in the world. I have written him that I make on New Year’s Eve. I’ll get mv n make S5 to S10 most ani am sick and that I need him.” A smile thousand and that girl lying there will 1 Conserva- Lining. Would not taki of beautiful confidence passed over her get her alimony or there never was a or my course.” August C. Mlntz. Leefson-Hille face. “He won’t desert me-we had a Dillon ever came from Balleybay, Countv SOHMER MONEY little quarrel. I thought he gave too much Monaghan. Come along, ye great big it is the special favorite of the refined andcmltured Maurits Leefson, Director 1 CAN BE EARNED IN EVERY CITY BY time to another woman and well—he’ll bunch of nothin’. I’m going to put w quality, unequalled durability, elegance of design '**} Philadelphia, Pa. ARRANGING AND COMPOSING MUSIC. and finish. Catalogue mailed on application. Can YOU «rr«nBe> If so, tha “ad " will NOT inter- lflsrwlfemei"know Scorne £1”°^ WherC y°“r m0nCy WOn>t tUrn the Iock” THE SOHMER-CEC1UAN INSIDE PLAYER “Of course he will, dearie,” said Mrs. Next morning the daily papers all SURPASSES ALL OTHERS james m. McLaughlin h. j. storer AND ASSISTANTS unfomrhly;r r^fng t0 thC 0t'Trthat the claimed their special features of their SOHMER & COMPANY The Boston Correspondence School of Music h ,WaS dfn°US- J new* of “Lethbridge Strad Mystery ” tuning.” A- J- Van Doren. Warerooms, 315 5th Ate., Cor. 32d St„ New York 11 c°me back al?dtake me home and now the “Lethbridge Strad Sensation 1 OO Boylston St., Boston, Mass. “beatS” that_ the man “You teach quickly and prac¬ WILCOX SCHOOL OF COMPOSITION gers were still more insistent for Giggles’ tically that which here in Europe Thorough and systematic courses by mail, C. W. Wilcox, Director. Box E. wrote him to come this very New Year’s _keys so readily yield in Harmony, Counterpoint, Composition professional services. She found that demand rnple of years factory slightest touch of^the^finger.^ and Orchestration. Special Courses for Fifth Avenue NEW YORK CITY Eve and start the new year right.” work." Stoyan A. Tsanoff, although she had played but once, a Graduate Royal Conservatory, any other writing machine. Teachers and Supervisors of flusic in Letpsic. Public Schools. For terms and general Publishers of Music can increase the S the^blowing of horns'an^heLoanmg'of peculiar combination“mbination of circumstance.circumstances had... Monarch information address the School. of Their Publications bv Sale THE TUNE-A-PHONE THE ETUDE. SEND FOR RATF.% a hundred thousand whistles from faC- her more of that very saleable con Light Touch tories and boats everywhere rose from u .reputat'or\ than wa« Possesst We supply free a Tune-a-Phone, also a working model of a full-sized, That is why it wards off fatigue and saves nerve the street. Lucia fell back u by vlolm,sts who had been before tl on the part of the stenographer. Consequently he !1 Modern, Upright Action, and the necessary tools for each pupil. is better than it is possible to obtain with any othei pillow chanting, “I know he’ll come I PUWlC ^ yea,rs‘ Her every movemei OUR WONDERFUL INVENTION, THE TUNE-A-PHONE, gives the exact wnter. Monthly Payments know he’ll come. Listen! There is some H** Wa^ed by,caKcr reporters. Eve number of beats that should occur In the test intervals. With it the student Monarch Machines are sold on the Fajy Pa _ a Plan. A Post Card will bring full informatioi one in the hall. It’s him. I know his «r- T*1"* took place in tl knows what the result should be. It eliminates guess-work. address of nearest office. step. I heard it for two years It’s him Little Church Around the Corner,” wit Write today for free illustrated descriptive booklet. Address, The Monarch Typewriter Co. Open the door.” Exhausted with excite- L“Cla Malet’"°w Auite a different womai Executive Offices: 300 Broadway, New THE ment she fell back in a faint rr,atron °f honor, was given space 0 “TEK” Mrs. Dillon opened the door and the page of ever-v metropolita NILES BRYANT SCHOOL OF PIANO TUNING tall form of Elliot Constable entered