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

3-1-1909 Volume 27, Number 03 (March 1909) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 27, Number 03 (March 1909)." , (1909). https://digitalcommons.gardner-webb.edu/etude/545

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$1.50 per year Theodore Presser, Philadelphia 15c. per copy 145 SIX HAND THE ETUDE

New Publications F THE EDITOR’S COLUMN

MME. MARCELLA SEMBRICH ON “HOW » following ensemble pieces include all FORTUNES ARE WASTED IN The Isle of Jewels 1 Women’s Club Collection s ,Sserin^^fchaTs' W of interest to our readers. VOCAL EDUCATION.” Juvenile Album Part Songs and Choruses st. ard foreign c0Q^p°£f sj/t”sf'VoveftteS are Seated upon a throne on the stage of the ^ OPERETTA FOR YOUNG PEOPLE Price, 35 Cents . bo g “the number? We' shall continue to add A MONTHLY JOURNAL FOR THE MUSICIAN, THE ORDER THE APRIL ISSUE NOW AND Metropolitan Opera House, New York, sur- f FOR THE PIANOFORTE „„?of merit from time lo time until we have Text by JESSICA MOORE J of ci"br cino™‘l'sbandC higS'^chools. It wc MUSIC STUDENT, AND ALL MUSIC LOVERS. avoid disappointment. CARL REINECKE ons?sts of ^interesting and ^ffective^^pait aU1 the desiraWe ^literature ^™llabje rounded by many of the greatest singers of J Music by GEO. L. SPAULDING Edited by JAMES FRANCIS COOKE We regret that so many of our new sub¬ the day, buried in flowers, loving cups and r Price, 75 Cents j, selections will be made on request, Subscription, *1.50 per year. Single Copies, tSCentn. Price. 50 Cents f wTthiee a"ui-’ parts? with and without scribers have been disappointed in not re¬ jeweled tributes and other gifts; confronted | A splendid set of teaching pieces, twenty same liberal discount will be allowed as on in all. bv the veteran composer and teacnor. ceiving the January number. Notwithstand by an audience of over four thousand music , These pieces are qualified to be ranked with One of the. best operetta j;Q 1lhe^ort8ed0in evehry rtyleeandaaeuitahfeefor H our own publications. Schumann's “Album for the' ing printing what we thought was an adequate lovers, all strained to the highest imaginable j delssohn’s “Kinderstdcke and lscnaiaow 6, Christ! Kind’l, Gavotte. $0 75 supply of that issue, we were not prepared £?i?£i:SUemtq,| w£3ch r KrauskOpfchen . 75 enthusiasm, Marcella Sembrich, whom many sk/s Album for the Young.” They are di- i will unquestionably equal, if not suipass, I Remittances should be made by post-office or for the avalanche of subscriptions which have versified in style, melodtcally anil rbye n popularity. The “Isle of Jewels is suit- r ;r, Fanfare Militaire. J money orders, bank check or draft, or registered have called the greatest coloratura soprano ot j ally Interesting, displaying the highest >een specia’llv composed and all’fa%e^ As letter. United States postage stamps are always come to us. It is not possible for us to begin our times, retired on February 6 from her musicians It it) The use of pieces of this ble for production at any season of tne s unquestionably the best collection of the B( nz. Marche Hongroise. 1 25 received for cash. Money sent In letters is dan tine Wlli be followed hy the most gratify¬ ear It1 is easily rehearsed and staged. 1 tind ever offered. -r. gerous,crorniia annd we are not responsible for Its safe subscriptions with either the December or the operatic career amid a scene that has rarely | ing results. They tend to develop taste January issue; both numbers are exhausted. style and musical understanding on the pa t 8 ;&and .V 0'f been equaled in the history of opera. No 1 of The April issue is going to have several spe- singer has made more friends in America and I gotten Pup and'1 substantially bound. ^lleaDadnrrgsnenvlir « ’nge I 1Chronology Musical History £ cial features which will make it sell largely. ire perfect little gems, worthy a place in Price, 25 Cents none has been more admired and respected. j any light* opera. As the characters per¬ The retail price is to be increased, but the sonify various popular jewels, the oppor- This useful little work contains brief B< Consequently we feel grateful to Mme. Sem- number will, of course, be delivered to all sub¬ unities for picturesque staging can readily i ZlTin ‘mus&Sv, °from' t°he lerf you will brich for soaring some of her precious time March Album ie realized. ( Nubscrip- scribers as usual. Don’t delay the sending sarHest times. It willf f°l™ advUreference 01 be printed the dote > which youi on the eve of her departure to give Etude FOR FOUR HANDS fIon in paid up, whlc ■eceipt for of any prospective new subscribers’ names. K’ toQanyemnuaslcal history. It shouldIbe * readers her opinions upon a very important Price, 50 Cents lirard Gavotte ...... MANUSCRIPTS0.—A^°manuscripts ^en^ed for Dubliqaj subject to all students. Hereafter' Mme. Sem¬ Anthem Devotion ; arie, La Cinqunntnine . A compilation, unique of its kind, con- tlon should be addressed to THE ElUUh, ^ The Special Plan mentioned in this column brich will devote her time exclusively to con¬ • • Sercnado Badine . Chestnut Street, and should be written on A collection of anthems^^g^hefirs^pieas-^^ ' Secret . in the February issue for the use of subscrib¬ cert and oratorio. All your musical friends " of the sheet only. Contributions ..c-study are ;H S,!:3™SS.'£ “ffiK mg ’pf>d i, Marche Triomphale • nected —--music-teaching and^ ers only has all of the advantages which we should know about this article, which will marches and grand marches in goodly pro¬ solicited. Those tj ivailnble will be re- portion' All inarch rhythms are exempli- ussian March. claimed for it. It is a plan to induce quick appear as one of the many features of the Keyboard Chart % rom Olden Times. turned. rfous^ijonmosers^'are^ representod^clasTicj Price: Single Copy, postpaid, 25c ADVERTISING RATES will he decision on the part of the prospective new next issue. __ modern and popular. Every “““Lot is a Price, 25 Cents Gc Faust. Fantasy. Forms close on 10th of each month tor tne sue subscriber, repays the subscriber, and with no gem. Tins will prove one of the most use¬ Per Dozen, $1.80 A very useful adjunct in elemental? G, [usarenmarsch . ceedlng month's Issue. ful duet albums ever published. This is the fourth and latest volume of our high¬ THEODORE PRESSER, unpleasant features. . LESCHETIZKY ON “MODERN PIANO¬ ly successful series of anthem collections: venlent6 form,8 'compact ““‘subafanUM apriccietta . 1712 Chestnut St., Philadelphia, Pa. (made of heavy cardboard), yet it serves iallata . Entered at Philadelphia P. O. as Second-class Matter. We have a series of leaflets illustrating all FORTE STUDY.” Model Anthems, Anthem Repertoire, An¬ everv purpose of much larger and moie Haydn, Two Menuets . Well-known Fables Set them Worship. Copyright, 1909, by Theodore Presser Co._ of our premiums which will permit of illus¬ The great teacher of virtuosos tells The These three volumes, appearing in suc¬ Etude readers exclusively in the April special cession during the past few years, nave tration. Book cases, music cabinets, clocks, sold into the thousands. No stronger com¬ lendship Polonaise . chairs, silver, desks, cut glass, leather goods, issue many extremely valuable and important to Music mendation is necessary and no better reason tlon®ss.ir of the keyboard and gives the name of Hi, Rosebud . VOCAL OR INSTRUMENTAL could be given for the appearance of another each key and the notation for the sarni, "is-h vis, Quadrille . etc., etc. Let us send these illustrations to all facts. __' being designed chiefly to te/.c.k the relation- CONTENTS Verses by Jessica Moore of this series. ship between these. In addition there aie H< March . that are interested. Music by Geo. L. Spaulding genera^exceTence of the preceding. "ANTHEM diagrams of note vaiues and^ of^ key ^sig- K , Lustspiel Overture “THE ETUDE” ERNEST SCHELLING ON “HOW TO Price, 50 Cents DEVOTION" Mill contain^numbers^f.orjen.eral good1'advantage as an aid to self-instruc- K ’rom Norway . There is no “clap-trap” about our premiums STUDY A NEW PIECE.” lockenspiel . or premium giving; it is an honest endeavor Mr. Spaulding's work is too well known ibelfeier, Polonaise . What Musical Europe is Thinking^ Dmng, ^ This distinguished American virtuoso and to call for extended comment But tilts are mdodious and singable,, such as^will appeal to particular volume is unlque^oMts kUid.^ it msionatsfreuden, Wo on our part to repay as liberally as we can disciple of Paderewski will give in the next i Fliigelkleide . Touch the Great Essential.^ mowlUrh 15: the recommendation of The Etude by our issue some ideas that will set the teachers and .t the Telephone . . benplaySed°orSsurig,neach piece taking its title Juvenile Song Book The Art of Flexibility.Amy W. Bayg lo subscribers to their pupils and friends. Some pupils of our country thinking. Remember from one of iTCsop’s Fables, each fable hav¬ Price, 75 Cents Sub-conscious Mind in Piano Playing^ ^ ^ ing been versified and set to an appropriate Our endeavor in making up this volume ^ prefer to do this with no return. We prefer that if this issue is exhausted like the January and original melody. The pieces all lie The “Psychological Moment”. Philip Davieson 15 to do our part. The premiums are regular in the first or early second grade, and dis- Important to Organ Teachers and JSf 'CD all Ppun^santoaUw'.’,ich1 Children's H and December issues you will have no other play the same freshness of melody and The Etude Gallery of Celebrated Musicians. 15 stock goods, not those made for premium giv¬ Students songs may be put, and with this end n M Musical Europe of Yesterday and Musical means of securing these epoch making articles. ^^dS'n^lm'honfposer^well-known6 “Tunes view wo have covered , * ^(mgs wef have K America of To-day.W. H. Sherwood lo ing; if any premium is proven in any way un¬ Interesting Stories of Chopins Career...... lb foreCchild'ren,mnoneeof these songs ever hav¬ Two Ways of Looking at it.Anna Piaget lb satisfactory we guarantee to make it good. §*krys ^volume 24 Progressive Studies lor ing appeared in any other collection, a Pocket Technic.. .Frederic S. Law 16 Sample copies for soliciting purposes are free. THE PORTRAIT GALLERY. some form, very clearly engraved and uni¬ number of the songs were specially conn ‘ Hebrides Ov form in general make-up with the other posed or arranged for. this work. All the ‘ Wedding Ma The Music Teacher’s Advantages,^ ^ ^ M If interested in this matter from a business We have decided to continue the “Bio¬ popular volumes by this writer. action songs have complete directions foi the Pipe Organ performance. There are songs for boys, for a Magic Flute, Fanl Bellini, the Genius of Stricken BWly.^ „ point of view it would pay to write for full graphical Portrait Gallery of Celebrated Musi¬ girls, for young children, for larger chi - Magic Flute, Ove: information. cians” as a regular feature of The Etude. By GEORGE E, WHITING dren The text throughout is bright and New Songs Without interesting, the music melodious and spark- C g* CHTdUeofla°uL^.bVt^Th^ « means of this you will receive, in addition to Price, $1.25 Alpine Glow Self-help Notes on Etude Music,^ ^ 0„w lf FOR YOUR FLOWER GARDEN. the regular features of The Etude, “biograph¬ This volume is ^destined t0y becom^a easy and^effective. accoml>anlments « Three Sister Words Arrival of t Teachers’ Round Table... . ---N. J. Corey U Brighten up the garden by planting flowers. ical portraits” of seventy-two of the great mu¬ FOR THE PIANOFORTE have passed the elementary stages of organ Some Helpful Teaching Questions^ Anjweml,^ ^ The Etude has completed arrangements sicians of the present and the past, which, if . study. For the development of modern Preparatory to those of Mendelssohn1 technic and the tone organ style nothing Standard Compositions j The Use of the Sound Reproducing Machine . 1! whereby it is possible to make the following made into a scrap-book, will provide you with a RICHARD FERBER finer has ever been offered. Those having The Force of Habit...... Fay Ammons Dims exceptional offers of Flower Seeds and Bulbs very desirable little volume. There is no such a fairly good piano technic may take up FOR THE PIANO The Importance of Accents, Rhythm and Price, 75 Cents these studies after completing the usual Vol 1—First Grade Vol. III—Third Grade ] 1 75 Phrasing .Thomas J. Lennon 1! in connection with a subscription to The work in print, and there is no way in which This volume is of rare educational im - preliminary drill in pedal work and the[ Vol! II—Second Grade Vol. IV—Fourth Grade Voice Department ... Etude. The seeds and bulbs are all guar¬ you could obtain these pictures and biographies f independence of hands and feet. Hence, 1 00 Vocal Teaching Then and Now,^ portanee, consisting of a beautiful set 0:e this volume may be used to follow any ele- Price 50 Cents Each Frank J. Benedict 1! anteed to be fresh and of the best quality. except through purchasing several different modern lyrics (fifteen in number) for tin - mentarv organ book, such as Stainer £ Sandrd, Marche do Fete. 1 25 Voice Training in Chorus Choirs, pianoforte, which, in addition to being un Graded and Compiled by “ Bleue Matinfe. Collection I. Flower Seeds. books at a very considerable expense. In this usually interesting and attractive in them - “The Organ” or Rogers’ “Graded Mater r ials." Mr. Whiting's ability as a composei W. S. B. MATHEWS Scharwenka, Polish Dance . Organ Department .■ ■ • .. 21 connection we desire to note that Mme. Reives, may be used as a preparation fo SuppS, Boccaccio, Fantasy. One packet of each of the following: the "Bong's Without Words" of Mendels i- and player and his long teaching experienci - The first four volumes of this series are now Success with a Volunteer 0*°“^ mle pilce 2i Eames’ parents were not missionaries in solin and for other classical works of simii- render him particularly fitted for the prep Spindler, Waltz . Semple’s Choice Mixed Branching Asters, “ Charge of the Hussars. The Crescendo Pedal.Bene I. Wilkins 2 China, as stated in last month’s issue. Her inr grade and scope. These pieces are al 1 aration of a work of this type. Thesis ready. rr^c^n^“m|r“d’nt^[n Mathews’ 'standard Violin Department.Robert Brame 21 Mixed Peony Flowered Poppies, Grandiflora of the earlier grades, easier than those 0,f studies, in addition to their practical edu Graded'omrse'and^ill other graded courses. All Schubert, March in D . father was a barrister of note in China, and Mendelssohn. They are all melodious, es :- cational value exemplifying various tech “ March in B minor. Children’s Department Sweet Scented Mignonette, " Choice Mixed nressive and harmonious, well contrasted 1 n nical problems, characteristic passages am My Primary Class. Nasturtiums, Mixed Giant Flowering Cosmos, served both the American and British con¬ rhythm and musical content. The use cif devices in registration, are also original an. Strauss, Radetzky March . Pianoforte Chord Playln » tested in actual teaching and many of them have Streabbog, Op. 100, No. 1, Pas Re¬ .. Awe Galbraith 205 Fine Mixed Phlox, and a large packet of Mixed sular offices. nieces of this character with pupils of iil- unusually interesting, many of them bein; double-; No. 2, Valse; No. termediate grade tends to develop taste an d suitable for use as pieces or voluntaries Publishers’ Notes . Large Flowering Sweet Peas. musical perception. This set should prov e The engraving and printing of this boo 3, Galop: No. 4. Rondo; New Publications . a welcome addition to the teaching repejl*- are of the best and the binding is sut No. 5, Polonaise; No. 6, Answers to Questions . All the above collection and a year’s sub¬ A MUSICAL COMPASS. stantial. * Eaclfvohnne^careiully graded. Boldro . Recital Programs . -83, No. 1, Marche ... 65 What Others Say. scription to “The Etude” for only $i.6o. “A ship without a compass” is a ship in . *4 Op. 183, No. 2, Valse _ 65 Tolstoy as a Musician.. “ Op. 75, March . 60 Collection II. A Gladioli Bed. danger. Most pupils practice without any IN PRESS Thuillier, Day in Seville. 1 40 Twelve Superb New Hybrid Gladioli Bulbs, definite chart by which to guide their courses. SEND FOR BULLETIN “ Feast of the Rose. 75 Pieces Parents Like. . FOR SALE AT LOW ADVANCE PIRICES Tutschek, Fruhlingsmarsch . 75 Assorted Colors. Accordingly, we have asked many of the The Blooms are very large and have a won¬ BOOT, F. W., Guide for the Male Voice. STANDARD COMPOSITIONS FOR PIAN( 3. PRIMER OF FACTS ABOUT MUSIC. Verdi, Aida, ^Triumphal March . ^ 00 most successful teachers of our country, and Questions and Answers. M. G. Evans. derful range of color. The bulbs are large, also some noted virtuosos, to give us ten rules LANDON & BATCHELLOR, ICindergartt'n Grade V. FOUR-HAND MISCELLANY FOR CON- Voyd, Roses of Spring.'. . ! ! 1_ 90 Golden Meadows.R. 8. Morrison 1< Method for Teacher and Pupils. FIRST GRADE STUDIES FOR PIAN< J- CERT AND HOME. Echoes from the Lagoon.G. Koellmg 1 fresh and of the finest quality. or suggestions for practice. These rules are LITTLE FUGUES FOR PIANO. J. S. Wollenbaupt, Grand Galop Brillante... . 1 00 Return from the Hunt (4 hands), SACRED SONGS, High Voice. L. A. Bugbee. Zapff, Little Musician . 75 Eugene Jambor 1 This collection and a year’s subscription to intended to indicate the most essential con¬ SACRED SONGS, Low Voice. TWELVE SHORT MELODIOUS PIECE;s littlePpreludes AND FUGUES FOR Dance at the Inn (4 hands). .Eugene Jambor 1' “The Etude” for only $1.75. ditions which should govern the pupil’s work >1- FOR YOUNG PLAYERS, for tl m PIANO. J. S. Bach. Send for Lists of Music for ORGAN REPERTOIRE. Pipe Organ C< Slow Movement from “Moonlight Sonata. Collection III. Summer Flowering Bulbs. while at the keyboard. lection. piano. Geza Horvath. MODERN MARCH ALBUM FOR PIANO. Two Pianos, Eight Hands L. Van Beethoven 1 Two Pianos, Four Hands Merry Lads and Lassies. E. L. Sanford J Three Tuberous Rooted Begonias, Assorted Mrs. Bloomfield-Zeisler, Miss Amy Fay, Psyche .■. Mr. B. J. Lang, Mr. Win.’ H. Sherwood, Mr. One, Two and Three Pianos First Mazurka. .-Saens 11 Colors; 3 Dwarf French Cannes, Assorted In the Gypsies’ Tent. .Marie Crosby II Colors; 4 Mammoth Pearl Tuberoses; 2 Summer E. Liebling, Mr. Perlee V. Jervis, Mr. E. R. At Flood Tide. ..../, Schytte II Kroeger, Mr. J. Hattsteadt, Mr. Chhrles H. In the Rose Arbor. .A. Jacket II Flowering Oxalis. THEODORE PRESSER Dance Rococo. .A. G. Steiner II This collection of 12 bulbs and a year’s sub¬ Watt, and many others, have signified their THEO. PRESSER, Philadelphia, Pa. VFestal March (Pipe OrganI... . E. R. Kroeger 11 1712 Chestnut St., Phila., Pa. Mazurka (Violin and Plano). . E. Mlynarski II scription to “The Etude” for only $1.80. intention of taking part in this symposium, A Dutch Lullaby (Vocal)...... rt. m: stun* i Add 25 cents to all of these offers for each which promises to be the most interesting and Speak, Speak, Again (Vocal) ....(?. Minctti H | M Hk | are noted for Purity, Power, and Resonance of Tone; Respon- Canadian subscription. profitable we have ever undertaken. | M I vl O siveness of Touch, Unsurpassed Construction, Workmanship, STRICH & ZEIDLER _ and Excellence; and New Artistic Designs of Cases. Manufacturers of Artistic Grand and Upright Pianos. 132d Street and Alexander Avenue, NEW YORK m THE ETUDE when addressin THE ETUDE THE ETUDE 147

SPECIALPnFMHI Beautiful Elite Edilionsai FIFTEEN CENTS EACIIi 8 fur ONE DOLLAR TO ETUDE READERS NEW PUBLIC! SACRED The Homeward Way (Jessie Olhvier) 2 GREATEST REDUCTIONS keys,Vio. Obi. Special Nearer, My God, to Thee (Jessie Ollivier). The Shepherd King (Oscar Verne) 3 keys. EVER MADE ON Rise to All Eternity ( F. C. Hayes). To In the Great Somewhere (Paul Dresser). By the Man Who Taught MARCELLA SEMBRICH Bethlehem E. T. Pauli Music Co.’s Readers Show Me the Way “ “ New Dance Music for Piano Solo God’s Incarnate Son (Henry Van Rensse¬ Best Publications The Technics of Bel Canto of THE laer, S.J.). Gabriel Allier, Les Idoles (Idols of the Heart), Waltz.75c EASTER ANTHEMS Graceful in style and conception ; fine rhythm. ETUDE Why Seek Ye Here the Living? 28 Magnificent Marches Bv G. B. LAMPERTI Hail to the Risen King. J. B. Boldi, Chanson Bohdmienne, Intermezzo-Valse.60c with the Collaboration of CLASSICAL Nothing Better Published Clock of the Universe, 3 Keys. The most spontaneous and characteristic Gypsy Waltz. MAXIMILIAN HEIDRICH want every teache »fgood ith the The Spy, 2 keys, Bass and Baritone. SMt^ofthei&htBrigade!!!!?. ””"”50o Enrico Caruso and R. Barthelemy, Adorables Tourments (Love's Translated from the German by >f Mr. Sydney_is. P.H£ Mr. The Butterflies’ Wedding (Guy Standing). America Forever March. E. T. Pauli's great march..50c is forceful, dainty Torments), Valse .75c DR. TH. BAKER I Love You for Yourself Alone, 3 keys. The Curse of the Dreamer (Paul Dresser). lee'pjdace March'WlStep? Bright* and“illSntisOe The reigning success of London, Paris and along the Flexible Cloth : Price, $ 1 - 25, Net Romance—Piano Solo, Gr, 4| Key D flat, Davy Jones, Bass Solo. Riviera. The biggest hit since the “Merry Widow “ -Violin and Piano “D ’Mid the Corals at the Bottom of the Sea, —String Orchestra “ D 1 Waltz." As a song it is a favorite number on G. B. Lamberti is one of the most distinguished of Italian singing Bass. Mr. Caruso's programs. teachers, one of the few who has kept and who has been able successfully For Love of You, 2 keys. to impart the true traditions of theold Italian “bel canto." In the Afterwhile (R. J. Jose). Emile Delmas, Valse Frivole.75c She Was A Soldier’s Sweetheart (Church). How he has done this is most delightfully in evidence in the singing A little Waltz of careless and unconcerned gayety of mood. Across the Bar (Hoyt) Baritone Solo. of his distinguished pupil, Mme. Marcella Sembrich, to whom this An Old Fashioned Couple. E. Launay, Elle est charmante (She is Lovely), Valse Boston . . . 60c book is dedicated. I’ve Grown So Used to You (Thurland A langorous French Waltz of immensely captivating swing. Chattaway). It is written in a brief, concise style, with abundance ot illustrations ThlSSSKilS March."A sptda/iStSduc'tion.!! and exercises in musical notation. Breathing, tone attack and reso¬ Brehm’s Monthly Bargain INSTRUMENTAL Alex. Maitinsky, Les Charmeuses (The Charmers), Valse.75c Soul of the Rose Waltzes. The BuriVfn^of1^* t, A Waltz embodying alluring melody, elegant facility nance, blending of the registers, vocal agility (coloratura), the trill, PHom&*lwSjI^m^LMrKoseeofS°ihmM Majeste Schottische (Pauline Story). Black Jot, SearerMy God]to Tlice.^Jo^furt 1 of style and genuine swing of rhythm. sustained tones and “ messa di voce” and the portamento are among My Lady Faire Waltzes (B. H. Jannssen). the headings treated. More Love to^Thee—Saered. Beautiful melody,^ The Proposal (Caprice by Chas. Miller). Armand Tedesco, La D'butante, Valse langoureuse •. 75c An important chapter is entitled, “Observations on Change of Daisy Doyle. A pretty melody on the Irish order. A Wanderer’s Dream (A reverie by Alfred SEE OUR SPECIAL PRICES The catchiest French “Valse lente" that has appeared Complete copies for sale everywhere. If Solman). Any single copy, 20c.; any 4 copies, 6< Register.” Special characteristics of the different voices are discussed, your music dealer should be temporarily out of In the Days of Love and Roses. I with advice for each. any of the above compositions, order from the any 6 copies, 80c.; any 8 copies, $1.00 publishers direct. Price, 25c per copy. Mn iled Babbie Waltzes. you mention THE ETUDE, and yourmoi to any address, postpaid. Special rates to Battle of Manilla (Eduard Holst). back. If not more than satisfactory. WILL BE SENT FOR EXAMINATION The Comprehensive Scale Meeting of the Blue and Gray (Theo. and Arpeggio Manual Morse). Dance of the Meteors. Psyche Waltzes. Walter Macfarren, Price, $1.50 Bunch of Rags. The Sydney P. Harris Co. This is the most con At a Ragtime Reception. DETROIT, MICH. E.T.PAUU MUSIC tO.”, the scales, major and i full, and in all their vai.u fingering. In addition SOMETHING NEW Sent for Examination NEW SONGS O’Neill’s Irish Music Skillfully harmonized for the piano VS, Thos. Moore ... by Drofya 250 Airs, Marches, Jigs, Reels, Hornpipes,etc ANTHEM Sheet Music Form NIECKS chords in various forms. The work is hand¬ ooco me above in two keys for high or low voice. lone of them included in Moore’s Melodies somely engraved^on extra^large sized plates, ONLY ASLEEP, aacred - - by Gannett Hay ford Nothing Like This Ever Published Every choir singer should have it. Solo or duet. Price, postpaid, strong paper cover, - $1.50 and students prefer 'a substantial volume of SlnSrio“fu„W^apsB)“ P°StPOi11S5° f copies of each of these works have been sold This music will be sent on approval to anybody any¬ OF THE COMPOSER “WHEN I AWAKE” within the last few years. where. Your regular discount allowed, IV. Scales and Various Exercises ha tbr e be t I "•* ,MISS THEf’ LOREE” “ ’ collections are ar- for the Voice. Op. 27 - 60c difficulty. Among plus postage. yno or Baritone^ “ONT SWEET ROSE” will be'lhe 1 Schnecke V. Twelve Analytical Studies. izs, lieinei, j'- " Op. 20 - - - $1.00