the .Jhe groom’s wedding present t 20 Fine Arts Building, Battle Creek, Michigan, U. S. A. Sh*! room. As he walked slowly toward the , ?, br,de was tbe reconstructed Let! couch he failed to see the other persons bridge , Stra<1” with its inimitable ton obscured by the dim light of the room Perfectly restored. When the bride an fines! and besl practice instrument made Suddenly his eyes met those of Gic-o-les groom sa»led down New York harbo and he backed slowly toward the entrance b°Und f°r Europe with a trunk fu!1 0 FOROR CATALOGUE ADDRESSADDRES' of the room and discovering Dan and contracts for concerts during the follow Jeremiah Lethbridge, said with a hideous £g wblter, evel7 detail was known i: MBS. A. M. VIRGIL l/inr|| piano SCHOOL and smile: This is a trap, eh?” Larlc Row and carefully dished up witl THE FLETCHER MUSIC METHOD WINTER COURSE Y°u. can’t get away now,” yelled Dan press agent sauce for the delectation 0 Director VIRGILV IKUlL CONSERVATORY The time has come for you to make ^orac!ous New York. “The Lethbridg Fall Term g0°d” make SUad Mystery” was. ended and the caree The Fletcher Method Winter Course of Study opens in Brookline, January 15,1912. Are 4-2 West 76th Street Make good? Well, it will take more °f G,ggles commenced in real artist! September 18th, 1911 you afraid of the expense? You cannot afford NOT to study a System which gives you NEW YORK 3 ga'?0t,fr°m Ka^a^ to tell meThat ean,eSt' ! expccted this, and I've come prepared freedom from limitations Mental and Financial. : : Apply today for a place in this class. Incorporated 1900 ' ' THE PENNSYLVANIA Constable whisked out a little magazine Read what seventeen of the twenty-two members of the last class say of the Fletcher Music Method College ©i Music -Every Girl- automatic pistol of Belgian pattern from DEGREES OF MUSIC CONFERRED WHAT WE THINK 1511 Girard Avenue, Philadelphia pufc^wJt' zsst? is - . mport - i. H. CHANDI FD Dir “It is great to be an F. M. teacher, but, Oh ! what would it not be to ng M _ __ or sSgwell ^ *W °U8ht to •>* to play In the Fletcher Method the child gets s :ch an intelligent grasp of the But unfortunately the muiical inatruction given beanF.in r. M.ivi. cnnachild ?”: Music, that he is to memorize, that r anxiety is felt over results. by the average teacher will not 6t you to'dav “I have studied abroad and at home, but I know nowhere of any other or sing artiabcally-will not give you the de- They are certain.” Sired accomplishment What you need it a method with such gigantic aims and possibilities. Scientific musical education — the Comb. n leaving you an B^^Slreet Conservatory of Muaic Idnd-the “The summer’s work convinces me that your idealist aims are the sanest possibilities your way.” “The Fletcher Method is a marvelous revelation to me, of how simple tt>faSthat made, ’,lf”the dpistol E'aSplng fall toh“ the "til floor a gripA “The imurovisimr course in your Method appeals to me most strongly, and interesting Music can be made for children.” t Combs Broad because it makes impossible for any and everybody, to know how to |ic of Philadelphia.__ w express himself through Music.” , “ The Fletcher Method appealed to me because of the broad found¬ ation it gives the child for all the difficulties and possibilities of life.” accom’odSeiSW^pS'i’^e^a^t'eW “It is mv firm conviction that the SUCCESSFUL teacher must have the senratory except one m the United States; has lASfS.-pS'St*; Fletcher Method course, and the unsuccessful one cannot afford to be “The Fletcher Method is a really royal road for children in the study without it.” of this most beautiful and universal language, teaching and encouraging the expression of their own individual musical thoughts and thereby pav¬ “The greatness of the Fletcher Method mwthdp^ W> away^the ing the way for greater sympathetic appreciation of those of others.” ^Tgglgs rushed forward on a i petty jealousies of the Musical Profession, because of the widening oi SESai&S;' the boundaries for all.” “ The Fletcher Method is Music without ears. ”