THE ETUDE 148 PRACTICAL IMPORTANT TEACHING HELPS Kindergarten Method of Music PUBLICATIONS FREE TO A Handy Pocket Ledger BOOSEY & CO.’S Firstst Studies in Reading, Rhythm The John Church Company “ONEONTA” TEACHERS For Keeping Correct Accounts With Pupils, d Expression for the Pianoforte By CHARLES W. LANDON and DANIEL BATCHELLOR _ An Invaluable Time Saver. and BRown CINCINNATI NEW YORK CHICAGO book for beginners, giving special ... ._ji the above COMPLIMENTARY upon receipt of TEN (10) CENTS to aiivntion to foundation work, correct NEVIN’S SONGS WITHOUT WORDS New fingering, equal facility in reading and A Complete, Concise Treatise on the Teaching of Music to playing -vith either band from both FOR PIANO SOLO clefs, a clear knowledge of note and Young Children, The Result of Years of Actual Experience in The Favorite Songs of Ethelbert Nevln THE DYING SHEPHERD rest time-v right forming of tbe Transcribed for Piano by band, and the Daily Teaching of Little Folks. CHARLES GILBERT SPROSS Price, $1.C By the famous EDUARD HOLST Easter Music Nevin is here revealed in a newform This is the first work published with which the music teacher can do A bright, catchy little intermezzo that _ Writing Books for Music Pupils by a series of transcriptions of his ex¬ everybody. The melodies are pretty through¬ ByCHAS. W. LANDON kindergarten work; the first published book where kindergarten principles quisite songs made in a masterly and out, and it is equally good for teaching or danc¬ appreciative manner and depicting pict¬ ing Specia^price^unti^March zsth^^. lOc. i... >■’« r.«...... »■». »•'*<■""— for Acquiring a Knowledge ,f Musica have been scientifically applied to music for the use of the young child. ures with mood, color and sentiment, Notation {hat date.’ Order now. to » person. This offer for a limitet This work is a This method is a great work, far in advance of the “ Songs and perfect in each case, and each one in SOLOS I in this turn beingabsolutelyuniqueand utterly POPULAR INSTRUMENTAL PIECES M. W1TMARK & SONS anything heretofor line. It abounds in „— ;-p------Games” in vogue. All methods have been carefully investigated and this unlike any other, even from the same DEP’T T 48 WITMARK BUILDING, NEW YORK features. Any pupil who faithfully Jf'sew Knclami lltlclgbrido— lireitl licicrlptlve All in the April Evening works out jjj“ wl" be a ear- work is the result of an experience of twen.y-five years of music and pen. Price, $1.25. kindergarten teaching. This book will place in the hands of the intelligent By J. M. DIACK lines for writing music, Included in KNEISEL COLLECTION music teacher a method whereby the child may receive as solid a founda¬ CARSE TECHNIC FOR PIANOFORTE 2 Keys.Price, 60 cents FOR VIOLIN AND PIANO By Herbert E. Carse tion musically as in any other fundamental branch. The work is emi¬ Selections from the Masters, Old and New An authority and text-book for students and teachers. Edited by FRANZ KNEISEL Finger, hand and arm positions and strokes nently practical, abounding in ingenious devices and games for stimulating ILLUSTRATED BY PHOTOGRAPHS and accurately 0 Blest Redeemer Ear Training A notable issue for violinists are these ARTHUR E. HEACOX the interest of children. really superb books, a gathering into described. Endorsed by many of the greatest tone By E. NEWTON - -1-- the me.. pianists. Price $2.00 postpaid to any address No teacher can afford to be without this book. It will make her serv¬ practical and permanent form of Vio¬ CARSE TECHNIC PUB. CO., Los Angeles, Cal. 4 Keys.Price, 75 cents the foundation of the very structure lin Masterpieces, some old, some of all musical education. Ibis work ices more valuable, it will increase the breadth of her work and thus modern, some familiar, others rare. begins with the elementary stage, and proceeds by gradual steps to the higher increase her earning power. It will start a beginner’s class much earlier The present collection includes com¬ PRESERVE YOUR COPIES OF THE ETUDE Crown of the Hill cultivation of the ear. positions by Bach, Bazzini, Beethoven, YOUTHFUL DIVERSION Mr. Heacox has been teaching this than is now possible. The result will be in every way to the music Brahms, Godard, Goldmark, Guiraud, THE ETUDE BINDER By R. SHAW branch for many years, so that the FOR THE PIANOFORTE system has been thoroughly tested in teacher’s advantage. Handel, Hubay, Joachim, Lalo, Laub, Introducing Well-known Children’s Melodies It is simple but complete, cheap but 3 Keys.Price. 60 cents Lauterbaeh, Locatelli, Lully, Paganini, GEO. L. SPAULDING durable, and beautiful in appearance practical ever.v-day teaching. It has a solid wooden back, which al¬ Price, 75 cents_ Renard, Saint-Saens, Sarasate, Schu¬ ways keeps it in shape, and it does not AHvarirP OffPT* The work will be out during the Winter. It is an expen- bert, Senaille, Spohr, Tartini, T enagha, mutilate the contents. Landon’s Reed Organ Method AUVdlllC LU1C1 . siye book to produce and necessarily voluminous. But, Tschaikowski, Vieuxtemps, Veracini. in the V The copies are instantly but securely The Easter Morn bound by the thin slats which run *he The method is superior In many in accordance with our regular practice, we now offer it at the low introductory rate In their scope, adaptability and au¬ By S. COLERIDGE practical points. It is carefully graded; of $1.00. When the book is out, double this amount will not buy it, so order now. melody as its middle theme, its usual text being length of the periodical, and yet can be everything is fully, clearly and concise¬ thoritative editing, the Kneisel Folios KONINSKY MUSIC CO. printed with the melody. It may be regarded removed at pleasure. TAYLOR Each Binder holds twelve copies, or a ly explained and illustrated. The book are the best collection seen for many a treats the reed organ as a reed organ ; day. This is the first time that Mr. "Tunes and Rhymes for the Playroom,” and it full year’s subscription, of The Etude. 3 Keys.Price, 75 cents the music all being arranged on that may be used in the early second grade. Price, postpaid, $1.00 basis. Many new and charming effects Kneisel has lent his name to any line Young pupils especially will be delighted are shown. Every piece is fully an¬ THEODORE PRESSER of work far-reaching in its teaching and instruct both young and old. notated, fingered intelligently, effective¬ import. His long career as an artist, Easter=Tide ly phrased and the expression indicated. 1712 THEO. PRESSER, lr,a CHESTNUT STREET PHILADELPHIA teacher, soloist and quartet player fits By S. LIDDLE Price, $1.50 him especially to give to this present 4 Keys.Price, 60 cents Childhood Days work apeculiarand lasting value. The Instructive Pieces for Four ids student of the Kneisel collections starts HANS HARTHAN By A. K. VIRGIL: out confident that the editor speaks Resurrexit A duet album for beginners, with authority. TEACHERS!! TEACHERS ! 1 work is divided into two. portions>ortions: ^in Close attention has been given to By F. PAOLO TOSTI the first part, the pupil plays Primo; in the scsecond —J part,£ the Secondo. asVir^il Method—Foundation Exercises every detailof fingering, bowing, phras¬ 4 Keys.Price, 75 cents The pupil ’ familiarized with ing and to book-making, presenting a SCHOOLS. CONVENTS. AND CONSERVATORIES OF The terial is most at- series alike artistic and durable. IN THREE VOLUMES, EACH $1.00 The Resurrection Morn BOOKS I and II, Each $3.00; Cloth 25 cts. Extra By P. RODNEY The Pedals of the Pianoforte STEP BY STEP—A Text Book in Piano Playing for Teachers, HANS SCHMITT 3 Keys.Price, 75 cents This is a most important work, ex¬ Players and Students. Price $2.00 MUSIC haustive and instructive. There are VIOLIN AND PIANO pedal effects pointed EDUCATION IN MUSIC—A Book for Teachers. Price 25 cts. By T. ADAMOWSKI ARE SUPPLIED WITH EVERYTHING NEEDED IN THEIR WORK which are - average pi In this suite the author achieved the the Englis Address 1002 Flatiron Building, NEW YORK happiest expression of his genius. The PROMPTLY — ECONOMICALLY - SATISFACTORILY ANTHEMS music has the sparkle and the thrill, all mingled in an infinite charm, mak¬ Lessons in Musical History ing an impression of lasting sweetness By THEO. PRESSER., PHILADELPHIA. PA. JOHN COMFORT FILLMORE Anthem Magazines ^Volunteer Choirs A comprehensive outline of musical and pleasure. While it is daring to The unique but reasonable methods of the music history from the beginning of the say that this new arrangement lends a years as a publisher, have revolutionized 0 Blest Redeemer Christian era to the pr ‘ ~ new freshness, vigor and fervor to the rn.usic-dea.ling trade. pecially designed for the e of schools E CHOIR LEADER”—the best for supply house of THEO. PRESSER, the out¬ M. S. or B. Solo and Chorus. and literary institutions. this charming suite, it is ever an ex¬ By E. NEWTON The work has been adopted as a pression of the graceful beauty and growth of his intimate knowledge a3 a teacher It will pay every one interested in any manner to standard in many important schools E CHOIR HERALD”—the best for investigate at first hand the liberal system and Price, 15 cents and conservatories. harmonic charm of the original. of their needs, and perfected during twenty policy followed by this house in its efforts to— Price, $1.50 THE LORENZ PUBLISHING CC PRICE, $1.25 Publish Modern Teaching Material; Resurrexit A System of Teaching Harmony CLASSICS FOR THE YOUNG HUGH A. CLARKE, MUS. DOC. Simplified Transcriptions of the To Give the Best Discounts Possible in Every Case; S. Solo and Chorus. The object kept in view is how to To Allow the Most Satisfactory Terms; enable the pupil to grasp, in the easiest, Twilight Murmurings Favorite Compositions of the Great Masters By F. PAOLO TOSTI most interesting and comprehensible New dainty Reverie for piano by H. E, Schultz, Carefully Fingered and Phrased To Carry a Stock (no matter where published, or by whom) that will way, the mass of facts and rules which the clever writer of Halcyon March. Ask your Price, 15 cents make up the art of harmony. dealer, or sent you direct for ten two cent By PAUL FELIX Contain Everything of Value to Music Teachers and Students- and FOR CLASS OR SELF-INSTRUCTION stamps by In Two Vols.-one for Plano Solo, one for Four Hands Thus to Aid the Cause of Musical Education and lighten the labors of its followers. Price, $1.25 EBERLE MUSIC CO. This collection has been made for In the new building, 1712-1714 Chestnut Street, Philadelphia, Pa„ lately purchased and a r The Resurrection Morn Key to Harmony, Price 50 cents 86 West Avenue BUFFALO, N. Y. the purpose of helping the young stu¬ Bar. or Cont. Solo and Chorus. dent to approach the works of the cannot P‘anned “d stocked "eryt&fg needed in woVk.we Counterpoint Strict and Free ■ great masters in a practical way. Com¬ By P. RODNEY HUGH A. CLARKE, MUS. DOC. Dr. Clarke has based this work on ‘HAPPY LAND” positions have been selected—the fa¬ Price, 15 cents the plan used in his very successful The most famous march by Jos. Thome. vorite Beethoven and Mozart Sonatas, Equipped to Supply Every Teacher and School of Music in this Country and Can text-book on Harmony, and aimed to No matter how small or how large the trade, with everything needed. ^ *nada make the instruction practical in its the Chopin Dance Forms, the choice Mendelssohn numbers; in fact, the THE ON SALE PLAN (original with us) is arranged and carried out on a far mom rtuarot v • .. , . application to modem music. Unlike Why Seek Ye? the older works on the subject, strict »r dealer onreceiptof 15cQ for* the nextSOd"1*0 ^teacher best things from Bach to Schumann- - - - « and advantages derived from this p.an, andTe eamo i^a, °' We wii, counterpoint is not dwelt upon almost orders elsewhere. counts, even if they desiro to Dlac« th.;. _ By A. F. ANDREWS exclusively, but modern free counter¬ JOS. THOME, 29 Springfield Ave., HE1VARK, H. 1. that are frequently heard in concert u point is made the subject of exhaust¬ in recital. These have been carefully All Orders. Large or Small, receive the same AttvWi^ Price, 20 cents ive study and its relation to modern simplified in such a manner that the harmony clearly indicated. All Orders are Attended to on the Day they are Re~^i^dl ZABEL BROTHERS essential features of the original have Price, $1.00 been retained, but arranged within the OUR SYSTEM OF DEALING; OUR MANY CATALOGUES. ARC ALL FBFr r, Mail orders solicited and'.filled to .11 pan possibilities of small hands and early SEND A TRIAL ORDER AND ASK FOR OUR PLANS AND CATALOGUES, A Published by the country. Any ofour wor_ music study. The books present, in a on inspection to responsible persons MUSIC PRINTERS concise and practical way, the beauties THEO. PRESSER ■ Philadelphia, Pa. of the classic school. BOOSEY & CO. AND ENGRAVERS PRICE, EACH, SO CENTS Please mention THE ETUDE w! n addressing our advertisers. 150 T HE ETUDE SUCCESSFUL WORKS FOR TEACHERS B mm *or Future Use as Text Books Sent Upon Examination, Profitable to Peruse with a View to Present

The Standard Text-book on the Subject Comprehensive-Concise-Praotical SELECTEE) *‘‘CZE RN^ ES A COMPLETE Revised, Edited and FmgeredjWUh^Copious "notations. gQ CENTS each HISTORY OF MUSIC IN THREE BOO noteworthyAddition to the technical literature of the pianoforte. By W. J. BALTZELL A valuable and no 7 sjftjJr and careful selection of material from the en- PRICE, SI.75 PER COPY 560 Pages Brought up to 1908 Contributed Chapters by Dr. H. A. Clarke, University of Pennsylvania; Mr. Clarence G. Hamilton, Wellesley College; Mr. Arthur L. Judson, Denison Uni¬ versity ; Mr. E. B. Hill and Mr. Arthur Elson, Boston ; Mr. F. S. Law and Mr. Preston Ware Orem, Philadelphia, teachers and writers of experience and authority in subjects connecied with the history of music. in PICzerny’Tmastery^f^te'chni^il'deta^and his mastery of musical expression are FOR THE TEACHER*STUDENT S. LOVER OF MUSIC The plan of the book centers attention upon the evolution of music ; every great truly remarkable. The object of this present compilation is m present h.s very best master being placed according to his contribution to the art and his influence on sub¬ studies in attractive and convenient form for general use. The success of this work sequent development, the aim being to present an accurate and faithful record of the facts has been of the most flattering character. It is the best work of the kind ever offered. essential to u good understanding of the growth of ancient, classical and modern music. It is printed from beautifully engraved special plates, and substantially and thoroughly THEO. PRESSER, PUBLISHER PHILADELPHIA, PENNA. Adopted by leading schools, colleges and conservatories of music. bound in heavy paper. ~—-T.

A COMPLETE MODERN COURSE IN HARMONY FTER the failure of a recent comic opera, a TECHNIC AND ART OF SINGING YOUNG LADY in the graduating class of a never knew of any woman who applied higher A A Complete System of Education In Singing on Scientific Methods for Use in Private AND COUNTERPOINT A mathematics to her domestic life. Thousands of prominent manager said: “The people don’t Instruction and In Classes or for Self Study metropolitan high school was recently over¬ A System of Teaching HARMONY heard saying: “I am one of two girls who women find in music veritable El Dorados of do¬ want music, they want tunes.” In this par¬ By FREDERIC W. ROOT The Standard Text-Book of Musical Theory 1. Methodlce^Slght Singing. Op. 21 have attempted to keep up piano study during the mestic happiness. ticular case the composer had attempted to conceal By HUGH A. CLARKE, Mus. Doc. last year. All the other girls have been obliged to Provision should be made in our school courses by means of technical skill and ability in instru¬ of University of Pennsylvania which would permit students who desire to study mentation his lack of proficiency in the simple yet The object kept in view is how to enable the pupil to grasp, in the easiest, most interesting and drop out owing to the amount of home work we are II. Introductory Lessonsin Voice Culture. ' Op.’22 ’.'.'.'.’.'.$1 .o'o required to prepare each night.” We have no doubt music to have sufficient time to practice success¬ rare art of making really effective melodies. A 111. Sixty-ejioht Exercises in the Synthetic Method. Op. 28. (The General Principle comprehensible way, the mass of facts and rules which make up the art of harmony. of Vocalization).. For Class or Self-instruction PRICE, $1.25 Key to Harmony-Prloe, 50c that this same condition prevails in other American fully. In some of the high schools in the South melody is a jewel, the harmonic, contrapuntal or IV. Thirty-two Song Studies.. this has already been done. If it were possible to .. For high compass. Op. 24. For medium compass. Op. 25. For lower compass. Op. 26. cities. The result is that one of the most charming orchestral elaboration only the setting for the jewel. V. Scales and Various Exercises. Op. 27 . .60 COUNTERPOINT—Strict and Free arts and one of the most beneficial intellectual stud¬ have the able teachers of music registered by the Berlioz had marvelous skill in instrumentation, but Including Double Counterpoint, Imitation, Canon and Fugue ies is cast aside for certain other studies much less boards of education so that the student could re¬ only comparatively few of his melodies were notably VI. Twelve Analytical Studies. Op. *20 ...... 1 OO ceive credit for the work done in music, another Mr. FREDERIC W. ROOT has prepared a systematic course of educational works in siner»°\ By H. A. CLARKE, Mus. Doc. likely to be of advantage to the pupil in after life. effective. The result is that his music lacks the important step would be made. Perhaps this is a the result of his particularly wide experience in voice culture. These works constitute the only A clear and concise work, thoroughly in accord with^the^practice of modern composition. This The Etude has always advocated higher education charm of his great contemporary, Wagner, whc Utopian hope, but we are optimistic and urge all teachers1 "and man^Ss ruined voicesshoukl result a“d ^ °f thiS COUrse wiU tend to make better PRICE, SI.OO for girls, but we are convinced that a part of that conceived many marvelously beautiful melodies. education should be the study of music—particularly teachers to fight for the recognition of music by Children demand tunes. They are rarely able tc the study of musical masterpieces through the me¬ municipal authorities as it has been recognized by- appreciate odd harmonies and intricate contrapuntal Large Discounts, Easy Terms, the IVIost Liberal On-Sale Plan. Headquarters for Everything In the Line ol Music dium of expressing these masterpieces at the key¬ all great educational philosophers. Important re¬ and Music Books, no Matter Where or by Whom Published forms come slowly but surely. When Sir Thomas elaboration of complicated themes until they have board. had many opportunities to study melodies. In se¬ The reason for this condition is easy to see. In More wrote his “Utopia,” nearly four centuries ago, THEO. PRESSER, PUBL|^EoRRTDE'R?t,:B 1712 Chestnut Street, PHILADELPHIA, PA. lecting teaching pieces always endeavor to secure the days when milady’s education consisted of ac¬ he was bitterly ridiculed. To-day many of the con¬ those with pretty taking melodies. Always put quiring the ability to make wax flowers, crochet ditions which he described in his “impossible com¬ yourself in the child’s place and say, “The melody tidies, embroider hideous mottoes and play “The monwealth” have long since been realized in most Maiden’s Prayer,” “The Battle of Prague” and “Sil¬ of the civilized nations of the world. is to please some one who has not had one-hun¬ very Waves”—educators very justly came to the dredth of my experience. I must not select it solely conclusion that such an education was next to TEACHERS should keep records of lessons lost to please my personal tastes but to develop the worthless. Consequently they decided upon a during the season. One teacher of our ac¬ child’s musical taste.” If you follow this plan you newer and better education that was to include some quaintance tried this plan. She kept a care¬ will be richly repaid in interest and industry. knowledge of what men have done in the world ful account of the number of absences and was (history), how they have chosen to express them¬ surprised to find that at the end of four months they WHAT is the sweetest music in all the world? selves in words (languages, composition and rhet¬ reached the following number: Who knows? Does not the answer depend oric), how they have measured things (mathe¬ Due to sickness . 30 largely upon the audience, the people who matics), and, more than this, something of the world Due to sickness of member of hear the music? The sound of the bagpipe, which itself (physics, chemistry, botany, geography, geol¬ family . 6 brings hysterical delight to the soul of the Scotch¬ ogy, zoology), and perhaps a little information about Out of town . 2 man, shrivels the Frenchman with cacophonic hor¬ the borders of the unknown (astronomy). It is a Religious holidays . 4 ror. Shortly after the recent unthinkable catastro¬ splendid thing to know as much as possible about Truancy . 1 phe in Sicily, the residents of the Italian section all of these things. There is a limit, however, and on the east side of New York City organized a in this utilitarian age it is for our school authori¬ Total . 43 parade of carriages and express wagons for the ties to decide what studies will be of most advantage This covered a period of seventeen weeks, during purpose of gathering money and clothing from the to the pupil in after life. which time the teacher had contracted with her residents of the so-called slums. It was to pass pupils for six hundred and fourteen lessons, or thirty- through a section tenanted with people from every CERTAIN it is, that in the majority of high six periods a week. Thus, seven per cent, of the part of the world. There, huddled in a smaller area schools of our country the study of music is teacher’s income had to be credited to profit and than the Western ranchman would give to one-hun¬ little less than a farce. The same students loss. A merchant would not consider this a large dredth as many cattle, are one million souls, mak¬ who can read Cicero and Homer with credit are percentage, but when one considers the limited in¬ ing a community more like that which surrounded given musical work that is little above the primary comes of some teachers, this becomes a very serious the Tower of Babel than anything the world has grade of difficulty. The studies are made so nu¬ question. The unfortunate thing about it is that in known since that first notable skyscraper failed to merous that it becomes difficult for any but the most most cases the lessons are lost either through the reach the heavens. The procession started, and talented and enthusiastic students to study privately. pupil’s lack of a sense of moral obligation or being an Italian procession it was naturally headed We are thoroughly familiar, for instance, with the through the teacher’s weakness in consenting to be by a band. Everything was in readiness. With the advantages that come from the intellectual training imposed upon. No lessons should be excused ex¬ first note of the National Hymn the whole section that the studies of geometry, algebra and trigo¬ cept those lost through protracted sickness. The was thrown into what can only be described as a nometry afford, although we have duly forgotten teacher agrees to reserve a certain period for the delirium of human generosity. All it needed was almost everything we ever knew about them. pupil, and the pupil agrees to take that period. the music to galvanize them into philanthropists. Nevertheless, we cannot help observing that the There is very little difference between this transac¬ Men stopped in the streets, took off their shoes conscientious student of music of the better kind tion and any other transaction. The law binds the and coats and tossed them into the wagons. From receives an intellectual training quite as desirable as contracting parties to abide by the provisions of a the windows of the grimy tenements came showers that which the student of mathematics obtains. The contract. If you buy theatre tickets and are unable of clothing and money. People of all creeds and mother of the family is not likely to discuss to attend owing to sickness, the manager is not lands—Christians, Jews, Chinese, Syrians—all knew logarithms over the breakfast table, nor is she obliged to refund your money. If you lease a house just what to do as soon as they heard the call of liable to spend the evening solving quadratic equa¬ and do not enter upon the first day of your lease that little band of grief-sricken players. It was tions with her husband. The littlest member of the because you are sick, the landlord does not excuse one of those humanizing episodes in life which El¬ family that dreams off into the nowhere land with you from paying your rent. Why should the teacher bert Hubbard says makes everyone want to talk to the mother’s lullaby is hardly likely to be induced who has reserved a period for you, and possibly lost his neighbor. On through the dav the band played to sleep with a description of the mensuration of another opportunity to sell the same time to an¬ and the people gave and gave and gave. One old regular polyhedrons. We once knew a lady who other, be obliged or even expected to be responsib'e Italian stopped on a street corner and said with a claimed that she made her dresses upon geometrical for the pupil’s irregularities? Teachers should stand tear-choked voice: “Datta da sweetest music in all principles. They looked it. With this exception we firm in this matter. the world.” Perhaps it was. 152 THE ETUDE THE ETUDE 153 tures will be laid to rest. ^ The new cure-all is called WHAT MUSICAL EUROPE IS THINKING and the pupil should listen and watch the teacher. HEN an obscure German humorist named the “notation autonome,” and it is based on the W AND DOING. Then the pupil should be instructed to secure a Raspe wrote, during his exile in England, idea of using twelve signs, one for each note of a masterly libel upon good Baron Mun¬ similar result, and the teacher should persevere until the scale. Pitch (in octaves) and length are to the audible effect is nearly the same. If the pupil, chausen, and thus created the most preposterous BY ARTHUR ELSON. Touch—the Great Essential of Fine Pianoforte Playing be shown by slight variations in the sign. working empirically, does not discover the means liar in all fiction, he at the same time was gifted From an Interview Secured Exclusively for THE ETUDE with leading to this effect, the teacher should call the with the imagination of the poet and the vision of In a late number of Die Musik, Arthur Lieb- SPECULATORS IN RUSSIA. scher writes at some length on Reger’s orchestral pupil’s attention to some of the physical conditions the prophet. Many of his flights of fancy have America is not alone in the proud possession M. OSSIP GABR1LOW1TSCH variations, and finishes by classing them with the leading to the result. If the teacher is unable to been made ridiculous in themselves by the achieve¬ of ticket speculators, for they flourish also in Russia, play well enough to illustrate this, and to secure greatest works of the kind in the musical repertoire. ments of the inventors of our own day. Among according to accounts lately received. St. Peters¬ the right kind of touch from his pupils, he has no Yet the form is not the most satisfactory in the the most amusing tales was that of the postilion burg was recently covered with placards announc¬ business to be a teacher of advanced students. AH who blew into his horn on a very frosty day and world. Beethoven made use of it as a symphonic ing in large letters that Caruso would sing. Nat¬ “No matter how wonderful the pianist’s technic— the theory in the world will never lead to the found, to his amazement, that no sounds were finale, but the last movement of the classical sym¬ urally numerous applications at the box office fol¬ young man, as that is, how rapidly and accurately he can play pas¬ proper results. phony was always an open question; ei •en theJ~'~~ best ;. Petersburg, Februi__ 8, 1878. His sages of extraordinary difficulty, it is quite worth¬ forthcoming. He attempted to execute many of his lowed; but without result. People were politely in¬ t city. His brothers were musi- “Rubinstein paid little or no attention to the favorite tunes, but without success. Finally, in great composers made many experiments ii 1 trying to formed that the seats had been bought up by specu¬ of his brothers. Later less unless hie possesses that control over his touch theory of touch, and, in fact, he frequently stated he ’ was taken to Anton Rubinstein,- -\. arnestly advo- which enables him to interpret the composer’s work digust, he took his horn in the tap-room of the round out the form properly. lators. Nothing daunted, the applicants went to the cated a career ns a virtuoso. Accordingly, ii that he cared little about such things, but who tavern, and hung it upon the wall. The tempera¬ Variatio delectat, says the proverb, but as a general speculators, where they were made to disgorge large class ot Victor Toistoft. at the St Petersburg with the right artistic shading. A fine technic with¬ could hear Rubinstein’s touch without being bene¬ which, at that time, was directed by Rubins IIIs fre- out the requisite touch to liberate the performer’s ture of this room being so much higher than that rule musicians must reverse the saying, There are premiums. quent personal conferences v “ ~ fited. I believe that in teaching touch the teacher of the frosty air outside, the horn soon commenced great examples, to be sure; those of Brahms aic So far, the plot ran along conventional lines. But Immense value to him. T———— — ..