nTlI-mn, — a"d SCr°U °f the Letbhridge “Strad.’’Cad current literature.” t ‘‘The loving, grateful and enthusiastic attitude of the members of your class after eight weeks of such strenuous study, is the finest possible ■•1 low my city .nd am ambitiou. tor It 1,11 you endorsement of the value of your method. ’ ’ have every teacher who ever accepts a beginner. BURROWES COURSE OF MUSICTrOnv For Further Inlor Kindergarten and Primary SJSf Jsff VTr anii Primary—Instruction for Teachers by Horae Study ■ 31 YORK TERRACE, EVELYN FLETCHER COPP BROOKLINE, MASS. “v" AAdd™ F, 501 Carnegip 'eth°^ V X ^ * or p. O. BOX 1336. BOSTON. MASS. KATHARINE BURROWES, & i. Dept. F, 24fi Hlchlaiifi'AYork Clfy Please mention THE ETUDE when addressing our advertiser! ,d Detroit, M?ch. d Avc” H'Sh- THE NEW PRESSER BUILDING ourse of construction, December 1, 1911 “pieasemcntion THE ETUDE when addressing our advertisers. 71

INTERNATIONAL MUSICAL NEW YORK SCHOOLS EDUCATIONAL AGENCY MRS. BABCOCK

MUSIC EDUCATION CARNEGIE HALL, NEW MR. CADY’S Private CUsae. in Pianoforte, Harmony, etc., and NORMAL COURSES Now Open. ►•HOME STUDyT Announcements sent on application to Mrs. Calvin

Dunning System Z, ■■ c"’ System is iln-4« GUIDE FOR THE MALE VOICE FREDERIC W Op. 23. MRS. CARRE LOUISE 0 Price, S1.00 This work is minute in its

[SCHOOL gF SINKING AND ^ OPERA]

S'loXSLtil iv'S'i™£ 'I M« ' M I ' BIIUMI SSER CO. out one by one. The c Mz‘: MAGAZINE BARGAINS ON PAGE 2 Granberry Piano School WANTED su„VSSIg>s GEORGE KOLSOM CRANBERRY, Dibecjtok STUDY HARMONY TEACHERS’ TRAININC COURSES FAELTEN SYSTEM Booklet CARNKtilE HALL, NEW YORK Sill ^g^SIX WEEKS COURSE f or Teachers and Advanced Students swS«£»| Piano, Organ, Voice, Violin, Oth Teachers educated in Europe, Lesdielizky Piano Lessons m Normal Methods, Public School Musii s sigh of relief as : MARKS’ CONSERVATORY OF MUS SSSm m IC, 230 West 75th Street, New York of Music and Arts INSTITUTE OF MUSICAL ART °„%T5,E SV.v the orchestra if the sfnge^eoZc AN ENDOWED SCHOOL OF MUSIC keep still and let you hear it. The 1 wote^KwIlit Sfe" inlend'd °"‘y !,Ude",S °f na,ural *Ui* •" earne,, purpose to do serious For catalogue and full information address Secretary, 120 Claremont Avenue New York

Th n Ama«.. . l_ , - - —-——-1

mB. Calvert, 0.0., Pres , .o ...usumcu on in tne end, even that dashing young Siegfried, who 1 haves rather badly toward Brunnhih Really they ought to have some lig