—- - artistic intelligence and “soul” is like a gorgeous should first give his model of the touch required and studied with Leschetizsky for a period of two years, chandelier without the lights. Until the lights are to play the music that, according to the cheerful famous, Elgar’s descriptive effects arouse interest new developments soon followed. An announce¬ becoming one of that noted coterie of Leschetizsky pupils and then proceed from this positive ideal, by means ignited all its beauty is obscured in darkness. With old prevaricator, had been frozen in it. What would as well as curiosity, while Tschaikowsky actually ment was made that Caruso could not come; per¬ which has numbered EssipofT, Paderewski. Bloomfleld- of the so-called Socratic method of inducing the Zeisler, Hambourg, Goodson and others. American and an excellent technic and a fine touch, together with the good baron think if he could have seen the composed variations of real and compelling beauty. haps he had never been really engaged. Then the foreign critics have particularly commented upon M. pupil to produce a similar result through repeated a broad musical and general education and artistic modern sound reproducing machine in which his holders of tickets found that the alleged specula¬ Gabrilowitsch’s tonal effects. As this is essentially a mat¬ questions. In this way the pupil will not be obliged For the piano, too, Schumann and Mendelssohn have ter of touch and temperament, we have asked him to give temperament, the young player may be said to be own pretty illusions could be frozen and thawed tors had suddenly disappeared. They could return some of his ideas on this matter In the following inter- to resign his individuality, as would be the case made the variation form famous. But, as a rule, equipped to enter the virtuoso field. out at will? the form itself prevents composers from using their the tickets to the box office, of course, but there if he followed strict technical injunctions and rules. The sound reproducing machine will unquestion¬ best inspiration. There is always the reiteration of they received only the face value, and there was “Modern pianoforte teachers in many instances COMBINING DIFFERENT TOUCHES. STUDENTS SHOULD HEAR VIRTUOSOS. ably be of value in the future work of teachers of wailing and gnashing of teeth for the lost premiums. seem to make deliberate attempts to complicate the the theme, and the necessity for variety of treat¬ “As I have intimated, if the fingers are used ex¬ music, especially voice teachers. What the present very simple matter of touch. In the final analyses “For the same reason it is advisable for the pupil ment too often leads to ingenuity rather than real DE LARA’S “SANGA.” clusively a terribly dry tone must result. The full- use of the machine is must be decided by the in¬ beauty. At the circus we gaze in astonishment at the whole study of touch may be resolved into two to hear many fine pianists. He should never miss dividual teacher. In presenting the views of able the contortionist, but in real life we do not try to De Lara’s “Sanga” seems, to have scored a com¬ means of administering force to the keyboard, i. e., an opportunity to attend the concerts of great voice specialists in this issue upon the subject our imitate him. S.o we marvel at the orchestral tech¬ plete success in Paris. Sanga, the heroine, is loved weight and muscular activity. The amount of pres¬ virtuosos. I can frankly say that I have learned as readers may have an opportunity to consider the nique of the composer as he juggles his theme by Jean, son of old Vigord. They plight their sure brought to bear upon the keys depends upon much from hearing the concerts of great perform¬ various phases of a question which must engage through one change after another, but when the troth in the open air, before a mountain that seems the amount of arm weight and upon the quickness ers as I have from any other source of educational their attention at some time in the future if they exhibition is over we often feel like asking for some to be Sanga’s presiding genius. But Sanga is a with which the muscles of the hand, forearm, full- inspiration. The pupil should listen intelligently arm and back permit the key to be struck. Upon are not already interested in it. real music. Reger is still young enough to have a poor wanderer, and Jean’s father forces him into a and earnestly. When he hears what appeals to him marriage with his rich cousin Lena. In the second these two means of administering force must de¬ future before him, and it is surely to be hoped that as a particularly fine tonal effect, he should en¬ act Sanga, left alone on the mountain, bewails her pend whatever differentiation in dynamic power and THERE has been much concern among the musi¬ his great gifts will manifest themselves in forms deavor to note the means the pianist employs to fate. Darkness falls, and a tempest arises, as if tonal quality the player desires to produce. The produce this effect. cian? of the country who perform in theatre more beautiful than variations. orchestras over the recent abolition of the to show that the mountain has taken her part. The various gradations of tone which the virtuoso’s hand “He must, however, learn to discriminate between and arm are trained to execute are so minute that orchestra in some prominent metropolitan theatres. OLD MASTERS OF THE PIANO. third act shows the marriage feast prepared by affectation or needless movement and the legiti¬ By doing away with the theatre orchestra the man¬ Vigord. Flood and tempest overwhelm the house, it is impossible for me to conceive of a scientific mate means to an end. Consequent, upon a relaxed Dr. ICarl Nef continues his series on old masters instrument or scale to measure them. Physiologists agers save from $250.00 to $300.00 a week. They but Sanga saves Jean. In the fourth act they have full arm is the occasional dropping of the wrist be¬ of the piano, the subject this time being Froberger. have attempted to construct instruments to do this, claim that the standard of orchestral music designed taken refuge on the housetop, where Jean is brought low the level of the keyboard. A few great play¬ There is much valuable material to be found among but little of value has come from such experiments. to accompany theatrical performances has deterior¬ to renew his devotion. But their escape is cut off, ers practice this at a public recital, and lo! and these earlier composers, if one has the time to seek and they finally meet death together in the waters! behold! a veritable cult of “wrist-droppers” arises ated so much during the past ten years that the aver¬ A RIGID ARM UNDESIRABLE. it. The search is necessary, for even with such a age theatre orchestra has become a nuisance. As The plot is well carried out, even though the and we see students raising and lowering the wrist “Only a comparatively few years ago thousands a substitute for orchestral music one New York great man as Alessandro Scarlatti, the works re¬ action of the mountain may brand the librettist as with exaggerated mechanical stiffness and entirely main largely in manuscript. But the effort is worth something of a nature faker. The music is good of teachers were insisting upon having their pupils ignoring the important end in which this wrist drop¬ manager has installed a series of beautiful Oriental while, as Paderewski’s programs have shown. throughout, and at all times well adapted to its keep the arms in a still, even rigid, condition during ping was only an incident. temple gongs. With certain mediaeval dramas these Not the least interesting of the old works are subject. practice. This naturally resulted in the stiffest might be consistent and effective, but when heard imaginable kind of a touch, and likewise in a METHODS, AND STILL MORE METHODS. with a rural American play produced last winter, the little tone pictures which it was the fashion for every composer to write. Their naive imitations mechanical style of playing that made what has “I am continually amused at the thousand and one could not help feeling that a cow-bell would come to be known in later days as ‘tone color’ and suggestions are not without effect even now, Among musical novelties, the list is headed by a one different ways of striking the keys that teach¬ be more significant. impossible. and an interesting program can be made by con¬ gentleman named Mozart. This person, It seems, ers devise and then attach with the label ‘method.’ The incidental music written to accompany great “At this day the finger touch as it was formerly trasting them with more modern instances, such as indulged In the habit of giving concert tours In his These varied contortions are, after all, largely a dramas has become a part of the teaching repertoires known has almost gone out of existence. By finger early youth, with his father as manager. On one matter of vision, and have little effect upon the of thousands of teachers. In reference to this class the “Songs Without Words,” Grieg’s “Lyric Pieces,” touch I refer to the old custom of holding the hand occasion his father was sick, and he filled in the real musical results that the composition demands. of music The Dominant states: or the “Stimmungsbilder” of Strauss. In France and forearm almost rigid and depending upon the time by writing original compositions in an album. Touch, as I have previously said, all comes down “Mr Belasco, with many others of similar tem¬ Rameau and Couperin stand at the head of the’ muscular strength of the fingers for all tonal effects. his album was in the collection given to the to the question of the degree of weight applied to perament, and other persons of intelligence and re¬ school. Their little sketches are always interest- In fact, I so rarely employ the finger touch, except emperor by Ernst von Mendelssohn, and the works the keyboard and the degree of quickness with finement, have, no doubt, long felt that the class of ing, and often decidedly humorous, Rameau’s “La in combination with the arm touch, that it is almost are now published. They contain minuets, adagios, which it is applied. In rapid octave and staccato music rendered by theatre orchestras is, as a rule, Poule” being an excellent example. Froberger, too an insignificant factor as far as my own playing is passages the hand touch is largely used. This is out of harmony with the play. Hence an incongru¬ in Germany was not without a well-marked sense concerned. By this the reader must not think that of6eS 3nd a fUgUC’ a" WHtten 3t thC matUre 3ge the touch most dependent upon local muscular ous element, that, failing persuasive efforts, could of humor. He would compose or improvise comic the training of the fingers, and particularly the finger activity. Aside from this the combination of only be remedied by drastic action. The late Sir fantasias, such as an account of a trip from Dover Brahms, too, earns mention through the discovery tips, is to be neglected. But this training, to my Henry Irving, Mansfield and some actors of prom¬ ot a new setting of his “Regenlied,” differing from mind, is not so much a matter of acquiring digital muscular and weight touch should almost in¬ to Calais, with suggestions of the seasickness of the variably obtain. inence still amongst us, appreciating the incon- passengers, and subsequent misadventures in a res Jose aV^ ,n ^ opl,s 59- Reger is to com- strength to produce force as to accustom the fingers congruity, had music specially composed for their taurant The style lasted till the time of Bach" T Ees.thym.nus fOT the fifth centenary of the to strike the notes with the greatest possible Ossip Gabrilowitsch. DON’T NEGLECT EAR TRAINING. plays, such as would sustain the atmospheric effect tion of AJnpVeRS'T ,Dresde" witnessed the produc- accuracy and speed. This belongs rather to the and be thoroughly in harmony with their senti¬ Brntdf »C-aPriCC.|° °n the DeP^ture of a Beloved TAu- i Boehm s symphonic poem “Der Erste realm of technic than to that of touch, and behind “I desire to reiterate that if the ideal touch is Brother is an illustration of its possibilities. arm touch, in which I experience a complete relaxa¬ ments. Sullivan, German, Grieg, Stanford, and short Ch WaS rece'ved with much praise. A all technic is the intellect of the player. Technic is presented to the pupil’s mind, through the medium The works of the early writers are of value also tion of the arm from the shoulder to the finger tips, other composers of more or less celebrity, have servl afnnounc1emeilt of Eva Wagner’s marriage a matter of training the finger tips to attack and of the ear, he will be much more successful in at¬ in connection with the study of form. Their little is the condition I employ at most times. But the been engaged to write music suitable to plays and dren li„„ ernPbasize the fact that composers' cliil- leave the keys under the absolute discipline of the taining the artistic ends required. The pupil must touches I use are combinations of the different have achieved so much success that many of their nau whK 6 Way f°r C R E' Bach and Kuh! Germanv VSual y ,n obscurity. The discovery that brain. Touch has a much broader and wider sig¬ realize clearly what is good and what is bad, and his au while their suites are excellent material for the finger, hand and arm touches. These lead to myriads compositions are now recognized as standard clas¬ nificance. It is touch that reveals the soul of the aural sense must be continually educated in this re¬ stuciy of the old dance forms, and even nlaved arouseareu^e public^m- sympathy.429 P'ano factorics is calculated to of results, and only the experienced performer can sics and suitable for concert programs. To instance, part in the development of the symphony. P y * player. spect. He should practice slowly and carefully at the celebrated Henry VIII., Nell Gwyn and Peer judge where they should be applied to produce de¬ the keyboard until he is convinced that his arm is finish?HUSS'a’ -the first act of “The Marriage.” an un- sired effects. Gynt Suites. Plays demanding incidental music of AGAIN—A NEW NOTATION. TOUCH A DISTINGUISHING CHARACTERISTIC. at all times relaxed. He cannot make his sense “You will observe by placing your hand upon my such high pretension naturally are of high rank Picturefavorable “ThCToUce in P,er bSo b,^sls MWassilenko’sWUSSeonic times in Egypt. quality of tone depends upon the instrument rather “When I am playing I do not think of the arm nearly as possible, the requirements of the play be¬ tone in cantabile passages. Sometimes I use one Sanin ’ Svi°nrered4Hu>rmiln ‘he public use of than upon the performer. Nevertheless, I am motion. I am, of course, absorbed in the composi¬ ing produced, whether it be a high-class drama touch in one voice and an entirely different touch ZV' reasonably confident that if I were to hear a number tion being performed. A relaxed arm has become comedy, or Third avenue thriller. a concert „7r- In' At Geneva- Frank Choisy gave in another voice. The combinations are kaleido¬ of pianists play in succession upon the same instru¬ second nature to me. It comes by itself. Players .“In their own interests, orchestra leaders should the orchestral'fanr11^^!^5’ ,he m°St P°Pular beinS scopic in their multiplicity. ment behind a screen and one of these performers are rarely able to tell just how they produce their give this matter very serious consideration. Other¬ male choru* “TwV* d’Eau” and thc fe‘ W Nh fi6rif V6-a-ity t0 the orchesffaTs°coSreand were to be my friend, Harold Bauer, I could at once results. There are too many contributing factors. wise the example of the before-mentioned prominent EnglandColin £ Dans la.Vallec.” In MECHANICAL METHODS DANGEROUS. bv thp at ^*Pln -s Ingomar is to be given identify his playing by his peculiarly individual Even with the best-known performers the effects theatre manager may spread and become epidemic Hautstont would haveus'bdfeve vdfenT*’ S° Jean “I have never been in favor of the many auto¬ differ at different performances. It is impossible Foresight is far more valuable than hindsight and the Mercure Musical that th„ a , h? wntes in We!unners °Pera Company. ?°j.c., ^act tbe trained ear can identify different matic and mechanical methods of producing touch. individual characteristics with almost the same accu¬ for the performer to give a program repeatedly in timely, judicious action will certainly prove the best diatonic notation are numbered^’inlh^P Pres£nt Paper, speaking ofPpdd' t0 th? fact tbat a German They are all dangerous to my mind. There is only racy that we identify different voices. One could identically the same manner. If he did succeed in in the end.” is soon to come, there will be1 " ' ‘Te that notice considefc •/ Baderewski’s skill in attracting one real way of teaching, and that is through the dentals .1,1 ,rom ,roub„,,g £5 ing out h”s IT U Shru Wd Pf him to tbi"k of bring never forget Leschetizsky’s touch, or that of many doing this, his playing would soon become stereo¬ another contemporary pianist. sense of hearing of the pupil. The teacher should typed. Boston SymphonSyoPhuny Boston, and calls the go to the piano and produce the desired tonal effect. ymPhony Orchestra the best in the world. “The teacher should, from the very beginning, seek THE ETUDE 155 154 THE ETUDE arm, and the undulating wrist, seem almost miracu. REVIEWING PIECES. THE ART OF FLEXIBILITY. to avoid stiffness and bad hand positions, such as lous. A most important application of the sub-conscious crooked fingers or broken-in knuckles. If these de¬ I have very few pupils who have studied before mind is in review study. After a piece has been BY AMY W. BAGG. tails are neglected the pupil is liable to go through who are free from that nervous stiffness of the memorized and brought up to as high a degree of his entire musical career greatly hampered. I wrist and hand. After pondering long over the If there is one fundamental principle of piano finish as is possible at the time, drop it completely would earnestly advise all teachers to discourage curious habit, I have come to the conclusion that for a few. weeks. At the end of that time take it technique upon which like the law of love hangs all the efforts of pupils to attain virtuoso heights un¬ teachers are.divided into four classes. up again for a week or so of hard practice, drop it the law and the prophets, it is the principle ot^re¬ less they are convinced beyond the possibility of a First—the very few who understand the principles for another week or more, and so on till it can be laxation. Three of the most widely known teachers doubt that the pupil has marvelous talent. The of flexibility and who know how to impart their played easily. In some unaccountable way it will really great performers seem to be endowed with of Europe have built their fame upon this principle knowledge to their pupils. be found that the piece is played better each time a ‘God-given’ insight in the matter of both technic of technique. I refer to Philipp in Paris, Carreno in Second—a considerable number who play natur¬ it is taken up, in spite of the fact that there has [Editor's Note.—Teachers have long recognized the fact We have often vainly tried to recall a person’s and touch. They are unquestionably born for it. Berlin, and Leschetizky in Vienna. One of the ally with an easy hand who do not realize in the been no practice between, for the sub-conscious that after the pupil has learned a piece so that lingers name, finally given it up and turned our attention They possess the right mental and physical capacity Lcschetizky proverbs is “A wrist like a feather least what is wrong with stiff handed pupils, be¬ • the keys automatically, and the difficulties mind has been working the piece over and there been so mastered that" the pupil is no longer obliged to to something else; perhaps while reading a book the for success. No amount of training would make a and fingers of steel.” . cause they have a superficial idea of the meaning will come a time when the composition will become give any particular thought or effort to their execution, It lost name suddenly pops into our mind; this is a Normandy dray horse that could compete with a A slightly elevated wrist with an approximately of the word “technique.” Fs possible for the pupil's mind to consider the piece from a part of the player and will be played from with¬ Kentucky thoroughbred on the race course. It is a higher aspect and give it interpretative values that would familiar example of sub-conscious mind action. level back of the hand is in general a good funda¬ They may go so far as to say “You have a stiff in outward. It has been said above that the sub¬ a pitiful sight to watch students who could not pos¬ otherwise be unattainable. In these duvs of physiological mental position, but all hands are not alike and an hand. That is too bad. Try to play more easily,’’ and psychical research, scientists by observing thousands conscious mind works best during sleep. Many il¬ sibly become virtuosos slave year after year before of experiments and working empirically hare evolved the SUB-CONSCIOUS ACTION AT THE KEYBOARD. easy position for one may be cramping to another. which is better than nothing to be sure. But the science of psychology which presents to the reader and stu¬ lustrations of this statement might be given; two an ivory and ebony tread-mill, when, if they real¬ dent the results of multitudes of experiences with other The most finished piano playing is largely if not ized their lack of personal qualifications, they could But it is benighted folly for a teacher to insist upon dear old grandmother at home if she does not know will suffice here. The writer has a pupil who while minds. The successful student Is the one who takes ad¬ entirely a matter of this sub-conscious action. The engage in teaching or in some other professional a constant position of any kind, especially. tlrn de¬ one note from another can say as much. For vantage of this work and learns to do directly in the light at college was accustomed to study late at night; of science what might have taken him years to accom¬ writer had recently a remarkable example of this. she would puzzle over a mathematical problem till or mercantile line and take a delight in their music pressed or absolutely level knuckles. While it is knowledge of a subject is not necessary In order to plish working empirically. Mr. Jervis’ article is timely and as an avocation that they would never find in pro¬ possible for a person who habitually plays with a be able to see something amiss. Pointing out faults One of his pupils came for a lesson with a piece her brain became hopelessly muddled, retire to bed is the least exacting part of a teacher’s work. In she had prepared for concert performance. On the in disgust and on awaking in the morning find the fessional playing. loose hand to use it in that position and keep it At a convention of medical men held in New York fact it is not really teaching at all. A teacher must music rack of the piano was a piece the title page problem solved. loose, there is not one beginning student in five hun¬ recently, the dean of one of our universities de¬ ARTISTIC INTERPRETATION PARAMOUNT. be able to show a pupil how to correct these faults. of which contained a list of compositions by various Another friend, a clergyman, frequently prepares dred who can do it. livered an address on “The Automatic Man,” in If he can not do that with a pupil of ordinary in¬ composers; while the pupil was giving a brilliant a sermon by taking a text before retiring and com¬ “To some, the matter of touch is of little sig¬ Insist upon the unvarying level position of wrist which he showed that after eliminating from our telligence he is not a teacher. performance of her piece, she kept her eyes fixed nificance. They are apparently born with an ap¬ and hand, and a pupil in his effort to acquire it will lives everything that we did automatically, there mitting it to his sub-conscious mind; upon awaking on this list. When she had finished, the writer in the morning the outline, heads and even sub¬ preciation of tonal values that others might work instantly cramp the hand whereupon it becomes Third—a vast number of teachers who are stick¬ was very little left to be done consciously. years to attain in vain. Those who imagine that lers for a certain position of the hand, and who asked her what she had been thinking about while divisions of the sermon, and in some cases the actual powerless and inflexible, and the consequent lack of Everything that is done easily and well is done playing; she replied that she had been reading down touch is entirely a matter of finger tips are greatly all musical result proves often to be a most.heart sacrifice every thing to that, tone, touch, the pupils by the sub-conscious mind; what we do consciously words to be used, flash into his mind with the mistaken. The ear is quite as important as the love of art, his talent, his individuality, everything; the list and trying to form some idea of the rapidity of lightning. breaking discouragement. is always done slowly and hesitatingly. We find character of each piece from its title. No one could organs employed in administering the touch to the teachers who unlike Leschetizky do not teach them The writer, led by many similar experiences, has The wrist if, the most unusual joint in the human this exemplified in the difficulty we have in learning have told from the performance that the conscious keyboard. The pianist should in reality not think to play the piano, but teach them to see how near for a long time been accustomed to memorize away body, and is capable or the greatest variety of mo¬ to speak a foreign language; we may be able to read mind was far removed from the work in hand, as of the muscles and nerves in his arm, nor of the they can come to it without moving the hand. from the piano a portion of a piece during the day, tion. We bend it when we use our hands for all it fluently, we may have a large vocabulary, a every detail of tone coloring, shading, rhythm and ivory and ebony keys, nor of the hammers and Where do they get such an idea. Do they ever and while lying in bed at night to go through it other occupations. Then why in the world hold it thorough knowledge of its grammar and syntax, pedaling was as perfectly carried out as if the mind strings in the interior of the instrument. He should hear a great artist? They do not need to hear him. note by note mentally. In the morning he can go rigid when we use our hands on the keyboard? Of but in spite of these facts, when we have to choose had been concentrated on it. The more closely the think first and always of the kind of tone he is Do they ever see him? When they see the undulat¬ to the piano and play it, and, what is more to the what' use is the double, nay, tripie jointed wrist? our words, fit each into its proper place in the physical movements involved in playing approach eliciting from the instrument, and determine ing wrist, the moving, bending hands, what do they point, finds it ineffaceably imprinted upon his mind, sentence, make verb and noun, case, tense and num¬ the sub-conscious stage, the better the performance whether it is the most appropriate tonal quality Watch the playing of Bauer, Paderewski, de Pach- think? Do they ever think? Can they think? so that it can be recalled after the lapse of months. ber agree, we stumble and blunder; it is only after will be, other things being equal. for the proper interpretation of the piece he is play¬ mann, Joseffy, Katherine Goodson and any others Two pianists of world-wide reputation have stated ing. He must, of course, spend years of hard many repetitions that we can relegate this work to Now how shall we develop this sub-conscious of ou? best pianists, and see. Does any one of them WATCH GREAT PIANISTS. that they go over the program of every recital in thought and study in cultivating this ability to judge the sub-conscious mind, when fluency follows. playing? By making every movement slowly and play with the uniformly level hand and wrist? this way the night before playing. and produce the right touch, but the performer who How is it possible *for anybody who is well edu¬ Psychologists for many years have been studying with absolute correctness many times over, then in¬ Great numbers of the lesser teachers, indeed many As an illustration of the power of suggestion, the is more concerned about the technical claims of a cated enough to read and write, to see Paderewski the sub-conscious mind and have reached some re¬ creasing the speed until the passage can be played of the greater ones who ought to know better, begin old story of the man who had told a fictitious tale composition than its musical interpretation can only play once without observing that there is no fixed markable conclusions, a few of which will be set without conscious thought. with the very first lessons to teach position. Posi¬ so often that he finally came to believe it himself hope to give an uninteresting, uninspired, stilted position of the hands? It seems to me that they down here. The writer has found that the quickest way to tion! Dreary hours of five finger exercises with an contains more truth than fiction. Let a thing be performance that should rightly drive all intelligent need not have even the rudiments of any kind of 1. We have two minds: the conscious, which bring a passage up to the sub-conscious stage is occasional scale to give the necessary zest to his suggested to a person often enough and the chances hearers from his audience hall.” education in order to discover that much. We can¬ thinks and reasons, and the sub-conscious, which to divide it into hand positions, that is, groups of work! But he is learning nothing but position. not go back of the authority of such pianists as I acts without our volition. The conscious mind notes that can be played without changing the posi¬ are that he will finally believe it. The department Nothing else matters. Can he play anything? Oh thinks out