Tour“mS7.?„" K VIRGIL Practice Clavier Far superior in its 1 Tzi The Musical Leader n to any his ears all the i other instrument ft VIRGIL SCHOOL OF MUSIC TERM BEGINS MONDAY, JANUARY 8th ENROLMENT DAY SATURDAY For catalogue and prospe, K. VIRGIL, 45 East 22r>d NEW YORK TO--. pear and finally get the Ring and at the very end you can see, if you are hirlcv enough to be sitting i„ the parque ^ Sight Reading for Pianists he gods mounted in the clouds, and If you are a poor Sight Reader and have diffl,.. n - .■ !.’t!„make,S y°« more certain that it all NEW MUSIC FliW YourMusic is Torn! full particulars of our complete correspondence Cour^ glVmg TOWRLE,Fl^ErrivM,UNsVJI ”°fessor of Music in one erf the lareest Cnlleee* ' tL _United St?tes, to whom reference is pTrmiUed savs ‘‘Y MULTUM-MlO BINDING TAPE Course is worth the price to me everv ^ the amount of time it saves me alone ” CK m

New .York College of Applied Musir 9 08 Metropolitan Tower - . New York City T HE ETUDE 73 TH E ETUDE WORLD OF MUSIC. dr. t. fblix GOURAUD’S I by the Church from earliest times, it has I nevertheless preserved something of the Oriental Cream true folk element, in that it is a ballad describing the birth of Christ in a sim¬ WESTERN SCHOOLS New Publications ple, homely way. The present work is a very thorough exposition of the history I °I the carol from the very earliest times mUf A>C LEADING MUSICAL University School ol Music IUWA3 INSTITUTION : : : : ~Pianos and Their Makers. By Alfred as see.n through the eyes of one of the Ann Artiur. Mu Ingun. Albert \. smnley. Director n ,„e published by the Corvina Publish- most ‘humiliating English musical schol- MIDWESTERN £PuNs?c ing Company. Price,_ $5.00.T_ 478_ rpages,_n„ Many and varied are; the examples DANIEL BONUS. President Superior faculty of instructors in all departments. Pupils Numerous excellent illustrations. Bound ?uoted> and no one interested in the sub- may enter at any time. Write for catalog. ree'itkl£a°l“oV'mu“Sraattom°iddmw, “°4 Vl0liI1 263-276 K. P. Block, Des Moines, la. Charles A. Sink, Secretary gsjgjagjg n cloth. JeCt can fail o be pleased with this work. Remarkable t ks are never made by any other than narkable men. A Ger- Jean-Christophe. By Romain Rolland. man who came > this country early in Published by Henry Holt & Co. Price, $1.50, net. Michigan Conservatory of Music " PASSING CARAVAN” life, and by dir of brains and industry FREDERIC L. ABEL, General Manager stries with investments No work of fiction has appeared since 12th season began Sept. 5th. This Institution stands for the best in Music. Faculty and the Tolstoy “Resurrection” which has at¬ Students concerts, during the year, enables pupils to present their best efforts. >ns, founded two pros- Among Ibe faculty lire round—Archibald r. Jackson, Vocsl; Tlrlor Benhani, Piano: May^Leagrtl tracted so much attention. Coming as* it ctions of our land thou- PubltcSchoolMus V!.rramlloga1(i/ress,,HuoH 'H',!roBsm,°'Bils.'Mgr!',,5rarstimglo"rAvtIiue,':iii.I has from the pen of a writer whose repu¬ ™ surely be classed as remarkable, and such tation was by no means extensive, rather a man is Mr. Alfred Dolge, author of this than from a writer of immense renown new work. Apprenticed as a piano maker, like the Russian master, Jean-Christophe DANA’S MUSICAL INSTITUTE, WARREN, OHIO mmmm and following the manufacture of the in¬ is all the more phenomenal. The work THE OLDEST SCHOOL OF MUSIC IN NORTH AMERICA RAGTIME strument through every detail, Mr. Dolge is one of heroic proportions, and the sin- W,S0M WETH0D »*sa Music taught in all its branches. I PIANO PLAYING ■has _likewise in his book taken upon.