a plan of action, then turns it over to stores take advantage of this psychological fact; HOW’ TO CULTIVATE SIGHT-READING. have mentioned. It is worse than criticising Shakes¬ tion of the hand. Take for example this cadenza no, of course not, he has not got the position learned peare’s use of his mother tongue. the sub-conscious mind for execution just as the from the Chopin “Nocturne in D Flat,” Op. 27: while we may not believe in the “bargains” they yet, but he isYearning it. To what end? head of a large department store, having formu¬ advertise, yet a full-page advertisement thrust per¬ BY H. FISHER. How can any teacher attend a Bauer recital and Leschetizky says, “Method?! I Have ' no method, then go back to his studio and say to a groping, toil¬ lated a certain business plan, turns it over to his Con forza. sistently before us often induces us to part with subordinates, who execute the details. our money for goods which we sometimes find we How shall facility in sight-reading and kindred only the way to play the piano. That’s all.” Where¬ ing little student "No, you must do that again. You 8va...... 2. That while the conscious mind works only in could have bought mo-re cheaply elsewhere. details be gained? First of all, if you are practic¬ fore is he world famous. “That’s all.” Certainly it elevated your knuckles when you put your thumb our working hours and becomes easily fatigued, the Read in the cars every day for a year that ing chiefly for sight reading, read your music. Don’t is all. “All” is a very comprehensive word. under, and you turned your wrist when you made sub-conscious never tires, works day and night, and stop and spell it out painfully, correcting every If a pupil were in training for a position as a dime that stretch. Such habits are very bad. If you do not “Posterine cures baldness and we can prove it,” and little error of notes, time or fingering which may museum freak, it would doubtless be a valuable ac¬ stop them you can never learn to play.” But it is acts better during sleep. the chances are that you will buy a bottle when 3. That one’s sub-conscious mind can be acted occur. Try to go through the piece, or a fixed por¬ complishment to be able to play Liszt’s Db Etude done every day. your hair drops out, even though you know that upon by another person—“suggestion”—or by our¬ tion of it, without losing the time, but correcting no with a glass of water on the back of his hand and The funny part of it is that there are several dif¬ baldness cannot be cured and that the nostrum is errors. If there is any passage which seems to be ferent positions, each one with its army of follow¬ selves—“auto-suggestion.” worthless. Let ten of your friends in succession not spill a drop. But would it be an artistic per¬ 4. That by means of the sub-conscious mind we more awkward than the others, struggle through it, ers who blindly worship their hideous little idol. tell you how ill you look, and, though you may formance? If he were bright enough to do that, can in a measure and within certain limitations make a mental note of where it occurs, and examine The fourth class can be briefly disposed of. They be in perfect health, you probably will begin to could he not surely play it better without the glass make ourselves what we will. it afterwards so as to discover exactly why it was of water? know nothing and teach nothing, and are on the feel that perhaps you are ill and set off post haste so complicated. for- the doctor. The practical application of the “But” say they, “that is going to extremes. Of whole less harmful than the third class. APPLICATION TO PIANOFORTE PLAYING. Very frequently it will be found that if some lit¬ Then it would seem that of the four classes of power of suggestion by the teacher will be followed course, we do not expect such impossible results as For a long time the writer has been studying tle detail had been observed, the whole passage teachers only those in the first class are teachers. by the most gratifying results. Have you a hard¬ that.” Very well, then why waste the time and and experimenting with the sub-conscious mind with would have been clear and quite straight-forward. They are comparatively rare, but they are here and working pupil who becomes discouraged? Tell him nervous energy of a pupil making him try to learn a view to its practical application to piano playing, If the above conditions have to be fulfilled, it is working honestly among us. persistently and with the earnestness of firm con¬ to do a thing which is impossible, and which would and while some of his deductions have not as yet obvious that the music selected for practice should Parents, find them for your children. Students, viction that he can do a certain thing that he is be undesirable if it were possible? been sufficiently proven to warrant their statement, be of only moderate difficulty. So far as reading find them for yourselves. You cannot play a working for, repeat this suggestion regularly and Pupils who want to learn to “play the piano” are he has obtained such results along certain lines that practice is concerned, music which is of too high cadenza without flexibility. You cannot play a sing¬ often, lesson after lesson, and note the result. It a degree of difficulty is worse than useless, and can compelled to spend hours—months trying to learn there is no doubt in his mind as to the important ing hymn tune without it. You cannot play broad must be understood that suggestion will not enable only result in waste of time. Pupils should treat something else that they will never want to do and part which the sub-conscious mind may play if sweeping chords without it. You cannot play a one to do the impossible, but within reasonable the following piece of advice as a veritable Golden that nobody, not even their teacher, will ever ’want studied and practically applied by the teacher or limits its power is marvelous, and the teacher who Rule: When you are reading, never correct an them to do. With what result? The habit of simple legato melody without it. student. There is no elasticity of touch without it. With¬ fails to make systematic use of it has not yet “found error; when you are practicing, never neglect an nervous rigidity of the hands and arms, and often of After long-continued repetition of any act it be¬ himself.” error. Hence, always clearly distinguish between the whole body; a habit that grows more and more out it the tone that should sing with a violin-like comes a habit, we do it unconsciously; in other the two things—practicing and reading. quality becomes hard, metallic and totally unsym¬ words, we relegate its performance to the sub-con¬ The brackets show the hand positions. Take ACQUIRING CONFIDENCE. *° °vercome, for it must all be unlearned pathetic. and the hands made free before there can be anv scious mind, giving no thought whatever to it. Such, No. 1, memorize it and play a number of times The wonderful power of auto-suggestion will only satisfying gain. y The player who wishes to play a melody well for instance, is walking; we never consider the very slowly; then double the speed and play a few times, be fully realized after a thorough and systematic complicated series of movements involved in the after which make a dash for velocity, thinking the should sing the .notes, mentally, as he plays them. The “tempo” is not to be like a mill wheel, stop¬ trial. By means of it we can under certain limita¬ effort to balance the body and keep it from toppling This helps to give a cantabile character to the ping or propelling the mechanism at pleasure, but tones as a unit just as one thinks a word as a unit tions make of ourselves what we will; no amount over, but there was a time in infancy when we had and not as separate letters. Practice No. 2 in the phrases, and has a good effect upon the touch. The I constantly have pupils come to me, pupils , rather like the pulse in the human body. There is of auto-suggestion will enable one to do the impos¬ to do some hard thinking and take some hard same way; then join to No. 1, thus enlarging the fingers playing the notes of the melody should press no slow movement in which certain passages do not sible, to play a piece beautifully that has not been knocks before we could walk without falling. unit of thought to eight tones; continue thus join¬ more strongly than those playing the accompanying of whtb ffl6xible hands the movem require an acceleration of time so as to prevent thoroughly learned, or to do things for which we of which were full of easy grace until they were Doubtless many readers of The Etude have had ones, in order to give prominence, and a certain in¬ dragging. Nor is there a “presto” which does not ing each hand position to those already learned till have not prepared ourselves by previous education on the keyboard, whereupon they immediately experiences in sub-conscious action similar to that tensity and prolonged character to the tones. The require a slower tempo in passages whose effect the whole passage can be played without conscious and training. One cannot draw water from an empty Ir°n' A"d these pupils &rieve bee: of the writer, who last summer at his seashore thought; in fact, it is well to withdraw the mind en¬ phrasing and shadowing should be carefully thought their "ifhands C^St are so stiff.” Their delight at their would be marred by too much hurry. But let no reservoir. At the crucial moment, however, as, for out, and one’s whole feeling brought to bear upon cottage before retiring, and while thinking of some¬ tirely from the passage when playing at a high instance, in playing for an audience, we often find them. lease after four weeks to three months of “shov one imagine he is justified in indulging in that fool¬ thing entirely different, reached up to turn off the ish mannerism which arbitrarily distorts certain rate of speed, as thus sub-conscious action will be that nervousness causes all our careful preparation "Listen intently to your instrument while you play, gas, notwithstanding the fact that a lamp was burn¬ more quickly secured. After sufficient practice of woTk. 'S hC b rCWard 3 teacher can have for bars. For all these modifications we have no well- to go for naught; we are disheartened; if we could as a violinist does to his; it is probable that you ing before him on the table. The act of turning this kind the conscious mind need concern itself no The freedom and power and finger control defined terms. They are exclusively a matter of only play for others as we do when alone by our¬ will thereby acquire a singing touch, a beautiful tone, the gas key had been performed so many times for more with the notes or playing movements than it and self control, that spring into life as soon reeling, and must come from the heart; but if they selves. Well, we can; here the sub-conscious mind and an expressive style.—T. C. Jeffers. years that it had become sub-conscious or auto- does with the muscular movements in the act of .pupil grasps the meaning of a free, loose hand o not exist there, neither the metronome nor the has wonderful curative powers of which the player walking. written signs will supply them.—C. M. von Weber. can avail himself by means of auto-suggestion. THE ETUDE 156 157 Don’t fail to begin each day’s practice wi.i THE ETUDE Psychologists have found that the sub-conscious „d I often Played the dane«.“ Alin= cises for obtaining a loose wrist or in octa’ • ested and forgets to feel her dress to assure mind acts best during sleep, hence the most favor¬ student's hand be large enough. ves,ftU self that it is in place, and answers. *es, sir, u able time for applying auto-suggestion is the drowsy Don’t begin your practice with a weak i„ touch. The fingers should be raised as n?,!( period preceding sleep. teacherr“i-,*uv. “Here “£»• is a waltz;■ -vea. can’t ,y°* you ^ play it. After retiring at night close the eyes and relax possible, and the keys struck with crisp 6 11 THE ETUDE GALLERY OF CELEBRATED MUSICIANS tainly,” exclaims the interested litUe guH. as far as possible all the muscles, then suggest to o __ t™.« ,i„,o„= bad trouble with Aline and precision, but without any feeling VT'6 >t destroy the binding of the issue). 2. Cut out pictures, your sub-conscious mind that you desire to over¬ Suppose you 1 pressure, stiffness or bearing heavily upon th W How to use this gallery. 1. Cut on dotted line at left of page (this will n n~account of time or phrasing, iss not this aan excel¬ came nervousness, that you are going to overcome Don’t practice even finger exercises and ^ lent time to discuss it from the standpoint of dance it; repeat this quietly but firmly as if talking to without accent and rhythm. Play everything ^ music? This party; which has frightened the un¬ another, till you fall asleep. Do this every night with different rhythms, and with varying dfj." ^ thinking teacher into bullying a little girl because sheet of a piece of music by the composer represented. f i a few weeks; do not be in a hurry for results; loudness. the sub-conscious mind will act when it gets ready. she has not the head of a woman on the shady side of forty on her shoulders, has proved of genuine Don’t stumble or hesitate, even at a first r A couple of hours before you arc to play, sit in If you do you may be quite sure that yon are an easy chair, close the eyes, relax the muscles, and assistance to a teacher who is wide-awake in clear¬ ing up difficulties and presenting in concrete form ticing too fast. Take it at a slower tempo ** practice this auto-suggestion for a few minutes, then Don’t begin twice. Look at the piece dismiss the subject from your thoughts. musical ideas that are going to find a place in the and begin with the firm resolve that y0a win” When you come to play, if your experience coin¬ musical memory of a child’s mind. stop, no matter what happens. 11,1 cides with that of the writer, and many of his pupils, The lesson is over, the child in the one instance you will have a new sense of power, buoyancy, and may go away conquered, but her mind is also in a Don’t play out of time. You should be abb, self-control that will astonish you. If not success¬ condition of defeat! We wonder how much mental count aloud regularly throughout the piece «■ ful in the first attempt, do not be discouraged. advancement has been made, and how much of that the proper length to each note. Counting aim?® Keep at it, the result will eventually come. Teacher, lesson will be remembered ten years hence. We the best way to acquire correct ideas of time $ i” do you wish to inspire your pupils? Tell your very much fear that the struggle will be remembered mann says: “Play in time! The playing of l! sub-conscious mind so every night; you will soon long after the music is forgotten. The teacher virtuosi is like the gait of a drunkard!" feel a sense of power to which you may have been comes away from the battle vindictive, irritable, Don’t play where rests are marked. Yon Bitt, a stranger. The writer in a fragmentary way has nervous, ready for the next pupil; the atmosphere as well try to walk on water. only touched the borders of his subject and thrown she carries will not be blotted out and the child Don’t repeat a piece over and over, like a mach-, out a few hints that may be helpful to the teacher. mind which comes next will know it and be in¬ wound up to go forever. Seek carefully for Jl If it be thought that these ideas are fanciful, a fluenced by it, for a child mind in some ways is difficult passages and practice them a dozenth study of James’ “Psychology” and Worcester’s more acute than matured people are apt to realize. oftener than the rest. Do this each time tint J “Religion and Medicine” (particularly the latter) In the case where the teacher has aroused healthy play the piece through. will show that what has been said in this article interest, the teacher is also refreshed and strength¬ Don’t begin exactly at the difficulty. Attack rests upon a sound, psychological basis, and that ened, because she has given her mental strength a measure or so before, and in this way connect; the power of sub-conscious mind has* if anything and aroused mental activity in another, and, strange more easy portion with the difficult. been understated. to say, in the mental world the result in such cases Don’t think the gift of musical memory is jL; is always reciprocal. by only a few. I have never yet met a studentwf If a teacher wishes to correct a particular fault, THE "PSYCHOLOGICAL MOMENT.” was unable to memorize when properly tacr it is best to abide and watch and try to find the Memory is like a muscle: if you do not use it it w- exact moment in which to send that point home BY PHILIP DAVIES0N. be weak; constant exercise alone makes it strong with telling impression. A good way is to bring Don’t memorize the printed notes upon the pag- a very attractive piece in which that fault will be Many a fine music lesson falls on barren ground, You will never succeed in doing it perfectly a-i painfully apparent. Then the pupil will invariably many a fine historical fact is forgotten, many a will soon forget. They are only signs lor things ask, “Why can’t I get that like you?” Now his masterpiece is despised because a teacher does not to be done. Why not remember the things their, interest is aroused; take your opportunity by a know what is meant by the psychological moment selves? in which to deliver his message. thorough explanation of the error and rest assured you will have the attention of the scholar. Don’t half-memorize any piece. If you forget a He must learn to create the right atmosphere in part it is because you have imperfectly connected I caught the attention of a restless boy by ask¬ which to work, and know the time when the ground that part with what comes before it. Play over, is ready to receive the seed. The swan saved him¬ ing him if he were interested in geography “Yes ” came the response. Then I asked him if he liked with the aid of the printed notes, the preceding self from the knife of the gamekeeper by his song part with the portion which you have forgotten given at the right season. To save our pupils from history. Yes, ’ came the response. “Then I will give you the national airs of all nations.” Now Repeat several times slowly and carefully, observing Iasstitude and inattention we must be ever on the the shapes which the notes take upon the keyboard. alert to know the right time to deliver each point. this boy, who had been careless about note read- mg began to improve and make active effort. If you again forget, repeat this process until you It is far better to prevent inattention than to cure have the whole piece perfect. it. We can only prevent inattention by keeping Was it not better than though I had given him Don t avoid playing before people. On the con¬ up the interest. We can only keep up the interest pages of academic studies which he would not have trary, seek every opportunity of doing so, even if it by understanding the who and the how of the situa¬ or^A hnH°r .studi®.d’ excePt under stern compulsion tion or the lesson. be only one of your own family. It is in this way ‘“,ore alone that you can acquire confidence and true What is meant by the who and the how? The zii'&vszr ‘,mn mastery. who is the temperament and the individuality, and the how is the right way of arousing that temper¬ Don’t allow your attention to be taken off the ament and creating the psychological moment in SOME MUSICAL DON’TS. performance by the presence of anyone. Fasten which to teach. your mind firmly upon what you are doing, and pay no attention to any movement or sound near you Suppose Howard comes to his piano lesson after BY T. c. JEFFERS. a hot fight with the boy next door, or a dose of Listen to your instrument and to nothing else. This discipline from his austere mamma, how much will «s the true cure for nervousness. a set talk on politeness or music benefit the young Don t consider that you know a piece till yon can gentleman? How much would such a lecture bene¬ £Ay !t Perfectly ftom memory before an audience, fit you, dear teacher, if you had just had an un¬ is is the only reliable test of thorough knowledge, pleasant experience? Now. then, poor Howard in on t regard the piece given you as poor music Ins present state of mind, not having had so much because you dislike it. Your taste may be poo: practice in the art of self-control as a teacher must be treated with a little indulgence. few months Be very strict a'bout’thfs ** the fir£ th I® y°Ur duty lo understand the best music, not at which takes your fancy at the first hearing Better begin the lesson by making a droll remark It does not matter if the remark seems to be a Sl^iSf t£ inSt™ Hon t use the pedal between two opposing bar monies. Please don’t. thousand and one miles from music. You make quired by the execution of the piecemQVCments - Don’t put down one hand after the other when Howard smile. Ah! he has forgotten the trouble, stiff" ‘ bC CCCentric 3t keyboard, and don’t b now you can begin. You have been ploughing up s ruing chords for both hands. Every note mnst the disordered, troubled mind, you have created a oe struck exactly at the same instant, unless other- ise marked. This very common fault of beginners different atmosphere. You have done more; you the-back of • have enlisted him as a soldier ready to help you Of the fingers, must be nearlyl’evel h4,,middIe Join makes one fancy that the two lobes of their brain of the fingers must be curved umHremaindei study0"1* thC harasslng difficulties of boy-music mL ,W?rk toKethcr, but, like a team of badly- ,h. w,is, .spec!Xg aged horses. pull one after another. Aline is going to a party. She has on a dress , 4 begin to perform mechanically or thought- of stunning beauty and such harmonious colors that y. Have the love of beauty in your heart musical harmony is in sad danger of being treated tK i:i& •“>"« —»>., ’y he®. y Wrh ,contemPt- Suppose you say tat no, tasirnbl, ,;r‘T£„„afobrC , "“’"'tat to her: Now, my little friend, if you do not oav the fingers like so many little player- Shape attention I will keep you half an hour overtime” the keys with the pointl 1 1 hammers> and strike Melody is the war-cry of dilletanti. and certainly, music without melody is no music at all. But ob- TCl t a VTU be? °ne word expresses it- wr?stn’tlfI— any °f tbe “«tscles of the h j a fight. And if the teacher wins the victory we wrist. It is impossible to nlav L the hand or wvt Yhat .they mean by melody, namely, that hand or wrist. The ,y wed with a stiff very much fear that he would not deserve to hi BiiAv.18 e?sdy intelligible and pleasing in rhythm- crowned with a laurel wreath center of the inner sMe of th^ Tunning down the there is melody of another type; you have hut But how much better it would be for the teacher wrt £& — S^^S-pi^ 3° open the pages of Bach, Mozart and Beethoven, to say; Aline, is there going to be dancing at that tt will smile upon you in a thousand differ011 party? I used to love parties when I was your age vob laxed muscl^^Thehwris^must^b^easjr ^nd Toose*^" !Veary o{ the poverty-stricken sameness of mod¬ em Italian airs.—Schumann. 159 158 the etude THE ETUDE of the key in which it was written, one would know the most important things about the character of THE AIM OF THIS BIOGRAPHICAL PORTRAIT GALLERY that particular fugue. ; With portraits and ~~~ Tl Musical Europe of Yesterday and Musical America of To-day It thus came to pass that while studying the This page designed to furnish the teacher, student and .__ “Emperor Concerto” of Beethoven with Kullak and lives of the great composers, pianists, singeis, conductors, violinists and organists will thus be broug i ^ receive seventy-two portrait biographies during th. Vp, hearing that master play the concerto (as finely as form. Used m the manner suggested it should prove a great educational aid. Through this the books at great expense. To students and teachers who W Reflections upon the Study of Music and Pianoforte Playing as Taught It would be impossibl; to secure this material through any other means, except by the purchase ot , book to faciliate reference. Another states that sh t I ever heard it played at any time before or since) not extensive library faci ities it will prove indispensable. One reader suggests pasting them in an ind readers in Europe Twenty-five Years Ago, and as Taught in America Now I was learning the foundation of interpretation for pasted them on short paper stubs and intends binding them with -'-'jHH""1”' irnm ’ this concerto in more varied and authoritative ways, By W. H. SHERWOOD that could be depended upon for future use, with Weitzmann. ,, j> My record as a teacher and interpreter of music GIAOCCHINO ANTONIO ROSSINI Grieg was a very clever pianist himself; he had for the piano has been grounded more upon what ADOLF VON HENSELT CARL HEINRICH REINECKE (Ros-see'nee) such a line of study has led me to- develop than (Hen'sell) ' ^ some of the unusual principles of managing the (Ry'nek-kc) Rossini was born at Pesaro, Italy, S T«“w»uroandia^ irurrsce°nftu|e wrist with independent finger positions and com¬ upon any person’s technical “Method.” I had had Reinecke was born June 23, 1824, at February 29, 1792, and died in Paris, Henselt was bom at Schwarbach, plete sensitiveness of touch at the finger tips, with the good fortune to study music at home along Bavaria, May 12, 1814, and died at Wajm- Altona, and was taught chiefly by his s, November 13, 1868. His father was a Ifhn?"aityis the same country. An equally remark- a technical individuality that is as rare as it is similar lines at the beginning, as my father, the father at home. In 1843 he toured horn player, and his mother a singer, brunn, October 10, 1889. He early went r^dTahn e V^ichftudy ha^oceurre^ America,^! effective. But when talking about Grieg (as I did Rev. L. H. Sherwood, M.A. (principal of Lyons, North Germany, Norway and Sweden. , S() that he was brought up in a musical to Munich, where he studied pianoforte n to rt-u.i-- _, — ...... k-iirti. 