>n the cerity and profoun d yet simple philosophy to that purpose. Fine dormitories for K.iau2Lsssasws^.'j.'- evident from cover to own farm. Maintains a large Orchestr and two fine Military Bands, details of the industry with the precision ot the w”ter are Send for a 64-page catalog and the ue book which gives full information. TAUGHT BY MAIL of a mechanician. He has discarded the It is not a book for children, WILLIAM H. DANA, President. useless, and left only the worthy. As a but for men and women who like to result this book will remain a standard read as close to human nature as §i§§i type and paper can bring them. STUDY MUSIC IN PORTLAND. OREGON work for years to come for all who de- PORTLAND, OREGON No. 10554 Fourth Street. Portland, Ore. s.re a complete history of the evolution of The. dimensions and intent of the work N. W. Normal School of Music and Art the instrument from the beginnings to the re™nd one ofHugoyet it lacks the _ — qjre - -= present time. It also devotes one section f.^dent artificiality of Hugo. It tells the ^No need to goJEaat to study.^ Our graduates are Musical to the discussion of the influence of the !lfe story °f a German musician and tells Correspondence. ^Certificates and Degrees Con¬ Writing Books great composers and the virtuosos upon ,l w,‘h an attention to psychological and Carson Voice Studios the industry. This work should be in all sociological detail rarely revealed in a 6th and Morrison—Stearns Bldg. the reference libraries of our country. book. Edmund Gosse, one of the most ROBERT BOICE CARSON, Tenor, - Director celebrated of British critics, calls RHEA CARSON. Soprano. - Assistant LIST OF PROMINENT PUPILS BEFORE A Treat!,; se on Speaking and Singing, "The noblest work of fiction of the twen- i\? the Principles of the Old tieth century,” and the English novelist. THE PUBLIC ON APPLICATION According Mr. and Mrs. Carson will be available for Ora¬ Italian School, by Luigi I Pub- George Moore, has called it “one of the torio Concerts and Recitals. For further infor¬ most remarkable novels France has ever fished by Boosey and Co. $1.50 mation address R. B. Carson. produced.” __ In Europe from June 15th to September 15th— 171 pages. Wm. A. Pond & Co. This is one of the most interesting Cowboy Songs and Other Frontier Bal¬ SHIP ss*ssis2 = sensible books of its class we have s lads. Collected and edited by John A. As with all voice books, many will c Lomax. Published by the Sturgis Walton nie EXCEPTIONAL FACILITIES, COMPLETE ORGANIZATION AND COMPREHENSIVE COIRSES M pubSing0flrmLSJX/e^itstr°£ ^ muslc THE LITLITTLE WIDOW tend that its principles are all wrong, Company. Price, $1.50. MINNEAPOLIS SCHOOL OF MUSIC simply because it does notIt coincide witnwith While. thisthii book does not contain mat- Eighth st, s. ORATORY AND DRAMATIC ART Mini,: MUSIC MATERIAL anI appreciate The A Mighty G°°d Sort of Neighbc iliar interest to the general THE RECOGNIZED LEADING INSTITUTION OF THE NORTHWEST thisTk^fl to** FALU TEEM OPENS SEPT EM ItER 4. 1911 Kindergarten Teachers ntral School M . nr—.. TTr,^ musician, u is withal a most noteworthy Queen Mary of Eng- The songs have been collected and Piano Tuning® arranged with the care and the thorough¬ ness of the scholar. Only here and there is the special music for the songs given. WasSSf- In most cases only the stanzas of the SIXTY-FOURTH YEAR poems are given. Because ex-President Detroit Conservatory The Hymnal Published in 1895, and Re- Roosevelt aIKj aiso Barrett Wendall Lawrence Conservatory vised in 1911 by Authority of the General ised the book highly we have given (A department of Lawrence College) of Music Fr“ci‘Dil“me'M A' Assembly of the Presbyterian Church in the work a very carefui reading. Now FINEST CONSERVATORY IN THE WEST the United States of America. Published and then we have found a touch of real by the Presbyterian Board of Publication ngth thos humor and breadth, but and Sabbath School Work. Price, $1.00. ^ tbe most part the verses reveal a kind 690 pages, including the Psalter. o{ doggerei which is far inferior to that AsdiefspiAwsTUDiEs This is probably one of the best ar- which we had hope(j might have come ranged, best printed and best edited hym- frQm tbat great and virile new world to nals published. Both the hymns and the whicb SQ many of tbe strongest tunes have been chosen with rare care and adventurous Americans went in the pio¬ School H.*JB "iehard Wanner His Life and rn g .° meals a day. In 2 months ■ intelligence. neer days. Singularly enough many of WILLIAM HARPER, Dean, Appleton. Wia. m aM US™ a «LT. * lncreased from 95 to 113 the old songs follow metrical patterns g are beautiful^The and I ’ fel? nerYes bad steadied down Four Noteworthy Reprints. Beethoven, very like the old ballads of old Ireland and by H. A. Rudall; Mozart, by Dr. F. Gehr- Eng- i- and• . ” --- mistaken there is ■ng; English Church Composers, by Wm. a]so a verbaf idiom common to the same See “THE ETUDE” Premium List on Third Cover Page Alexander Barrett; Purcell, by Dr. Will- cIasses 0f songs. Crude and raw as are .- E£:r^'-.“.Es ‘am H. Cummings. . tllese rough songs, it is a good thing that Jhese books have recently been re- t) jiave been preserved even if they are CINCINNATI CONSERVATORY of MUSIC ESTABLISHED 1867 I Printed by Charles Scribner's Sons in The more than a museum of the crudi- I Miss Clara Baur. Directress. Great Musicians Series. Books that de- tjeg our earjy musical West. Faculty of International Reputation “land reprinting are almost always sue- -• ALL DEPARTMENTS OPEN See THE ETUDE Premium TURN EASY CO. muL7Z?~L* To7\ tt which1 r to d,;et °f cessful books—the best guide a publisher h .g God's medicine, everybody can have is his commercial instinct. The w bathe in it. Grim care, morose- Elocution-MUSIC Languages on Third Cover Page. An“Lj?lZT'Ma™ ibe ™^wSf Pr°ved from the begkning^ihe^zema Also Special Normal Course in Purcell of Cummings is a particularly '* anxiety—all the rust of life-ought portant work, and the Rudall Beethoven is PUBLIC SCHOOL MUSIC a„ be scoured off by the oil of mirth.- Location and surroundings ideal Hair Like This a very excellent biography. The books in Oliver Wendell Holmes. For Catalogue and Circular Address this series sell for $1.00 each. MISS CLARA BAUR, Highland Avenue and Oak Street, CINCINNATI, OHIO Dudley T. Limerick j wm «sS3S£5*b slissc: TI‘e Story of the Carol. Bv Edmond- MTTHnVEN CONSERVATORY s-toune Duncan. Pages 253. Published by ZABEL BROTHERS m WM. CHAS. KEENE, S',“rSLV,S? fr* I he Walter Scott Publishing Company, theWest. Allbranchesofmusictaught. td., London, or Charles Scribner’s Sons, Specially Low Rate! for Beginner. New York, N. Y. Price, $1.25, net. Mu,',T,VS“»t sm?£-St” -** XtS y?JZZ FREE Ha"dsS>«tlro to5trated Catal0BUe MUSIC PRINTERS • * e 9hristnias carol is one of the most THE BROS. EPSTEIN Colnmbla^Ave.^imd Randoiph S‘. a" forms of song, because >r. Taylor. AND ENGRAVERS w tie it has been very carefully fostered Flease mention THE ETUDE when addressing onr advertisers. THE ETUDE THE ETUDE

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