11.j- voung men 1 subsequently to Herr Schleinitz—the then head of N. Y., Musical Academy), insisted upon my under¬ years we have been senamg ^01 Leipsic was his home for a while, but . atmosphere. At the age of four his and harmony under Fladt. His talent as ■ itudy. The: the Leipzig Conservatory), this gentleman expressed standing the theoretical side of music and the con¬ further concert tours followed, and in • parents were obliged to leave him in a musician attracted the attention of men°!have become.. saturated withwit the ■ — *- a “regret that a man of such natural ability as struction of scales and harmonies, and that I should 1846 he was made Court Pianist to King King Ludwig I of Bavaria, through _ all Amer Bologna during their travels in search vent and to Grieg, should have left off in such a crude fashion have a knowledge of modulation, ear training, etc. Christian VIII of Denmark. In 1851 he t; ,of a living. Here it was that Rossini whose munificence he was enabled to and strayed so far away from their standards.” To such an extent was this plan followed out that became a teacher at Cologne, but moved studied. His first opera’was produced study under Hummel, and later-to spend I arrived in Germany to study music some time I was obliged to compose'nearly all of my technical in 1854 to Breslau, where he directed the in Venice, in 1810, but the' first real two years at Vienna, where he studied S.finKttTsi"iS after the death of Carl Tausig, with whom I had exercises at first, although 1 graduated at the Singakademic. In i860 he went to Leip¬ great success followed three years theory under Sechter. In 1836 he was ter® Dudley Buck, Dr. H. A. Clarke and many. other able originally hoped to study. Dr. Wm. Mason, from “Lyons Musical Academy” under his tuition, after sic, becoming director of the Gewandhaus obliged to go to Carlsbad, owing to ill later, when Tancredi was produced in things^and1 to* become ^acquainted ^wrlth toe* fact that while whom I had some invaluable lessons—all too short Having played' through the Czerny “Velocity concerts—a position relinquished only in the same city. After this the Italians health brought on by overwork, but the there is ad great wealth of musical achievement in Europe, —had recommended two teachers, one was Theodor Studies” up to the full metronome requirements. recent years to Arthur Nikisch. He was 7 began to realize they had a genius following year lie was able to tour Ger¬ our' own acquisitions are by no means to he despised.] Kullak and the other Carl Tausig. I went to at the same time made professor of piano¬ . -among them. His next great success many. His concerts were a great-success. Kullak and to C. F. Weitzmann, who had been MUSIC FIRST, TECHNIC SECOND. forte playing and composition at the No age in the history of music ever showed as was II Barbiere di Siyjgtio, produced at In 1838 he married, at Breslau, and later the leading teacher of harmony, counterpoint, com¬ Leipsic Conservatoire. In 1897 he be¬ much development and promise as the present one; The habit of looking at a piece of music as a Rome in 1816. Its first performance was proceeded to St. Petersburg. Here be at¬ position, instrumentation, etc., under Tausig. I came head of that institution, retiring in but we are accustomed to wait until the epoch- composition, with a trained mind, so as to identify a dismal failure,, but its second per¬ tracted attention in Imperial circles,, and probably learned more under this man, in some 1902. In spite of his devotion to teaching, making composers have passed away before admit¬ and sense the laws of rhythm, harmony and other¬ formance was a dazzling success. In was offered a lucrative position as in¬ important ways, which have influenced my entire he found time to make concert tours ting their claims to greatness and immortality. wise, governing the interpretation of such com¬ 1823 he went to Lpndon, where he structor in the schools for girls. He re¬ throughout Europe which have always Beethoven did not have a fashionable tailor in career, than from any of my piano teachers. position, is necessary to every musician at the piano made $50,000 in five months. Foggy- ceived the Order of- Vladimir. He was Vienna, and he was not nearly the success, during Weitzmann was held in the highest esteem by the been successful, and he is the composer London, however, did not please the and every pianist who would be a musician. I have of over 200 compositions. Reinecke be¬ also appointed chamber virtuoso, to the his time in that city, that Czerny was. Wagner was greatest masters at that time. Liszt told Miss found such a habit the real guide to technic, for sun-loving Italian, and Rossini de¬ Empress, and instructor to the princes. the target for the most virulent detractors nearly Amy Fay (who was an enthusiastic pupil of longs to an older generation, and had lit-' parted for Paris. Here he undertook music is first and technic second in order, from a His playing was characterized by remark¬ all his life. Tausig. Kullak and himself) that “if he were young tie sympathy for Wagner and Liszt, and to manage an opera house, but met logical standpoint. The one makes new demands the hot-blooded romantic composers of ably poetical insight. His treatment of Liszt, Rubinstein and Grieg were the victims, dur¬ he would go back to school with Weitzmann.” of its own upon the other. with a failure which in no wise dis¬ chord-playing is said to have been su¬ ing my own personal experience in Berlin and Wagner, likewise, spoke in acknowledgment of his their day. He inclines more towards turbed him. The musical sense calls for relative proportions perb ; in this he was aided by a peculiar Leipzig, of severe criticism and as much antagonism superiority. The practical and appreciative way in Mozart and Mendelssohn, and has not His last opera, William Tell, was also of strong and weak tones beiween the different hand formation wh:ch enabled him to give in the Royal High School at Berlin and the Con¬ which Weitzmann adapted his theoretical instruc¬ unfrequently been' severely criticised for his greatest. He wrote no'more during parts. In nine cases out of ten'we find the fifth his conservatism. But he is, none the an almost orchestral effect to his play¬ servatory at Leipzig, as a political candidate meets tion to the expressive reading and understanding the remainder of his years, except and fourth fingers of each hand should produce the less, a great teacher, and his pupils have ing. The most famous of his composi¬ with at the present time from the opposition party. of works by the great composers, was a means of Stabat Mater, in 1832. He returned to strongest tones in the composition, while the tions is the F minor Concerto. He also They would allow no works of Liszt or Wagner enabling me to put additional artistic touches into been such men as Chadwick and Joseffy Italy in 1836, but seven years later he fingers that are naturally the strongest should be of America, Sullivan of England, Max wrote much chamber music, and some to be studied or performed in the school under the more or less crude habits of technical prac¬ was back in Paris, where he remained, taught to play delicately and should be so trained Bruch of Germany, and Svendsen of Nor¬ technical studies. Henselt was held in Joachim, during my stay in Berlin, and a similar tice of the numbers in my repertory delighting the exacting Parisians with that they can be held in abeyance, not being al¬ way. (The Etude Gallery.) very high esteem by his musical contem¬ state of affairs prevailed at Leipzig. Rubinstein Inner consciousness, the mental, emotional and his whimsical humor and satirical com¬ lowed to exert their own crude force against the poraries. (Tb« Etude 0.11,17.) gave a recital in the Gewandhaus, which I attended; physical faculties of a student, are all awakened ments until he died. (The Etude Gallery.) keys. the next day the two leading papers in Leipzig gave through the combination of effective drill in technic, him scathing criticisms. He did not play the piano on the one side, combined with the habit of in¬ Such a consideration is a guide to a training of according to their “methods” and standards, and vestigating laws of expression, through the analy¬ the arm, hand, wrist and knuckles, in order to gain his expression was not sufficiently tame to suit sis of the elements of music on the other side. the power of managing the inevitable, accessory their ideas of conventionality; while his masterly One will find many additional means of enriching functions in their relation to the control of fingers CHRISTIAN SINDING CLARA SCHUMANN. genius, so absolutely beautiful and convincing in and idealizing a performance and interpretation, if for expression. It is only by studying the use of ~ ■ (Sin'ding) (Shoo'-mahn) XAVER SCHARWENKA his playing, was spoken of as if he were a freak. technic can be temporarily forgotten during the the fingers,. with additional and intelligent training Sinding was born at Kongberg, Nor¬ The subject of this sketch was the (Shar-vcn'ka) daughter of Friedrich Wieck, and was After this, Rubinstein gave a concert with the search for musical contents. of such functions back of them, that the average way, January n, 1856, and when quite , Xawer Scharwenka was bom January Gewandhaus Orchestra—not one of the regular hand can be governed for the necessary musical young evinced a talent for composition. born in Leipsic. September 13, 1819, and o, 1850 at Samtcr, Polish Prussia, died at Frankfort, May 20, 1896. She series, for he was not invited to be one of their WEITZMANN AS A TEACHER. discrimination. In fact, the physical strengthening After studying for a while in Chris¬ from there his father moved to Posen, studied under her father, and it was not soloists. He introduced some of his newest com¬ and necessary action of the weaker fingers can¬ tiania, in 1874 he placed himself under where he first took up the study of Part of the time Weitzmann asked me to write long before her ability manifested itself positions; he directed a symphony and played his not be properly freed from obstructions—in most the stern rule of The Leipsic Conserv¬ music though it was not till 1865, when exercises in harmony and counterpoint, etc. Then jn 1828 Clara Wieck Week) made hfer ■“Fifth Piano Concerto in E Flat,” directing, with¬ cases insurmountable imp.edim.ents to artistic suc¬ atory. Carl Reinecke was his teacher, .... hls mther moved to Berlin, that Schar¬ out the assistance of a conductor, while playing by turns he took up the works of the great masters cess—in :any other way. The man who got his as he was of Sinding’s distinguished fitst appearance in public at a Gewand¬ and analyzed the processes employed therein to haus Concert, playing the F minor Con¬ wenka decided to adopt music as a himself. This effort was not treated with any more name into print several years ago quite extensively, fellow-countryman, Edward Grieg. Sin¬ profession. Here he studied under respect and appreciation than the earlier recital. construct their compositions. He had the habit of. on account of advocating a surgical (operation, viz.: ding was also greatly assisted by Adolf certo of Chopin. Her astonishing skill Kullak to such good purpose that in writing three words at the top of the page, on a cutting a ligament, in order that one might stretch Brodsky, to whom later he dedicated and interpretative insight won her many piece of music to be analyzed, or to be written, as distinguished friends, among them being three years he was appointed teacher LESSONS WITH GRIEG. better and raise the fourth finger better, was evi¬ his violin concerto. Op. 45. While at under Kullak. In 1874 he resigned to the case might be: “Melody, Harmony, Rhythm.” Leipsic Sinding won a royal scholar¬ the aged Goethe, whom she met at During my stay in Leipzig, where I studied dently not intelligently alert to the modern pos¬ tour Germany, giving .recitals, which Weitzmann found out where accents belonged; he ship by which he was enabled to pro¬ Weimar She then toured Europe, and counterpoint and musical form and instrumentation sibilities of trained arm, wrist and knuckle com¬ were extremely successful. In 1881 he found melodic accents and knew how to classify ceed to Dresden, to the Hochschule in Parleved en0r™0us success, especially in with Richter, I heard the first performance of binations as an aid thereto. returned to Berlin and was appointed their relative value in the melody or a phrase, as Munich and to Berlin. Upon his re- Pans where her genius, won her such Grieg’s wonderful “Concerto in A Minor.” It was Good piano technic, and the ability to control pianist to the Prussian Court,- and in related to the rhythm or measure beat, to the meter, ■ turn home he settled in Christiania, friends as Mendelssohn, Meyerbeer played by Edmund Neupert, the Norwegian pianist, it with necessary beauty and variety of touch, de¬ the same year founded the Scharwenka to the scale and intervals, to the harmonic sense where he took a position as organist Chopin and Kalkbrenner. In 1837 she was who afterwards came to America, and I believe died and coloring and to the relative duration or rapidity pends upon many more things than one can find onservatory, which was later asso- in New York. Edvard Grieg conducted himself. and devoted himself to teaching, work¬ made Imperial Pianiste, and excited The of different intervals. in printed etudes and “methods” on the shelves ing at composition in his spare tim^ c*ated. with that of Klindworth. It was The date of this concert was some three years Hsmowng °J Lisf’ not -me to Again, while learning to write harmony according of the music publishers. In many cases, the way Since then he has continued as he he- a this time he composed his B flat earlier than that given by the New York papers, gan, making occasional tours through Schumann, in oite R<*Crt mmor concerto, which was much ad¬ upon the occasion of the news of Grieg’s death to correct rules, Weitzmann found out, and knew to play less musically and to narrow one’s resources Europe. Tn 1890 he moved to Copen¬ on the part of her fafher Th °,?pOS.lt,on mired by Liszt. In 1891 he came to a year ago, in which it was erroneously stated that how to explain, the expression in harmony, its ac¬ down to one-sided limitations and to much disap¬ hagen. While younger than Grieg by .< .heir „„,on cYvW Y°rk, where he founded the Grieg performed his concerto at the Gewandhaus cents, its leading tones, its suspensions, syncopa¬ pointment is to simply keep right on practicing tions and resolutions, in their relations to the thirteen years, he is considered by Jhowed to her husband make one of the ■scharwenka Conservatory, but after for the first time more etudes and more technic, according to out- rhvthm and melody of the piece and to each other. some to be a finer composer, though musc T, r0n,,ances in history of seven years returned to Berlin, where I called upon Grieg the next morning, being so of-date, limited, undiscerning standards. probably not by the majority of musi¬ delighted with his music, and I had the rare privilege Weitzmann took the Schubert dances for four at DusseHorr^H "T™5 breakdown mT/eCe'^ed the ti,lc of Ri»er, was In a former article, published in the July Etude, cians. His music, however, exhibits made a Doctor of Music, Royal Pro- of studying his concerto with him and also his hands at one lesson and the Schubert marches for marked individuality. Perhaps his most which culmTTated intrS tessor and Senator of the Prussian piano sonata, two of the sonatas for violin and piano four hands at another lesson and got me into the I referred to Kullak and Deppe. Kullak had widely known composition is the b“auti- only to increase her devotion t^T^ Acade™y of Fine Arts. and quite a number of his solo pieces and songs. habit of looking for the melodic peculiarities, the unlimited technical resources, a beautiful range of rhythmical individuality and harmonic effects (dis¬ tone color and artistic sense of proper touch, in ful “Fruhlingsrauschen”—“Voices of si!wed h1S Clara Schumann « He has written a considerable amount I spent the best part of a month—as many hours sected and more or less isolated from each other Spring”—though his symphony in D rilher concertcareerunti11878 when “M7TUS1C-’ 1"c,ud'nK an opera entitled a day as I could possibly practice—under the almost his' interpretations of music. He proved a very minor, first produced in r8oo, was what daily supervision of the “Northern Chopin.” No and then again blended together) as intended by valuable teacher, as many of the best concert play¬ cessfn|SW'nthat;” and has been very suc' the composer. He took the fugues of the “Well- first attracted general attention to him. 5 J°e-cUetotr?r FmnSort. one will dispute the genius and human sympathy, ers and piano teachers of the present day can tes¬ PolUh J" the Sma,ler forms- His tempered Clavichord” and soon developed the fact Dianfc, danc,es are familiar to most the heart and truth in Grieg’s music, nor the won¬ tify, Deppe did not play at all, but he proved to n: . s' Scharwenka’s pianoforte tech- that if one would take definite note of the move¬ derful originality and striking coloring thereof. All ment and exact rhythmical beat of the theme, and be of value in most important and practical ways, mc is remarkable for brilliance of tone of this was duly impressed upon me at the time, and clearness. (The Etude Gallery.) notice equally the peculiarities in the melody, its that Kullak, with his splendid concert playing, had in my enthusiasm for this genial, happy and friendly intervals, variety, touch and dynamic treatment be¬ overlooked in my case. Deppe took pains with little longing thereto, along with proper understanding things and necessary ones. He took the trouble to 161 160 THE ETUDE THE ETUDE poses in cutting off such manoeuvres at a sensible so also was Chopin. In Hadden’s “Life of Chopin” examine into the arm, wrist and knuckles previously DR. MASON’S IMPORTANT WORK. limit had not occurred to some of Deppe’s follow we read that “in 1824 he was sent to the Warsaw referred to and the necessity of getting down to Nobody in the world ever did as much along the ers. When they reached the extreme of the kev" Lyceum, where he ‘worked hard, rose rapidly, won a foundation starting point, free from confusion line of accent exercises and rhythmical training, board, in this exaggerated way, one would two or three prizes and gained the esteem and and obstructions, of which the ambitious but un¬ as applied to the necessary processes of scale and quently see the elbow up in the air and the wrist INTERESTING STORIES OF CHOPIN’S respect of his schoolfellows by developing a remark¬ wise student generally becomes a victim. arpeggio practice and other forms of exercises, as very heavy and awkwardly managed. able talent for caricature.’ There is a story of his Deppe was as careful about thinking and seeing did William Mason. We have teachers in our coun¬ Again, some of Deppe’s students, when makinz and sensitizing one’s faculties for the hidden blend¬ try, in several of our cities, who are classifying use of the forearm movements, up and down, for CAREER having made an unflattering portrait of the Lyceum ing of related technic and touch as was Weitzmann several times as many independent ways of study¬ the purpose of raising and playing chords’and director, who, becoming possessed of the sketch, in finding out the contents of music. Deppe was ing the mechanical resources of the piano player octaves, would make an unqualified and mixed-un returned it with the sardonic comment that it was one of the few most valuable teachers who could as have been ordinarily worked out in Europe. We swoop, without separate discrimination, between the excellent!” see into the inner nature of the student. His mind, have a good many men who are making quite as [Editor's Note.—The Etude has already presented Its they frequently lose their softness and lightness of shoulder joints and finger tips. This thing was readers with a Chopin issue (January, 1899), and during his temperament, his nerves, his muscles and us.e definite analyses of the principles and laws and done in such an exaggerated way, by some of the past vear it has been our good fortune to publish touch and neglect the finer nuances and the artistic CHOPIN AND MENDELSSOHN. processes of the underlying laws regulating good so many attractive articles upon Chopin’s life and work of his will, in controlling such functions, were an Deppe’s pupils, as to earn the name of the “Dish- finish of the phrasing. In the spring of 1834 he went to Aix-La-Chapelle expression in music. that we have not attempted to celebrate the one-hundredth open book to Deppe. The simple, elementary (part rag Method.” anniversary of Chopin’s birth with a special Issue. The “The second requirement that Chopin made of a in company with Hiller. Here they met Mendels¬ of the time silent (exercises and single preparatory Some years ago Adolph Christiani brought a huge following stories, however, will be found helpful to teach¬ new pupil was perfect independence of the fingers; Notwithstanding all of this, Deppe was most ideal ers who desire to make their pupils familiar with the sohn, and all three proceeded to Dusseldorf, where movements, one at a time, in Deppe’s teaching were package of manuscript to my attention in New he therefore insisted on the practicing of exercises, in his refinement of style and conception of the lives of the great masters.] Mendelssohn was musical director at that time. the most beneficial antidote to the heroic bravura York. It was called “Principles of Pianistic Ex¬ little things which go to make music accurate and and more especially the major and minor scales pression.” Since then A. J. Goodrich, Dr. Henry and ambitious grappling with difficulties of virtuoso beautiful. He always took great pains with the Karasowski, in his “Life of Chopin,” tells an in¬ from piano up to fortissimo, and with the staccato Hiller describes the proceedings in the following G. Hanchett and others have written similar and playing that could have been devised. quality of touch and tone, and in most cases with teresting story of the composer’s wonderful gift of as well as the legato touch, also with a change of way: practical books along these lines. When Mr. Chris¬ the correct degree of proportion. He was accurate improvisation. Describing an evening at Nohant, accent, sometimes marking the second, sometimes “The conversation soon became lively, and all tiani showed me how he had classified melodic ac¬ OBSERVING DETAILS. and refined to the fullest possible extent in the where Chopin was wont to spend the summer, he the third or fourth note. By this means he obtained would have been well had not poor Chopin sat so cents, rhythmical accents, harmonic accents, ac¬ use of the damper pedal, and sensitive like a true says: perfect independence of the fingers and an agreeable silent and unnoticed. However, both Mendelssohn During my last months in Germany a fellow stu¬ cents of extremes, accompaniment parts and much musician in the details of fine discrimination be¬ “One evening, when they were all assembled at quality and delicacy of touch. Chopin thought of and I knew that he would have his revenge, and dent, who had been some six years under Tausig, else, I exclaimed: “That is just what I am trying tween tones and artistic shading and coloring embodying in a-theoretical work the results of his were secretly rejoicing thereat. At last the piano Kullak, Liszt and Deppe, visited my studio one day to do in my regular practice; that is just what T the salon, Liszt played one of Chopin’s nocturnes, But Deppe was an exception. Plenty of students long years of study, experience and observation of was opened. I began, Mendelssohn followed, and and played the third prelude and fugue of Bach learned from Weitzmann and Liszt.” At the time to which he took the liberty of adding some em¬ pianoforte playing, but he had only written a few then Chopin was asked to play, rather doubtful looks from the first volume of the “Well-tempered t was impressed with the idea that Mr. Christiani with some other teachers were like my friend who bellishments. Chopin’s delicate, intellectual face, pages when he fell ill. Unfortunately he destroyed being cast at him and us. But he had scarcely Clavier.” This gentleman made some of the notes, was claiming everything of this sort as of his played the fugue, not seeing the dynamic shading which still bore the trace of recent illness, looked the manuscript'shortly before his death.” played with the thumb, second and third fingers, own invention. I did not willingly give him a recom¬ therein. Their hands were not sufficiently adjusted disturbed; at last he could not control himself any played a few bars when everyone present, espe¬ to the discriminating sensibility of touch and bal¬ longer, and in the tone of sang froid, which he some¬ cially Schadow, assumed a very different attitude unduly loud; other notes played with the fourth mendation, but after thinking the matter over I CHOPIN AS AN ORGANIST, and fifth fingers were not strong enough. He did realized that the man had concentrated and classi¬ ance of power. Such was and is the average playing times assumed, he said: ‘I beg of you, my dear towards him. They had never heard anything like not accent the syncopated notes or the rhythmical fied a great deal of most useful and necessary in¬ heard from many students who flock to Europe to friend, when you do me the honor of playing my e of Frederic Chopin is so closely iden- it, and all were in the greatest delight, and begged intervals particularly, nor did he mould the theme struction into a practical form. He had enriched study music. compositions, to play them as they are written, and more. Count Almaviva had dropped with much thought of dynamic shading, such as the field of good music by putting the means of NECESSARY IDEALS. or else not at all.’ ‘Play it yourself _ his disguise, and was speechless.” has been hinted at in this article, under the headings expression more definitely into the hands of the then,’ said Liszt, rising from the piano, Mendelssohn was very fond of Chopin Melody,’ “Harmony” and “Rhythm.” I had the student. Many teachers and students were not sufficiently rather piqued. ‘With pleasure,’ an¬ to whom he gave the pet name of temerity to object to the neglect of some such We are less troubled in our own country to-day careful about details and trained sufficiently to ideal swered Chopin. At that moment a “Chopin etto,” features in his performance, expressing my disap- by the arbitrary narrowness of the continental spirit standards of art. My experience, for the years moth fell into the lamp and extin¬ pointrnent at a lack of independent, interpretative of twenty-five or thirty years ago, and we have since that time, has been that much the same kind guished it. They were going to light CHOPIN AND SCHUMANN. of thing prevails now as was the case then, and meaning in the voices of the fugue. If you will greater opportunity to choose and work out the it again, when Chopin cried, ‘No, put Schumann, like all the rest, fell a look at the Czerny edition of Bach, you will find comparatively few out of the many appear to have best under more favorable auspices in our own large out all the lamps, the moonlight is quite victim to Chopin’s charm, and describes only a mark occasionally: in one place “p” and gotten thoroughly into the traces. cities than was the case in Europe at that period, enough.’ Then he began to improvise, a visit Chopin paid him in Leipsic in another f,” another ~ another ~- A musician can cultivate a “Rhythmical Habit”' or is apparently at the present time. and played for nearly an hour. And the following terms: “The day before etc. The range of dynamic signs, used for expres¬ until he becomes an expressive medium for the in¬ what an improvisation it was! Descrip¬ yesterday, just after I had received sion in music, could be profitably increased in much terpretative treatment of time for rhythmical in¬ DEFECTS IN EUROPEAN SYSTEMS. tion would be impossible, for the feel¬ your letter, and was about to answer, greater detail. Czerny editions only show a few fluences in his music. He can also develop an ings awakened by Chopin’s magic who should enter? Chopin! This was general marks of this sort, not specifying particular Through my acquaintance with many music stu¬ equally sensitive “Harmonic Habit” so that the fingers are not transferable into words. a great delight to me. We passed a voices or particular notes sufficiently. The truth dents in Germany, during the best part of five faculties of both hearing and executing at the key¬ “When he left the piano his audience very happy day together, in honor of is that at a given interval one voice should fre¬ years which I spent studying in that country, I board will accept the right notes and reject the were in tears; Liszt was deeply af- which I made yesterday a holiday. . . . quently have an accent where another voice should was forced to the positive conclusion that, in the wrong ones in harmony, besides making a trained ected, and said to Chopin, as he em¬ majority of instances, they were not taught to look He played, in addition to a number of not, one should have a sustained tone and another selection (along natural lines) of harmonic accents. braced him, ‘Yes, my friend, you were staccato; one loud, another soft; one crescendo, etudes, several nocturnes and mazurkas into the expressive study of harmony, counterpoint Such work is being done, alongside of a superior right; works like yours ought not to another diminuendo, simultaneously, and so on ad musical form and the treatment thereof in musical’ —everything incomparable. You would insight into the uses and possibilities of some fifty be meddled with; other people’s altera¬ infinitum. But such details in the artistic delivery like him immensely.” Chopin, however, interpretation with which I was so fortunate under muscles, in the arm and hand of the player, in sev¬ tions only spoil them. You are a true of the individual voices had escaped my friend’s Weitzmann. Neither did I see the all-around habits eral of our large cities to-day. There is as much, entertained a poor opinion of Schu¬ attention, very largely. We had a long argument poet.’ ” of analyzing many, instead of a few, physical re- or more, enlightenment in music teaching among mann’s music, declaring that Schu¬ on the subject and I did my best to illustrate my andrtou7hWhterteby succeed the better with technic good teachers in our American cities to-day as can CHOPIN AS TEACHER. mann’s Carneval was not really music at meaning. I heard Liszt play fugues and he did and touch at the piano—as was the case with stu¬ be found anywhere in the world. all. Yet he admired Bellini! not miss any of these effects. I heard fugues played dents under Deppe In saying this I do not pro- Chopin’s well-known dislike for giv¬ Indeed, Chopin’s dislike for Schu¬ ing public concerts was probably due by the Joachim Quartet in Berlin with every individual pose to claim for Deppe every merit in this line THE ADVANTAGE OF STUDY IN AMERICA. mann’s music appears to have been feature of artistic delivery treated in ideal manner. either. He was so intent upon his own ideas that more to his weak physical condition, chopin’s birthplace. quite unreasonable. Willeby in his We were two students who had been some years advbie tQ a music student «s certainly to which rendered him nervous in the ex¬ biography of Chopin, tells how on one with some of the same teachers, the one in the erJredk° aV°ld mUCh elSC ’n °ther and more gen- pend the first years of your music studv in seek- ly„ kn(?wn ways of practicing technic. gHe treme. However, it was necessary to earn a living, cult to imagine him in connection with any other occasion “Schumann sent Heller a copy of his habit of looking for all of the effects which a fn ‘ Ay iCd t0 prevent his students from practic¬ nf W C Ways and means in the United States and man cannot live by composition alone, so he instrument. Yet his master, Joseph Eisner, founded sensitive training in harmony and theory would t North America. Meanwhile, try to acquire a Carneval, the Opus 9, which had just been pub¬ es staccato octaves with the ordinary action of was obliged to take pupils. Far from feeling it a a school for organists in Warsaw, and Karasowski lished, to present to Chopin. It was luxuriously call for, and the other ignoring such insight. The the hand moving up and down, from a stationarv k7uaf(knowledge of foreign languages, if you drudgery, he seems to have been rather partial to has said that Chopin delighted to improvise on the bound, and the title-page printed in colors. Hel¬ particular reason why I was trained to be careful position of the forearm. He tried to prevent stu would afterwards go abroad to studv; and, above it. Karasowski says: “Unlike other great artists, organ as a child, on account of the tonal variety ler called on the Polish musician in order to carry in such respects is spoken of above in the remarks dents from practicing the staccato habits which have snAnc-K-f? acqu,re such habits of stability and re- Chopin felt no dislike to giving lessons, but, on the of which the instrument is capable. There is a well- out his mission, and handed him the music; and on Weitzmann. I have the satisfaction of believ¬ ment anHy ? 7'" cnab,e.y™ to use good judg- contrary, took evident pleasure in this laborious authenticated story told by George Sand of his play¬ after having examined it Chopin merely remarked, ing that my friend took this exchange of views .l , get the good, without any of the harm, occupation, when he met with talented and diligent ing the instrument at the church of Notre-Dame- ‘How beautifully they get these things up in very much to heart, for a few years later he became tnat one can acquire through a sojourn in Europe, pupils. He noticed the slightest fault, but always du-Mont, in Marseilles. George Sand and Chopin Germany.’ He could not have been more severe known as a composer. He has written some pieces talrpff k° ca^ed ‘Musical Atmosphere,” so much in the kindest and most encouraging manner, and of artistic merit and much beauty of stvle, show¬ were on their way home from Majorca in 1839, but had he been speaking of some purveyor of senti¬ FurnJ1 • ’ as an incent've for music study in never displayed anger towards a dull pupil. It was ing appreciation of plenty of the fine points, which stayed in Marseilles for the funeral of Adolphe S*1 .,S at present to be had in our own musical only later on, when increasing illness had made his mental drawing-room songs, who, recognizing the Nourrit, the singer, who, in a fit of despondency, inability of his notes to convey anything but con¬ mind Part,CUIar time appear to h*ve escaped his degree ’ equa1, and if anything in a more ideal nerves extremely irritable, that he grew angry with had flung himself out of a window in Naples. “What dull pupils. Then he would fling the music off the fusion, was obliged to have recourse to the artist We are able at the present epoch to gather ma¬ an organ!” says the novelist, “a false, screaming and his color-box.” terial for improvement and high standards, in our desk, and speak very sharply. Not pencils: merely, instrument which had no wind except for the pur¬ line of work, from the accumulated information be- but even chairs were broken by Chopin’s apparently pose of being out of tune. He, however, made the weak hands. However, these outbursts of temper CHOPIN IN ENGLAND. r f l°. U? by s°me of the great teachers of years a °f fingerinS in use two hundre most of it, taking the least shrill stops and playing never lasted long; a tear in the eye of the culprit The revolution which broke out in France led the past and elaborated and continuously developed of the Ho ar^ c early indicated in a unique editio Les Astres (a melody of Schubert’s), not in the since by some of the thinking men of the present Jthenhandhl!naensdtead0ring t? h°W ^i^nelTto at once appeased the master’s wrath, and his kind enthusiastic manner that Nourrit used to sing it, Chopin to determine that it was not safe to remain centlv be S 7rd and °rgan Music which has r< heart was anxious to make amends. Nowhere can one see the results of discriminating This Wnd of staccato0'W V* more «*efS Scar ati P1Ub,isJhed by Bach & Co., in Londo, but plaintively and softly, like the far-off echo of in Paris, and a week after giving what proved to “He could not endure thumping, and on one oc¬ selection of the best and rejection of obsolete use¬ principally desirable for very ligT^riTn is the t LeZIOyed a star or asterisk to indicat another world.” be the last concert he was destined to give in that less encumbrances to progress better than among casion jumped up during a lesson, exclaiming, (rather than heavy stacratr. • gm’ . ,nsp Paying Certainly some of Chopin’s music is curiously city he crossed over to England. In London, our own musicians and teachers in America. and octaves). 7 Staccato playlnff with full chords to indicate orlginal of the cross use ‘What was that, a dog barking?’ Owing to the Perpendicular m 'tbe EngIish fingering), suggestive of organ effects, notably the middle part as elsewhere, he soon became an immense favorite, delicacy of his nerves his playing was not so power¬ was presented at court, and his rooms were crowded DEPPE’S cross tolnd- . ,k to.'ndicate the first finger, ful as that of other pianists, Liszt especially. This of one of the G minor nocturnes. "STUDENTS GAIN MORE AT HOME.” SHORTCOMINGS. with visitors. He gave several recitals. The eate the fouruffi^6 th'fj finger’ a crescent to indi rendered the first few lessons a real torture to his criticisms of the period dwell on the composer’s J„have ,se.en ™any cadences among the students fifth finger ?he fig„er *?d 3 *riang,e to indicate th pupils. He found most fault with a too noisy touch. TALENT FOR CARICATURE. physically weak state. “At Lord Falmouth’s,” says who went to Europe, and studied music and have followers went to still furth76S’ T*”16 some °f hi ticularly awkward ^"genng *hat he used seems pai “He would not take a pupil who had not some It is not unusual for artists to be able to find one writer, “he came into the room bent double, returned, of the lack of some of the most desirable the wrist ahead of fhe finge^Trnr8’ V Pullin’ Player to pass the third fi* ^ freql,ently obliges th amount of technical skill, yet he made them all alike expression for themselves in more ways than one, and with a distressing cough. He looked like a features, available m our present age, which some when moving the right hand to the P ayin® vice versa ~blrd finger under the fourth an begin with dementi’s ‘Gradus ad Parnassum.’ We hand to the left. They would h he ”ght’ or lef and many musicians have proved that they were revived corpse. It seemed almost impossible that with our modern3 bngenng w°uld be obviously ba see from that his chief object was the cultivation of tone. The fimr» • Instruments, which prolong th efficient draughtsmen. In our own time Caruso has such an emaciated-looking man had the physique SivXine "• l“rnl”! “d eral inches ahead of the fingers^ th 6 i7Hst Sev the touch. The preeminence attached to technical a most decided talent for draughtsmanship, and to play; but when he sat down to the instrument legato was either'1;™^f S<:ar]atti indicates that a goo superiority by pianists of the present day obliges pT„h; struments in use ,mposslble or unsought. The in MacDowell was for some time in doubt whether to he played with extraordinary strength and anima¬ them to devote their whole time to acquiring use also possessed much narrower keys adopt painting as a profession rather than music. tion.” After giving a few concerts throughout mechanical dexterity and enormous force. Thus Mendelssohn was also gifted in this direction, and England and Scotland, where he remained for some' 163 162 THE ETUDE THE ETUDE she must use which was somewhat distasteful to time, political conditions enabled him to return to times, with only that two dollars and twenty-five her, did she not have her Beethoven, her Chopin, iParis. He was .completely broken in health, and his cents a week coming to her. her MacDowell and Nevin to turn to when evening friends realised that he had not long to live. His The pastor of her church, knowing perhaps more death took place m October, 1849. than most people of the financial state of the family, arranged with his committee to offer her a salary THE OUTCOME. if she would take the position of pianist at the reg¬ POCKET TECHNIC ular Wednesday prayer meetings. “Oh, really, Dr. It seemed to me as I watched the efforts of these TWO WAYS OF LOOKING AT IT. By FREDERIC S. LAW Brown, I would like to help you, and be of service two girls, both true ladies and fine musicians, that BY ANNA PIAGET. to the church, but I cannot bring myself to play it was testing them severely as to their bravery an<| those ‘jiggetty’ gospel hymns every week; they are true musicianship, and I am watching them still, [Editor's Note.—There Is a great deal of w not in my line of work at all, you know.” And so wondering what the end will be. Edith is the one truth in the tallowing little article. There Is < with her singing and playing she completely shut of the arts and sciences, which require delicacy reason for failure and a reason for success. Fat most likely to give out under the strain of con¬ "In all the arts the thorough mastery of the subject nearly so Important a factor as many people off every avenue of remunerative work with her stant work, but as she often says, ‘‘It must be is the prime condition of success. Whoever has com¬ of touch and fine tactile sensibilities. The art of The thirds and fourths are held until it is neces¬ Mental attitude is far more significant. Many sary to leave them for the same intervals an octave way find a lesson la this little pedagogical parable music because her individual taste would have been done, and I am very happy in my work”—brave girl pletely overcome what the inexperienced consider as piano playing is undoubtedly the most highly so shocked had she responded to all of her friends’ that she is—and I feel sure that when her work is difficulties is a master in his department. The study specialized manual process that man has yet suc¬ distant, which forms a chord with the topsy-turvy THE WAV THAT FAILED. desires to assist her. finished she will hear the “Well done, good and of the technicalities of pianoforte playing is not so ceeded in mastering, so far as quickness of percep¬ fingering. Example 3: Margaret had studied music, both piano and vocal, To-day she is a stenographer and typewriter, hear¬ faithful servant.” Do you not think that Edith was laborious as many persons suppose; nor is it a super¬ tion followed by a correspondingly rapid co¬ Ex. 3. ing the call of her music “tugging at her heart¬ with the best of teachers, and at twenty years of wise with the use of her music, and will you do fluous and unnecessary task as others appear to think.’’ ordination and obedience of the higher muscular strings” as she works away in a little hot office to the duty with your music? Which lies nearer? age was an intelligent musician, a fine pianist and —Czerny, from the School of the Virtuoso. activities is concerned. the possessor of a well-trained and pleasing soprano ' make the necessary money to “help along” at home. She is too tired at night for practice, too much out voice. Her father suddenly failed in business and The pianist of to-day confronts a style of technic of practice to play for her friends when they call, THE TECHNIC OF THE SCALE. Margaret knew that she must earn money to relieve CHOPIN’S TASTE IN MUSIC. very different from that which Czerny regarded as The wrist, of course, loose and yielding, the elbow and her music is slowly and surely drifting away. hanging heavily like a dead weight from the family expenses. Naturally she turned to her music, the acme of effect to be obtained from his lightly- The technic of the scale is a combination of finger Margaret is a dear girl in many ways; not altogether shoulder. Small hands may find this impracticable; but with this attitude of mind: “I shall not teach BY ASHTON JOHNSON. strung Viennese piano. The brilliant passage work, movement with thumb crossing; its practice does a “snob,” as you may suppose; but draw your own in such case one finger only need be sustained. any children except those from the ‘very best fami¬ the jeu perle, the rippling scales and arpeggios of in time tend to give the thumb flexibility and to lesson, girls! Was she wise? his school have but little in common with the col¬ Example 4: lies!' I shall not use anything but the higher classics “In the great models and masterworks of art, equalize the strength of the fingers, while it is es¬ ored arabesques of Chopin, with the subtle poly¬ Ex. 4. in their work, no matter what their taste or what Chopin sought only what corresponded with his sential in familiarizing the hand with the character¬ THE WAY THAT SUCCEEDED. phony and involved rhythms of Schumann, or with ‘papa and mamma really enjoy!’ I shall not sing or nature. What resembled it pleased him, what dif¬ istic grouping of the keys for each separate key. Edith was a true musician to the very fibre of her fered from it hardly received justice from him.” the orchestral breadth and awkward grasps of play every time I am asked to assist at an ‘orphan Brahms. As the instrument itself has gone beyond It will be noticed, however, that the strong fingers nature. She heard and enjoyed nothing but the This was Liszt’s dictum upon Chopin’s preference asylum tea and sale’ or a church reception! I shall its predecessors in size, power and sonority, so its occur twice in the octave, while the fourth finger best, and had studied the best of music. Her edu¬ in the musical art; and bearing this undeniably true not play for rehearsals at Christmas time for ‘Santa treatment, both by composer and player, has altered is played but once and the fifth finger often not The positions in the key of C are more difficult Claus cantatas,’ etc., etc, I shall not play for gym¬ cation had been necessarily limited on account of statement in mind, it is interesting and instructive in style. The scale, for instance, has gone out of at all, which obviously does not make for equality than those which contain black and white keys, nasium work! I shall not play for young people’s lack of funds, but never mind! she found a way to gather from various sources which were the com¬ fashion, and even the arpeggio in its unadorned form of opportunity in exercise. The thumb, too, being since the latter favor the varying lengths of the dances! I shall not use my music except as I can through her own efforts to study the piano and posers whom Chopin greatly admired, and which no longer meets with the former favor from modern fingers. Anyone who has played Paderewski’s get real personal enjoyment from my work and use take a thorough course in musical theory with the again were antipathetic to him. the strongest of all, and attached to the hand in a money she had earned with two little pupils she writers for the piano; they spice it with chromatic, radically dissimilar manner, requires lightness and Menuet d TAntique in G will know how much the music which I have always been accustomed to!” Chopin esteemed Mozart above all other com¬ had secured. She received her vocal instruction by or at least diatonic, passing notes in order to avoid easier the final arpeggio, running through almost (Remember that it was quite necessary for Margaret posers. Liszt explained this by saying “that it was a totally different action from that of the other four, accompaniment work with the other vocal pupils an effect too placid, too reminiscent of the boarding the entire extent of the piano, would be if it to earn money with her music.) She began her because Mozart condescended more rarely than any but this characteristic movement is hampered by work in this frame of mind, although quite ready of her teacher. Now for Edith’s way. Just as re¬ school. the close association with the strict up and down included even one black key to facilitate the grasp. other composer to cross the steps which separated For all this, however, the Czerny technic cannot and anxious to earn her living. She put an adver¬ fined and intelligent as Margaret, and with just as stroke of the fingers, which tends to produce a The fifth finger is not used at all, but the thumb refinement from vulgarity.” Niecks amplifies this be safely neglected by the learner; as a basis it is turned over when the movement is reversed in tisement jn the daily local paper, which was noticed much love for the higher musical taste and work, thumping sort of tone and works against the de¬ this was her attitude when her father failed in busi¬ explanation: “But what no doubt more especially is as essential to the student of the piano as the order to give it practice in extreme positions which by many. sired evenness of effect. Experience shows that a ness and each member of the family must help stirred sympathetic chords in the heart of Chopin, practice of the light, florid style of Rossini, Bellini are the most trying, owing to the necessary exten¬ The first applicant was a woman in very moderate separation of the two strokes concerned, the verti¬ along: “My music is the talent that God gave me and inspired him with that loving admiration for and Donizetti is to the singer who would master sion of the arm away from the body. It is much circumstances. She had heard Margaret play the the earlier master, was the sweetness, the grace, cal and the lateral, leads to better results and with piano, and with not a little self-sacrifice was anxious to improve it. I love it and have done as much as his art. Whether pianist or vocalist, the early easier to turn the thumb under or the fingers over I could so far to help my talent grow. The time the harmoniousness which in Mozart’s work reign stages of technical study would best follow the a great saving in time; that is, five minutes’ prac¬ when the arm is brought before the body, as in low that her little daughter might study music with supreme and undisturbed.” It is said that Chopin tice with the weak fingers alone, and as much with "Miss Margaret." When she called at the “home has come when I must use it as a means of mak¬ course approved by experience. But it is not neces¬ positions for the right hand and in high positions never traveled without the score of “Don Giovanni’’ the thumb, will benefit the scale more than double Studio" Margaret received her somewhat coolly and ing money, and while earning the money I can be sary to adhere strictly to the form it has assumed for the left, on account of the favorable inclination or the “Requiem,” and Liszt tells us that even in “Don said: “Ahem! er—really I do not know whether I making people happier whenever it is my good for¬ in the course of a leisurely evolution. the time spent on the scale itself. of the wrist, which lessens the distance for the Giovanni” Chopin discovered passages the presence can find room for your little girl-—but”—with a tune to use my music. I will therefore stand ready In looking over Czerny’s voluminous etudes one The accelerated trill, besides giving an admirable thumb to stretch; hence it is well to begin the ar¬ condescending smile—“I will let you know in a for service wherever I am needed, whether I re¬ of which he regretted. It is curious that he adored is reminded of the disproportion between bread training in rhythmic values, is the best general peggio low with the right hand and high with the Bach, while seemingly neglecting Beethoven. When day or two;" but she didn’t “let her know” because ceive one dollar or five, or only ‘thank you’ and a and sack so severely condemned by Falstaff, the exercise for the fingers. It begins in slow tempo, left. The movement, too, should always have its she was not one of the “first families” of the town, smile. I cannot study any longer, but I will continue he wished to prepare himself for one of his con¬ quantity of notes is so enormous in comparison say quarters at the rate of sixty a minute, and is initiative with the wrist and not with the elbow; although her money would have been paid at the my practicing, hear as much fine music as I can certs, it was not his own music he played, but that with the ends they seek to accomplish. Cannot accelerated at regular intervals to eighths, triplet, the wrist must turn first and the elbow follow, same rate and just as promptly. and keep in touch with the musical world by read- of the great organist, whilst he always grounded these- be reached by a shorter and more direct route, sixteenths, sextolets, thirty-seconds, always at the keeping as near the side as possible. The disposi¬ ing and study.” After a short time she secured three pupils at his pupils on the Preludes and Fugues, and adjured by more intense and concentrated methods? The same metronomic unit. It is a particularly effective tion to throw the elbow out unduly may be checked them always to study Bach. seventy-five cents for one half-hour lesson per week. , .r.’ ™ tuun was no scale and arpeggio of the common chord, though discipline for the weak fingers and may be increased by requiring a lead pencil or a sheet of paper to at all strong, not at all able to even attend concert' disappearing from the music of contemporary com¬ (Alice, Louise and Bessie “couldn’t take more than Halle narrates how he played Chopin “at his re¬ both in difficulty and utility by sustaining the keys be held in the arm-pit and allowing the body to in a near-by city, but could only depend upon ar posers for the piano, are none the less the founda¬ one lesson, Miss Margaret, because you know they quest, in his own room, Beethoven’s Sonata in E under the unemployed fingers. Such a sostenuto is a move freely in the direction taken by the arpeggio. occasional artist of merit coming to the town where flat. Op. 30, No. 3, and after the finale Chopin said tions of its technic; they are the upright pillars must go to dancing school, and their home work feature of most so-called finger gymnastics; while A too high seat often produces stiffness and an she lived. Beside this, she was without a mothei that it was the first time he had liked it; that it had that support the weight of latter-day ornamenta¬ from school takes so much time, and they must take extremely useful it is recommended only for those exaggerated movement of the elbow. These faults an occasional ride in the new auto.” Such are the and had many home cares. Now what did she doi always appeared to him very vulgar.” tion and its harmonic structure. The student must are particularly apt to appear in the playing of who have attained a certain amount of strength and pressing ferial duties of the children of the “first first she asked for pupils among her acquaintance* Probably it was the want of familiarity with the know both, but he need not be called upon to spend tremolos, and can frequently be remedied by the independence in separate finger action. The few families.”) Seventy-five cents per lesson was the —not without many struggles to be brave, how' works of Beethoven which was at the root of his years in reciting his lessons according to form¬ simple expedient of a lower stool. examples in notes which follow are designed only highest price obtainable in the town where Mar¬ ever—and secured, after a few weeks’ soliciting and indifference. Von Lenz says: “He did not take a ulas laid down a century ago. His tasks have After practicing the three positions of the ar¬ garet lived, and three pupils at seventy-five cents advertising, fifteen pupils at seventy-five cents per very serious interest in Beethoven; he knew only his risen in difficulty and complexity; a concentration as indications of the type of simple exercises for peggio through an octave in slow tempo with sus¬ each netted her two dollars and twenty-five cents half hour one lesson a week, which brought her prmcipa1 compositions, the last works not at all.” of the essential and an elimination of what can be the purpose in view; teachers and students can tained fingers, as shown in the foregoing exercise, eleven dollars and a quarter each week. Her in¬ each week—rather a small salary? But! but! they Of his contemporaries he played chiefly the com¬ spared after serving its turn will give more time readily form others to the same end. Most of these they can be taken in acceleration—eighths, six¬ come grew, as she soon secured the position of ac were really and truly from the “first families of the positions of Hummel, Field and Moscheles. The for the real things in music. are so constructed as to give the accent and great¬ teenths, thirty-seconds, according to the facility of companist in a girls’ gymnasium, and through this town I -and not any too well mannered nor earnest tormer had been an admiration of his youth, and In order to discover a “pocket technic,” by which est number of strokes to the weakest finger, and can the player; of course with the release of each finger class, also, secured more pupils, so that her days students, either! Her friends, knowing that she was the concertos particularly show that Hummel ex¬ I mean the elements of technical facility reduced be used both for thumb and fingers. Example 1: as in ordinary arpeggio playing. were filled with profitable work. She was often anxious to make a start, tried to put musical work in ercised a formative influence on Chopin. From to their simplest and most concise forms with a As a curiosity I quote a peculiar exercise for the her way. A number of dances were to be given by f Sjn# f°r ,t.hank yon” at "teas” and social view to economy of time and effort, let us con¬ thumb invented by Rafael Joseffy, if I mistake not, affairs of different kinds, and it didn’t hurt her one "Ar®’ *°0’ h.e adopted the form of the nocturne, the younger set of people just beginning to taste the ough he infused into it a warmth, a distinction, sider the structure of the hand as adapted to the and which is to be played in all keys. Example 5: innocent joys of social life, and Margaret was asked mite to give her services, for in this way while playing of the piano. It must be confessed that If she would play for them in their homes for five Fn aPse"t *rom even the best work of the Ex. 5. fZTt dCal °f Pleasure t0 *«e who list¬ i-nghshman. He was especially fond of playing the the showing is not a favorable one; a short, thick dollars an evening, the dancing to begin at eight- ened to her sweet music, she also met her friends :, *ts,of Moscheles, and certain pieces of Schubert thumb moving freely only in a plane at right angles thirty and end at twelve o’clock, with an intermis¬ ffitr^dMl S0T! gatheri"SS and was kept from grow¬ also found favor with him. to that of the other fingers and from its great sion of half an hour or more for refreshments (more th too much ground down to work. strength evidently intended by nature to act as apparently did not entertain a high money and less time than many a poorer girl re- She did not feel it beneath her dignity to olav their counter-balance; fingers displaying strange eeives in a whole week). “What! play dance music? frL°f tHe P°P«lar music at home occasionally r ° ^ n.otw!thstanding Schumann’s ex- discrepancies in length and strength, and one of CW admiration and sincere affection for him, Uh, I really couldnt do that! You know I never for the younger brothers to “play soldier,” and to them, the fourth, almost incapable of independent play anything but classical music!” Another door cheer poor, tired father a little. She was ready to wo?nfn,f-Ver d,SpIayed the admiration for the action; a wrist by which the hand is enabled to to success and money shut. play this music at dances, too. because the younp- ru • l great ro,nantic contemporary. operate as a unit despite these varying conditions Amateur theatricals were to be given by some of cenPnT"rhatrCd virtuoso mus!c, and, with the ex¬ rathe ‘H°?ey B°y” a"d "School Dayf” of its members. The problem of the pianist is to It is particularly essential to practice exercises for the society people of the town. Once more Mar¬ rather than any other music (who can blame the forts of Z P,.eces of Liszt’s. none of the ef- produce the effect of perfect smoothness and equal¬ the weak fingers in every key in order to give the garet was approached and asked to plav at re irl%anAJ-Th a"yW?>- She received fi” ^1 SScleS SCh°Cl ^ eVCr t0 * fopnd « his ity, notwithstanding the natural inequality of the last three fingers of the hand clearness in playing hearsay What! play that stuff for a dollar and a lars for this work very often during the winter means at his disposal. His technical practice, there¬ chord positions, which are apt to suffer from in¬ half an evening? (A little more than an hour, with and very often there were five-dollar checks from fore, has three aims in view: Strength in the weak plenty of fun for her thrown, in, if she would but friends who needed her singing to heln ert *. - The grand arpeggio is the exercise par excellence distinctness in the keys struck by these fingers fingers, flexibility in the thumb, lightness and loose¬ and from a too great vigor in the thumb. see n in that hght.) “Oh! my! no! Really, Mrs at vanoos “social functions.” In fact, Edith never for the thumb, which if it can execute the skips ness in the wrist; all these requisites being absent The importance of a special training for the Du Pnyster, 1 coul4n l do that? You know I have of the third and fourth will have no trouble in Some one h=>neSS-are lnexcusabIe in a teacher, in the uncultivated hand. Its natural function is thumb is by no means generally recognized. Thal- such a high standard for my music and my work F* connecting the seconds which occur in the scale. young man -S ?1Ve" this m,tsheII advice to a plainly the grasp, in which it acts as a whole; the berg was one of the first to avail himself of its Success was not hers and she was rather tearful at individualism of the fingers was a secondary con¬ The exercise which I have found most useful and ^ore thTn"s e^"1/ ' ,ife: a ** capabilities in declaiming a melody with an ac¬ sideration with primitive man, and received develop¬ for a young teacher^ °I >°U'. That Is a Sood mottn for which No. 4 is a preparation is the following. companiment in the same hand. By the aid of y ung teacher, and for the older ones, too. ment only as it was called for by the evolution Example 2: the pedal it often acts the part of a third hand. THE ETUDE 165 164 bers from Czerny's Etude, ie la Vilmi . THE ETUDE immediate succession and up to tht!r I know of but one set of studies especially devoted «. -d surety than by a Pto^c.c indications I was surprised at the bri*^ posed of merchants—all of them intelligent, well- bred merchants—and all the passengers laughed at to mastering__ , its __peculiar difficulties—Bernard the troublesome intervals t jn„ positions re- *Lclat that a clear rapid execution gJV( ” the self-condemned captain—all except the music Boekelmann’sBoekclmann’s Op. 12, six etudes noteworthy not minutes given to these rat Quarter of an hour series of studies like that just only for their unique object but for their musical suited in more smoothness than 9■ gymnastics, teacher. only for their unique obj~‘ r ' ’ olayed without offense where •aythia? A interest3swe.ilinterest as well. devoted to the nocturne itself. sua bo u:,ji- Sometimes, however, it is the proper thing for the obviously mechanical nature would be lr4fc, • The Music Teacher’s Advantages Material for practice of the thumb and the weak however. are not to be prescribed light j ■ t l hc music teacher to speak out. As when, for instance, This is no small advantage to the imbife' ’ fingers can be found in O’Neill’s Weak Fingers, pub¬ in general, and never without consider^ ^ “money” ventures to announce, on general prin¬ dent who happens to be surrounded br By CHARLES A. FISHER lished by Novello. An excellent set of three studies muscular conditions m each case. they ciples, that “$i is sufficient for an hour of any by John Orth, bearing the same title, affords similar dents are apt to push such devices wo ^ in sympathy with bis technical stririnp. S: music teacher’s time!” Then it is proper for the practice in a more attractive form than the se¬ form a “pocket technic in.the d permanent teacher to help the merchant figure it out—that class quential exercises thus far considered. There is term, but if the safety line is cr° sed ^ Schu- THE ETUDE ANNUAL prize ESSav of “money” gets at everything by figuring: nothing better than the playing of all scales weaknessweasness uiof theuic hand may be t e , CONTEST. There can be no question that the music teacher It is necessary, however, that he somehow man¬ “Five lessons a day; so many teaching days a the third, fourth and fifth finger- -- —1 mann’s ill-advised zeal in this respect should age to meet his pecuniary obligations; the commer¬ 1 scales i mann’s ill-advised zeal in tms rc=i^' One hundred and sixty dollars will bt ^ enjoys exceptional advantages if he will but look month—makes so much. Deduct for losses and for thirds. Example 6: cial world is morbidly particular about getting all warning both to pupil and teacher. into ten prizes in the following mam:« about him and realize the fact. Let him compare enforced summer vacation, so much;—result: Sum Ex. 6. that is due it. The safest plan, therefore, is to Four prizes of twenty-five dollar! for ei„ the little discomforts and embarrassments of his total, at $1 per lesson, equals, say, $900 per year!” SAVING PRACTICE TIME. avoid, as far as ever possible, the contracting of from 2500 to 3000 words in length. ' ■ initial teaching years with the harassing anxieties “Well!” asks Money, doggedly, “isn’t that and desperate makeshifts of other professions— debts the payment of which cannot be clearly fore¬ enough?” The particular aim otof^ allalt thejome re going _ - Six prizes of ten dollars each foreuapofi seen. This is the first step toward making sure of those, for instance, that perplex the young and Then it is proper for the music teacher to reply make clear that a great deal of time is los in 1000 to 1300 words each. the community’s respect. Pay your bills promptly! study of etudes that are not completely mastered, ambitious attorney, sitting out his lonely morning firmly but courteously: CONDITIONS. vigil, day after day, with one expectant ear ever “Sir, that may be enough for you, but it is not therefore not serving for much more than material OUTWARD ACTIVITY. Thus passing the long fingers over the short ones in sight reading and in the practice of exercises (Read carefully.) turned toward the corridor of the many doors, hope¬ enough for us music teachers.” The average modern business man demands out¬ and turning these under the long fingers, the wrists without a definite understanding of what they are 1. Anyone, whether subscriber or not.najj.. fully anticipating the footfall of a prospective client; Some such reply, spoken at the proper moment, ward visible evidence of activity. He is so active not only clinches the argument, but is apt to con¬ inclined inward. It is difficult, especially when it intended to accomplish. Eight or ten carefully pete. forever scheming what he may properly do to en¬ himself that he cannot well understand how anyone tribute to the hilarity of the bystanders. is necessary for a short finger to pass to a black- selected studies in a year are enough—indeed, almost 2. Any writer may send as many «a;s 3, . large his circle of acquaintances; joining this and can possibly be occupied unless he is bustling about. key under a long finger which is on a white key, too many, for the average pupil, for it is only when may care to submit. becoming a member of that; dabbling in real estate There are many advantages—evident advantages but it prepares the player for the polyphonic style A young business man or a clerk who does not —more or less exclusively appertaining to the voca¬ they can be played with fluency and ease that they 3. Write only on one side of the »b««o{pi^ to help make both ends meet; venturing into the of Bach as well as for the eccentricities of finger¬ turbulent arena of politics and “orating” himself bustle about loses “caste.” tion of music teaching, and not the least of these is begin to be of real utility. Unfortunately a study 4. Send manuscript flat, not rolled. The music teacher, is supposed to be employed in ing found in Chopin, Schumann and other modern into popular notice night after night. Let him com¬ the privilege of speaking one’s mind freely—upon composers, while it is remarkably effective in giving is generally dropped before even this stage is 5. Write legibly, or if possible have it typewfi-^ a learned and sedate profession; “hustling” cannot pare his lot with that of the young physician com¬ occasion. strength and independence to fingers so little en¬ reached, and then comes the non-productive period 6. Place name and address, the number with propriety be required of him. dowed with these qualifications by nature. The of another; that is, the time spent in learning the contained in the article and the words "PriRE® pelled to purchase a horse and buggy or a cheap The following jocular couplet, good-naturedly INDEPENDENCE. chromatic scale is much more easily played in this notes and in coordinating the movements of the at the top of the first sheet. automobile for the sake of appearances; at the beck poked at singing teachers in Germany, will serve to Most men in other walks of life are compelled by way than the diatonic scales, and can be practiced hand to correspond with them, before any genuine 7. Enclose sufficient postage for return rf t®. and call of a parcel of impecunious folk who are illustrate the point: with advantage by those of but slight technical technical gain can be realized. Far more advance¬ script. careless enough to fall sick; pushing his way circumstances to shun candor of utterance; the powers. Example 7: “While others rush about politician, the diplomat, the professions generally ment would be made by the repetition of what has 8. Essays must reach u* before the fat of fc into “society”—not without considerable expense— We stay Indoors and shout.” Ex. 7. already been thoroughly learned and by devoting 1909. If possible, a final judgment *ai|*, and only too glad to be burdened with some sub¬ and the tradesman in particular. “It isn’t good the time spent in deciphering new technical com¬ in the August issue. Every essay reeettet 1, deputy post in a prominent hospital at a mere pit¬ While the world around him is feverishly strug¬ policy; it might injure your business!” binations to music itself rather than to the means ful reading, and this takes lime. tance—just to get a foothold. gling in the vortex of strenuous commercial com¬ Not so the music teacher! No one in the com¬ by which we execute it. Those who think to ad¬ How, for example, would the discontented music petition the music teacher who knows his business munity can so well afford to be quite as outspoken vance by a continual straining against difficulties SUOOKSTIONt. teacher (if there be such) like to sit in a stuffy and looks after it will find his occupation one of as he. This attitude of independence, though it may rare placidity. While almost everybody he meets make him some few enemies, and may even retard are in error. Such a course is more apt to weaken 1. The essay must present some vital m railway office from morning till night, accountable is straining every nerve to outstrip a competitor, he his material progress in a slight degree at the start, It will be observed that these progressions require than to strengthen one’s powers by reason of its question in a practical, helpful, intcmitn* nut for the unravelment of a maze of figures, or how can afford to comport himself with a certain degree will be the very means of gradually attaching to a position of the exactly contrary to that assumed tendency to foster a hesitating style of playing, 2. The Etude goes to the largest msuulamk would he relish being a clerk in a great mercantile of serenity, somewhat, perhaps, to the irritation and himself the more desirable sort of friends. The for thumb practice; in the latter the wrist is turned which is prejudicial to artistic breadth and sweep. in the world. Remember in writing that joere establishment—even a confidential clerk of high envy of less fortunate mortals—another distinct ad¬ self-respecting music teacher may speak his mind outward, in the former it has a strong inward in- The plan I recommend is this: Choose a small must hold the interest of this audience nrrr« standing, with the prospect of a junior partnership— vantage for him! freely upon proper occasion, but it ought to be only chnation. number of studies, each the exposition of a par¬ just as though you were talking to them. ticular difficulty; learn them from memory if pos¬ where, after laboring with the utmost diligence for to the glory of art and for the benefit of the pro¬ Wrist practice is best deferred until the thumb 3. The essay must be within the eumprein; sible; practice them every day for weeks, if not a long period of years (constantly on the alert to fession—not to his own glorification. the weak fingers have received thorough drill, since of the majority of our readers. Euan me for months until they can be played with the utmost anticipate the slightest wish of his superiors), he Everybody is bound to be sufficiently considerate the hand must be able to rest on the thumb and struse philosophical, ethical, or so-called psji Frequently—rather too frequently — we come freedom. To these add exercises bearing on the might find the junior partnership dissolving into not to wilfully wound any fellow-creature by reck¬ fifth finger firmly, yet without stiffness. The best logical questions arc not desired. across the complaint, expressed or left to be in¬ general exercise is a repetition of the interval three points mentioned, finger gymnastics of any tvnc thin air—some relative of the head of the house lessness of speech. But that is merely the personal 4- Make your essay concise and to the poiit ferred, that the profession does not enjoy the proper chosen, either a sixth or an octave according to approved by experience, for a few minutes of daily having come to the front in the meanwhile; and no respect of the community. The complainant is side of it. The music teacher stands—or ought to the convenience of the player's hand, after the practice. Repetition, not variety, is the essential- yo“ *’avc “leas for a 1300 word essay, don't in chance to obtain a suitable post with another firm stand—for something more than a mere music multum r pad them out into a jooo word essay probably mistaken; doubtless there has (if the case rnytnmic pattern of the accelerated trill; that is ” Vtulla (rnuch not many). This nee! because of the lack of proper recommendations or be examined closely) been no lack of respect for maker or technical guide in the manipulation of take t 5- Write about one subject, and keep Hght ti:: quarters, eighths, triplets, etc. With small hands than twenty minutes, or a half hour at for other reasons? the profession, although that particular complainant some instrument; he ought never to forget that, how¬ it is advisable to illustrate the desired action of the in the meantime alternates for the bject. A good anecdote, pertinent to the sabje ever modest his income, however circumscribed his studies 1 Statistics inform us that about 95 per cent, of the may not have received all the respect to which he wnst staccato with the single finger, as if tapping ,s ,always desirable. Write as tboueh roc* men who engage in mercantile pursuits finally go to may have considered himself entitled. sphere of immediate influence, it devolves upon him by c e until °Sen and.graduaIIT worked up rying to make the reader say. upon putting do on the window pane, the hand swinging like one the wall. A fine prospect, that, to beckon one at This supersensitiveness on the score of respect, at all times to assume his share in the champion¬ large finger from the wrist without any knuckle tical example of sucTI scheme°iTlfow^yseK I Jatp,hp,e,r’i Thcrc-1 have StoTSiSfa the end of a career—a career entered into with the so obviously suggestive of its own remedy, calls to ship of a noble cause. action whatever. Good octave players are generally quote a program, of etudes arranged for Z* * that that I can put to direct use ia ay few express purpose of laying up wealth! It has been mind the advertisement of a young man in search This may now and then entail some special sacri¬ tine executants; the necessary extension of the hand which I h,| tarnd ,0 answer ,v"ry " ,frac,,ce 'o-Jay.” Helpful, tongontiigoi said that most people, as they go through life, con¬ of mercantile employment commensurate with his fice on his part, but “the world loves sacrifice and in connection with its movement up and down ex¬ Sh”rt cs,a>” arc more m demand thu b dementi. trive somehow or other to do the things they like capabilities. After giving a list of his qualifications detests egoism,” remarks the Abbe Laboulaye, and pands the band of muscle which encircles the wrist Ma.ny wri"=rs feel competent to .rite sk the applicant dosed as follows: the world—especially the better element in the and confines the tendons of the fingers as they enter to do. The real fact of the matter is that most “Good salary expected; good treatment I shall music teacher’s somewhat restricted world—will the forearm, so that the latter gain greatlv in POpndm,CNof lTrS’ b0th hanT= S^rnNate:3cSn; 6 At. ° ,WOMlan a weak, long article. THE MUSIC TEACHER’S HAPPIER LOT. of the community” may be left to takfe care of itself. a few minutes One or two carefully chosen etudes alternate: Op. io, No. 1 tensi°ns» left hand; Very naturally, however, in a world where every¬ The teacher who cherishes his independence—to How much happier the lot of the music teacher! played every day is perhaps the best way of keep¬ Kullak. From Flower tn ?? mathematics of melody. thing is placed on a commercial basis—where all the private teacher who prefers to keep clear of ing up a wrist technic without undue fatigue hands; alternate: Mason, «PrS Having well equipped himself for his work—being achievement is judged by the standard of finance— conservatories, devoting himself to his studio work It is quite possible to meet all technical exigencies well grounded by years of patient but not unpleasant it follows that, broadly speaking, the “standing” of —there is vouchsafed an especial advantage of great by exercises constructed on the plan previously in¬ study—and having decided upon the place of his a man is liable to be gauged according to the size import; a small prerogative, it may seem to many, dicated and to supply the place of etudes by the activity, his main difficulty is to obtain the first of his bank account, to the exclusion of other but precious to him who has something in mind equal practice ^botlThands6"*1^ ?hosen to give that he wl hc,1rd to lxmark- ,hf <',hfr three or four pupils of the right kind. These weighty considerations. besides mere teaching, no matter how highly he practice of difficult passages in pieces; concert play¬ neglected by composers, who fondly tween cc- ers, too, who have served a long technical ap¬ work to the more expert right han? w-buIk °f the prettv J * 1 mu*ical com] secured, the rest is a matter of comparatively “plain may prize his profession—namely: that one day in prenticeship* in earlyy youth,' ottenoften hndfind the Practicepractice sailing”—easy, when compared with the hardships the week which he may reserve wholly to himself. of their repertory sufficient for nil tl. h6 l r' Cr3n be carried through in °m pause of their repertory sufficient for all needs The though I often lengthen the tZ, ” twelve minutes mtisiciane a_ " J°cular manner, of course lot besetting almost any other occupation. Of course, What other human creature in this hustling world average player, however, generally requires the cor neating the first Czerny study whiT-What W arrangementm n'v;ir<‘ the different changes the young teacher must be frugal, and attentive to —unless it be an artist or a denizen of Bohemia— rective influences of all these schemes of practice . “ 1= lanung aDout; sometim by doubling the measures of tfie first 1S Sh°rt’ and indeed -ilm S °f a nun,bcr of sounds are SUSO such “business” as presents itself. could venture to set apart a whole day in every week For instance, by a short preliminary practice of it does know, but very frequently it doesn’t. B the Gradus. When to these are add "U^ber fr°m It is not necessary for him to shine in “society”; for his own exclusive use—to do with as he pleases? extensions between the third and fourth fingers The 'fo £°S-t ,,nlimi,<>'l no art can well get along without the moneyed mi (iixamole 8): £° bll* T the three Potions of the oo the th,,rnh society lays very few obligations upon the music unless it be supported nationally or by the munic in three tempos, and the . common chord ca„t'mn,Va/’V 'hf Ex. 8. 4 to 12: a”C yrom musical tones. ranrU •' teacher. He can always put forward the excuse that pality, and Heaven forbid that music should fall in ADVANTAGES IN PROSPECT. he must attend to his work. A music teacher of the the claws of politics as a municipal undertaking; There was a day when a great English literary On t ^Usjca* tone* .24 chmi least not until such time as our politics may ha’ better class is supposed by all sensible people to be light ventured to remark that to him music was “the On 6 _US!cal 120 chani too much occupied with important duties and con¬ become purer than they are at present! On ® tones least disagreeable of noises.” If he lived to-day and tinual studies to have any time to spare for frivoli¬ Once when an old transatlantic sea captain w; thought it, he wouldn’t dare say it. airing his family troubles to a few chosen guests I found it possible to play the thirds and sixths to those of his hearers from thars °f the Player and °n 8 mus'CaJ ,0ncs .. cbjn* ties. Neither is it necessary for him to do a lot of . N° literary man, no man of business, no profes¬ technical exercises Almost^6 mon°tony Qf n„ On q !cal 'ones ... ZZo cbM the cabin table he burst out with: “Eight marks fi that form the especial difficulty in Chopin’s “Nocturne promiscuous performing in people’s houses; people sional man can afford nowadays to be without a m G Major,” Op. 37, No. 2, with much more On 10 mUS.,ca' tones ' charf will very soon learn to respect his polite refusal to a music lesson! Why, that’s more than I mal On u tones .xafa dux myself for an hour’s work!” certain appreciative knowledge of music (and of the do so, as well as his courteous insistence that such other fine arts as well) if he expects to be consid¬ With the exception of a solitary music teach the first tWo num" things should be left to the advanced amateurs. ered a person of culture. It will no longer do for present the company around the board was cor l,s,c--" ««w . any prominent citizen, no matter how “successful” —The Deu

i 167 THE ETUDE 166 THE ETUDE Dvorak, in the “Virgo Virginium” of his Stabat very heaven of happiness; the generous applause ducats. This work was well presented and fairly THE CONQUERING OF FEAR. Mater, gives the direction Senza Corona over the last BELLINI, THE GENIUS OF STRICKEN and the spontaneous words of commendation from -—how wealthy—he may be, to confess he prefers well received, but was uneven and far short of what note of the vocal parts to show that these are to listeners fully repaid her for the anxiety felt be¬ “Martha’’ when the operas of Richard Wagner .are SICILY. Bellini was to accomplish. Barbaja was well enough end in strict time, and not to prolong the final note BY HARIETTE BROWER. fore the ordeal. The problem was, how to be always under discussion; or expect to learn all about pleased to warant him in engaging Bellini to write as is intended to be done in the instrumental parts. in that state of mental calm when one only comes “Lohengrin,” for instance, by beginning to study BY FRANK MOORE JEFFERY. another opera, this time for La Scala, in Milan, In German the usual expression is fermate. But in the libretto a half hour before the performance; or occasionally before the public; how to be sure of where Barbaja was also impressario. At Milan, Bel¬ “Mind is Everything.”—Hans von Billow. French we have both the words Couronne and Point to demand “tunes” at the symphony concert as [.Editor's Noth.—Tne eyes or tne civmzeu wunu ■ - the pieces, sure of one’s self. recently been turned to the Island of Sicily, where one of lini collaborated with the Italian librettist, Felice d’Orgue. Commenting upon the fact that the latter being preferable to Beethoven. the greatest catastrophes In the history of the .world has Romani, and together they brought forth “H Every teacher of the piano has to contend with It was becoming clearer to her that mind con¬ term is used for an organ point, or pedal bass, Sir As this sentiment continues to spread—and it is occurred. Just under the brow of the never-silent Mt. Etna trolled her entirely, controlled her hands and fingers lies in ruins the little city of Catania, where BelBni was Firata” which was produced in October, 1827, with a certain belief which seems to affect all his pupils George Grove remarks: “Rousseau gives a clue to the spreading with astonishing rapidity in our country— so that they should only play the correct notes and born. Many people had an idea that Sicily was a coun¬ a fine cast including the gifted tenor Rubini, whose in a variety of ways—a belief of fear. They may origin of the term by explaining (under ‘Couronne) the importance and the value of the professional try peopled by cut-throats and organizers of black hand bring out perfection. Since mind was everything societies. Whatever bad blood may exist in the land is singing created a furore, and Europe soon knew term it nervousness, timidity, stage fright, but in that when the sign was placed over the last note musician, and of the music teacher in particular, compensated for by the gifts that the country has made there was no room for wrong thoughts; that is, and endorsed the young composer’s triumph. every case it is simply a manifestation of fear, of a single part in the score it was then called Point will be correspondingly enhanced. And only as the to art, music and to learning. Palermo is the seat of one thoughts of failure, of disaster, of forgetfulness. of the oldest universities in the world. Bellini was one Bellini’s praises were now sung far and wide, and and often seems to interfere greatly with their suc¬ d’orgue, and signified that the sound of the note was intellect of the country continues to raise itself to of the most tuneful of all the old Italian melodists. Al¬ Or, if such thoughts obtruded themselves they were with a commission for a third opera he was offered to be held on till the other parts had come to an end. this level can the nation hope eventually to approxi¬ though his works are now for the most part only access¬ cess and to impede their progress. to be dismissed quickly with the abiding conscious¬ ible to our readers through the medium of pianoforte scores eight thousand francs for his second opera when Thus the note so held on became a pedal, and is so in mate some such period as (by way of illustration) of his operas, his melodies are so attractive that every stu¬ It seems to be latent in the mind of the pupils ness that mind controlled all, and the good is ever¬ the glorious age of English literature, an age in dent owes it to himself to become acquainted with them.] revised. Successes were continuous, although not theory.” Another curious fact is that pausa in Ital¬ when they come for their lessons, stiffening up their present. which a merchant tailor by the name of John without difficulties, which in many cases were hard ian and pause in French both indicate a rest, gen¬ While the musical sons of the classic and sunny fingers when they should be facile and pliable; Webster wrote dramas that stand on a par with to overcome. For Venice he produced an adaptation THINKING SUCCEEDS. erally a whole rest—a rest for an entire measure, o land of Italy were following madly the traditions tightening their arms and wrists and preventing those of Kit Marlowe—second to none but those of of “Romeo and Juliet,” and at its performance re¬ The player found that, in proportion as she real¬ a rest for the value of a semibreve o Shakespeare. Only as the strenuous men of affairs of their ancestors, and, more particularly, writing ceived a popular demonstration. them from bringing out the power and tone quality a la Rossini, after that master of florid song, at the that they are able to do when alone, and seeming ized this great truth, she could come before an and of commerce contrive to spare time for the audience without fear, and play her best. From her OTHER MEANINGS OF THE HOLD. very beginning of the nineteenth century, there to paralyze thought so that their playing sounds intelligent appreciation of the highest forms of art THE SUCCESS OF "NORMA.” former fear of playing for a small audience, or for may the American people hope to attain the beauty arose in the flowery land of Sicily a young musician Proceeding from the term itself to its meaning, stilled and unnatural when they would have it fluent a few people in a parlor, she seemed to be de¬ and the grandeur of a nobler—as the poet Swin¬ with a gift for melody of such distinctive color Severe illness checked his career for a time, but we find that, in common with so many other musical and expressive. The pupil feels she is playing at livered; it had fallen away from her like a sad burne expresses it, "a loftier and more impassioned” and brilliancy that he was destined to stir the whole he recovered and brought out “La Sonnambula” at a disadvantage; the teacher tries to reassure her, terms, the hold or pause is an equivocal term—a —life, a life now so largely frittered away in the Carcana, in March, 1831, and so great was its suc¬ colored garment. term possessing several meanings. When placed world of music with his rhythmic art. to put her at her ease, and feels within himself, In her teaching she constantly sought to bring fiercely competitive accumulation of wealth for cess that the management of La Scala offered Bel¬ over or under a note it represents an indefinite pro¬ In the rich and varied light of “II Puritani, “La “Oh, if I could only wipe out and destroy all this out the mental side of the work, the control that power’s sake, or to be “enjoyed” only as it is lini three thousand ducats for “Norma,” which was longation of the sound. When placed over a rest Sonnambula” and “Norma,” the rugged processes each one may attain to; the ability to play exer¬ squandered in luxurious living and frivolous display. performed in that theatre nine months after the timidity and self-consciousness in all my pupils, and it represents a corresponding prolongation of silence. of accomplishment, like flickering gleams in dark cises and pieces through, straight from beginning “An idle fancy!” many would say. A dream, per¬ first performance of “La Sonnambula.” “Norma” for everybody who does anything in music before But the sign is also placed over a double bar. Here places, are not apparent; nor does it appear that to end, without a flaw—to strive for perfection. To haps—a remote possibility. Yet may we. the music was at first received coldly, much to the surprise others, the whole world over, what a blessing it it has several meanings. Generally, as somewhat the first great effort of the inspired composer was help the young players in gaining this control, teachers of the land, assist in our modest way in of Bellini; but after a few performances the breadth would be.” Just think of it! Everyone who comes vaguely suggested by Malcolm, as quoted in our a failure. weekly test classes were held, at which both techni¬ accelerating its ultimate realization—such of us, at of the work began to be appreciated, and a complete upon the concert platform able to play his instru¬ first paragraph, it is equivalent to the word Fine, Vincenzo Bellini was born in Catania. Sicily, cal exercises and pieces were played; the former least, as are ever ready to continue offering our reversal of feeling took place. ment without sinking of the heart and fluttering after a Da Capo or a Dal Segno has been duly ob¬ feeble mite toward the hastening of the day. November i, 1801, and early showed such pro¬ with metronome for velocity and general perfection, nounced talent for music that, under the instruc¬ After the production of “Norma,” Bellini visited of the fingers, able to sing without contraction of the latter for expression and effect. The teacher served. But when placed over a double bar at the his home, where he had not been for several years, tion of his father, Rosario, a church organist, little the throat or any hindrance that would prevent the herself was always bright and cheerful, always urg¬ end of a movement, and without reference to a re¬ and was received with much demonstration. Leav¬ peat, it indicates (as, occasionally, with Beethoven) HOW MUSIC BRIGHTENS THE HOME. Vincenzo played the piano creditably at the age of giving out of the best they know. ing them on to greater and greater achievement. ing Sicily he journeyed to Paris and London, where that there is no more music to follow; or, as is five years; and when six years old actually began The student could perform his best without self- Her belief in their ability to do good work, and Most music teachers when receiving new pupils he had flattering receptions. He retired from the more common in cyclic works, that a silence of some his career as a composer. Under his father’s guid¬ consciousness, whether it be for his teacher, his her confidence that they would strive to do it, was are told at the very first lesson; “I don’t hope to gaiety of Paris where he was a social lion, and duration is to be made before commencing the next ance the son’s talent developed and increased, while examiners or for friends at a parlor musicale. With a great incentive and spurred them on to do their be able to do anything more than play for the in a quiet residence on the Seine composed his movement. This latter meaning would be the re¬ his character indicated for him a special and definite Hamlet we say; “It is a consummation devoutly best. amusement of my friends and my family.” After world-renowned “II Puritan,” which was given in verse of attaca. The hold is also used over an ordi¬ course of artistic achievement. all, this is the most valuable purpose of music. There Paris, January, 1835, before a distinguished audi¬ to be wished.” A few gifted ones have so gained nary bar line in the course of a composition. In is no other art or amusement that will do so much But Rosario Bellini, wisely seeing the limits of ence who pronounced his triumph complete. dominion over themselves that they do everything THE HOLD OR PAUSE. this case it signifies that a silent pause or rest is to brighten the home as music. Most parents of his ability to further teach his son, and being con¬ Bellini was honored in many ways, and received connected with their art easily and naturally; if to be made at the end of the one measure before to-day regard music as a necessity. They know vinced, also, of the constraint of musical develop¬ offers of fabulous sums for new works; but he had, they were ever hampered by fear they have learned BY DR. ORLANDO A. MANSFIELD. proceeding to the next. An admirable example of what it means. They know what delightful mental ment in his home city, accepted the kind offer of by overwork and unrestrained pleasure, sapped the to hold it completely in check, but for the rank and this is to be found a few measures from the end of vistas the art opens to its devotees. They know a Sicilian nobleman who was sufficiently pleased foundations of his life, and his career was about file of those who study and follow music, this be¬ In the history of musical terminology and nota¬ the first subject of Chopin’s “Impromptu,” in G how barren a man’s existence would be if he were with Vincenzo’s talent to pay the expense of a musi¬ to be closed. Every effort was made to revive him, lief of fear is sometimes almost like a nightmare, tion, as in the history of language in general, it is flat. Op. 5L unable to read and write, and they know that a cal course at the famous conservatory at Naples, but all to no purpose; and on September 23, 1835, and unless conquered will always be a stumbling interesting to note how the same musical sign has The sign is also placed at the end of each lice knowledge of music is like opening a similar world directed by Nicola Zingarelli. It is supposed that at Puteaux, France, he died. Thirty years later his block to their success. changed its name with the centuries, although its of the German chorals, e. g., Mendelssohn’s fifth of culture, without which the child will be deprived he was also instructed by Giacomo di Tritto, who body was borne by an Italian war-vessel to his own of one of the great joys of ideal home life. signification has remained unaltered. This is par¬ organ sonata. When these chorals are introduced had considerable reputation as a composer and native city of Catania, where it was deposited in GAINING PERSONAL CONTROL. ticularly the case with the sign re\. Amongst all as eanti fermi, for imitative treatment, the pauses Mr. Walter Damrosch, the well-known conductor, as a capable instructor. The famous Donizetti had the cathedral. English-speaking peoples, with the exception of are omitted; but the imitations or melodic figures in ^speaking upon this subject recently, said: but shortly left the Naples Conservatory, and Merca- There is a way out of the dilemma, and we are The portraits of Bellini indicate that he had a America, this sign is now called a pause. America, are carried on in the other parts for some little “There would be fewer divorces if there were dante was still a pupil there when Bellini entered beginning to learn what it is. We are beginning to handsome poetic face, but not of the rugged, however, prefers the expression a hold. Now, time—say for a measure or so. This is very cleverly more high-grade music in the home, and the little That the young Bellini made rapid progress events masculine type. He is said to have had a slight learn that “mind is everything”—that the good strange to say, this latter expression, although not done in the variations on the choral in Mendels¬ love god would stay longer were he nourished on testify; but it is thought that it was owing to his the elevating strains of good music as well as upon hgure much polish of manner, and that he not only mind and good thought will bring success; that so euphonious as the former, is of greater antiquity. sohn’s sixth organ sonata. natural expansion and development rather than be¬ made friends but kept them. discussions of the price of bacon and eggs. is to say, if we want success we must think success; Indeed, it is the old English word. As late as 1721, Another curious use of the hold or pause is found cause of his application to systematic study It is Bellini endeavored to revive the early Italian just as surely the opposite thoughts of fear and in the classical concerto. Here near the end of the “There is more domestic discord in the American stated that the Naples Conservatory was in a that canny Scot, Alexander Malcolm, in his “Treat¬ home than in that of any other country on the globe, melody with its simplicity and warmth of expres- miserable condition at that time, and that Bellini disaster will bring about failure and defeat, for ise of Musick,” says: “You’ll find over some single final tntti for solo instrument and orchestra, toward and I believe it is because there is not enough culti¬ on. His gemus was original, his refinement was poorly taught; but, whether this was the case “As a man thinketh, so is he.” notes a mark like an arch, with a point in the the end of the first movement, a pause is: made upon vation of the finer things of life. There is little exquisite, h,s perception artistic to a high degree, or whether it was because of Bellini’s lack of in¬ We are only what thought makes us. If we can middle of it, which has been used to signifie that the 6/4 chord on the dominant, the second inversion family music or art of any kind, and there is small his purpose steadfast. He was fervid in expres- terest and application, it is well known that his realize that all things are mental, and that we must that note is to be made longer than ordinary, and of the tonic triad. This was followed by a cadenza wonder that elements of discord enter when there Tf ®£aceful ln his effects, tender and impassioned, technical training was decidedly superficial to the V think the right thought if we want to bring out the hence called a hold; but more commonly now it for the solo instrument, either improvised or pre¬ is nothing more diverting than calculation on the it He did not command the higher gifts of dramatic detriment of much of his otherwise brilliant work signifies that the song ends there.” Anent this viously written or thought out cost of butter, eggs and bacon. ln the service of his fellow mortals right result, we will then hold the key to the whole He was continually transgressing the “traditions of second meaning of the hold we shall have some¬ In canonical composition of a strict character the "The multi-millionaires of our country are dis¬ situation. We shall strive to bring out the good and the fathers and inciting the wrath of Zingarelli as if talent for graceful, spontaneous melody thing to say presently. But as late as 1769, one sign is also utilized. Here, in an infinite canon or covering that money does not take away any of as has ever inspired the divine likeness. perfect in our music study. In technical exercises who, while recognizing the genius of Bellini, wanted John Arnold, in his “Complete Psalmodist,” says round, after repeating as many times as may be their dissatisfaction with life, does not reduce their we shall aim at exact motions and an absolutely him to confine it to the established practice of that even more quaintly: “A hold when set over any desired, a hold or pause over a note in each of the family life to Utopian or even bearable conditions, day, which he would not do. tnat correct performance as to notes, form, time and note, that note must be held somewhat longer than parts indicates that the singer or performer is to and does not give the real pleasures of life. But Bellini was far-seeing, as well as independent tone. It is the constant effort to realize perfection its common measure.” The word “measure” here sustain that note until the other performers have “What is there resting to the tired husband in m his writing, for he divined that the florid work that will bring us leagues farther than the ordi¬ denotes time-value. So we concluded that the term the tedious recital of estimates on the repletion of HISTORY. arrived at the similarly marked notes in their parts. hen prevalent would not hold its popularity s0 “hold” was in common use in England until the the family larder? What can the weary wife find nary, half-hearted manner of practicing will do. Says Professor Front: “Not that the notes over though the criticism of his masters was adverse’ early part of the 18th century. Dr. Riemann as¬ of mterest in the shop talk of her husband’s business? BY MARY COLES CARRINGTON. Instead of wondering whether you are making which the sign is placed are to be dwelt upon, but Bellini persisted in his original course, and fmallv serts that the expression is now obsolete—a curious ‘This fact is better recognized in the homes of any progress, you will look for results, expect them, it is a very common way of showing the notes upon ignoring of the American use and of a country in other countries, where there is a greater compan¬ in 1825 brought out, by the aid of his fellow pupils’ and know that each day’s faithful study bears fruit. which the final close is to be made.” his first opera, set to Fiorvanti’s words and entitled which German pedagogy is more in evidence than ionship between members of the family, and where in ttair^aH01 ,8:irIs are aPf to resent any increase The benefits of this way of thinking, this under¬ In full scores we sometimes meet with the abbre¬ Adelson e Salvini.” While the genius of Tt ir • in any other English-speaking land. the day’s routine is not rehearsed for the evening’s feels ohlio-^ri *fss?ns’ yet every teacher of piano viation G. P. This denotes a rest for all the per¬ shone through this crude production he fra„i,? Ihn! standing of the power of thought, was felt in the entertainment. There is not so apt to be a violent experience of a young player who formerly had formers (Italian Gran Pausa), and not a prolonga¬ painfully admitted that it'"was asa whole of musical hist°o5S,St ^ hCr ^ karn solnethin* THE FIRST USE OF THE HOLD. disagreement over Beethoven’s symphonies as there but a success. le anything suffered terribly from so-called stage fright. She tion of the sound of a particular note or chord. is over the price of beefsteak. fuj. 6 ^°lf°wing method will be found quite success- had fitted herself by years of arduous study, both The first employment of the sign rs\ in the As a rule a slight break is made after a note “I believe every child, boys as well as girls, should “Ismene,” a cantata which Bellini wrote for a royal festival in San Carlo, was enthusiast,Vail here and in Europe, to play in public. While giv¬ modern sense—as a sign to represent the prolonga¬ marked with a hold or pause, especially if such note be reared in the atmosphere of music, so that the '‘MusicalSH<;ft\neC»t»,0n 1 have used a game called ing considerable time to teaching she managed to tion of a particular note or chord—occurs in the occur at the end of a phrase. A familiar example ceived, which compensated him for the failurl r% best part of their natures may fully develop.” “Messa di franza,” of Basiron, a native of the Neth¬ the opera; for by the success of “Ismene*’ ^ °f questions ahff’i. C3c!l Card of which bears a series keep up her technic and repertoire, and was always of this will be found in the seventeenth measure of young composer’s course to fame and *” the To «Tl ?Ut S°me Pr°minent composer. ready to play. When quite at her ease she played erlands and a contemporary of Josquin des Pres. Beethoven’s scherzo- from the sonata in G. Op 14. ve£pfo£ S' de,ivered card i" « stout on- with clearness, a lovely tone and poetical insight In this mass, which was printed by Petrucci, at No. 2. The ear for music is no longer what it was in the financial future was really be^n Pr°SPer°US ™ names. The written a list of the composers’ into the meaning of the composer. When nerv¬ Venice, in 1508, there occurs one passage in which Much more could doubtless be said about this days of Bach and Handel: Bach would probably ous, the clearness was marred and there would be his a^ieVements^as* an^mpresario^01** ^ f°r questions on the carT^fCS the m.°St i,nPortant eight holds, or pauses, are employed over as many interesting sign; but we must ourselves indulge in have shaken his head in astonishment had he heard lapses in memory. When she played badly she consecutive notes. Since that day, as Mr. W. S. Beethoven’s C minor symphony; and in the same ager of San Carlo, and, quick to see^BelliniVman' viewing with the tl 1 °n return,n? it and re- a pause lest it be the turn of our readers to cry opposite the enm^ ach,er> the date of return is noted not only suffered herself, but she knew her friends Rockstro points out, “the pause has undergone no way we take exception to a great deal that in former s.bihties, engaged him to write the opera°S‘ “hoM!” We trust, however, that sufficient has been were hurt and disappointed at her want of success. change whatever, either in form, or signification.” days was universally accepted.—Franz , Ge™!ndo’ whlc.h performed in May 1826 At the end of S name and a new earcI issued, said to induce the student to search the classics for the composer receiving the sum of three hundred and in this nlea„th! year the dass P^ys the game, Then, too, her reputation was injured. When she In Italian the hold has always been designated more examples of the interesting device we have the lessons so pa Tay stanc*s an examination on played her best the consciousness lifted her to the fermata, the word pausa signifying a rest. But striven all too imperfectly to- describe. easily learned. THE E T DDE 169 168 THE ETUDE FESTIVE MARCH (PIPE ORGAN)—E r Italian boat song, “barca” meaning boat, but in KROEGER. GOLDEN MEADOWS modern music the term has been localized to mean R. S. MORRISON a Neapolitan boat song, much in the same manner This fine march is taken from a new set of eight GAVOTTE Self-Help Notes on Etude as the term “gondoliera” is associated with ttie pieces, suitable for a two-manual organ, by the well Tempo di Gavotte M. m. J = 88 songs of the Venetian boatmen. Frequently, also, known American composer, player and teacher. Jt Music the two terms are used interchangeably. In either will prove a welcome addition to the church case it is the song of the rower, sung to the organist’s repertoire of postludes. All the pieces in this set are excellent for teaching purposes. By P. W. OREM rhythmic accompaniment of the oar, suggesting an atmosphere of love and romance. Both the “par- carolle” and the “gondoliera” have been idealized THE VOCAL NUMBERS. by nearly all modern composers, Mendelssohn Two very interesting songs, totally different in SLOW MOVEMENT, FROM MOONLIGHT being one of the earliest, followed by Chopin, Liszt, type, appear in this issue. Minetti’s “Speak! Speak SONATA—L. VAN BEETHOVEN. Rubinstein and many others of lesser degree. Again,” is a very artistic number which can be made This is the first movement of what is probably More recently Godard has been most successful highly effective when sung with the proper warmth the most universally known of all the Beethoven with this form. Koelling’s “Echoes from the of expression. R. M. Stults’ new song, “A Dutch sonatas. In this particular sonata the usual order Lagoon” is an excellent contemporary example. It Lullaby,” written in characteristic vein, is one of of the movement is reversed; the allegro move¬ must be played with grace, delicacy and expression. this successful composer’s best works. It would ment (in sonata form) comes last, the middle move¬ It may be of interest to note that practically all make a fine encore number. ment is an allegretto, and the slow movement pieces of this type are written either in 6-8, 9-8 or (usually the middle movement) begins the piece. 12-8 time. Of the three movements, all undeniably master¬ pieces, the first is the gem and is undoubtedly re¬ DANSE ROCOCO—A. G. STEINER. ON HAVING POISE. sponsible for much of the popularity of this sonata. There is no reason why it should not be played Several composers new to our Etude readers are t CHARLES E. WATT. as a separate number, especially since it may be represented in our music pages this month. Among them is A. G. Steiner, an American composer of effectively performed by players whose technic No criticism of any public work is more discon¬ promise. His “Danse Rococo” (old-fashioned might be inadequate for the remaining movements. certing than the statement that it "lacked repose;" dance) is a clever bit of writing, in a rather original There has been much speculation and discus¬ while on the other hand dramatic and musical vein. It is a genial and melodious number which sion as to the term “Moonlight,” as applied to this critics alike have decided long ago that nothing was should be much liked. It must be played in a pre¬ piece, and there are various unauthenticated tradi¬ so desirable as poise and repose. If the public per¬ tions concerning it. At any rate, the title is not cise, clear-cut manner, not too fast, and with due regard for the strong dynamic contrasts, particu¬ former approaches his work with an air of con¬ Beethoven’s own. As aptly put by E. B. Perry, fidence, and if throughout the time he is on the this slow movement may be taken to “express un¬ larly in the C major portion. This piece reminds one of some of the old English “May-pole dances.” stage he can give the impression that he dominates mingled sadness, but without any weakness of vain the scene and that he is complete master of iin complaint; a calm, candid, but hopeless recognition environment, then, indeed, is his task half done and of the inevitable.” It is altogether likely, however, GOLDEN MEADOWS—R. S. MORRISON. his victory more than half won. The nervous and that it may have a different emotional appeal for This piece represents another American com¬ each player or listener. fussy performer may possibly wring success by a poser, new to our readers. It is a modern gavotte, very excess of nervous force, and even he who lacks This movement, with its unbroken triplet rhythm, very tuneful, not difficult to play, but exceedingly woefully in apparent repose may possibly have such is written in the style of a free prelude, its character¬ effective. It should be rendered in a rather stately istic motive, or “motto,” being the figure consist¬ great technic and such abounding emotionality that manner in very steady time. This will make an he can carry his audience by storm even in spite ing of a dotted eighth, a sixteenth and a dotted half. excellent teaching piece, and it will be liked by of the fact that his initial appearance may not have The annotations in the form of footnotes give pupils. It is from a set of three drawing-room num- carried complete conviction, but unquestionably he some excellent directions regarding the interpreta¬ mers entitled “Summer Fancies.” tion of this lovely number. will have to work much harder to do this than he would if he could approach the task at hand with a PSYCHE—G. GRAF. MAZURKA IN G MINOR—SAINT-SAENS. semblance at least of positive assurance that it was entirely under his control, and with a poise which This is one of the most pleasing of Saint-Saens’ This is a graceful waltz movement by a young shorter pianoforte compositions. The excellence of American composer, also new to our readers. It is would immediately allay any feeling of apprehension in his audience. this piece and of a few others causes one to re¬ rhythmically interesting throughout and tunefully gret that the veteran French composer has seen fit original. In point of technic it lies consistently in The teacher, too, who has poise is vastly better mm to write chiefly in larger mould and heavier vein. the early third grade, all the passage work being equipped than is the fussy, fluttering worker—for, wm iipsife The mazurka rhythm, first idealized by Chopin, well under the fingers. Play in rather free time, with immediately he takes his place by the side of his has been much employed by modern composers, good contrasts. pupil there is a feeling of mastery, and a certainty irr the mind of the pupil that he does know his frequently with great success. Saint-Saens’ Ma¬ 5 zurka No. I is one of the best. It will be noted MERRY LADS AND LASSES—E. L. SANFORD. work thoroughly; while, if he be the least uncer¬ in this piece that genuine mazurka rhythm, with This is a lively teaching piece of the third grade, tain and lacking in repose, he will have to prove P i ii- **5 l ife «jfoi j-s the accent falling on the second beat, is persistently a march movement of the type known as “parlor or every step as he goes along, and the pupil will be adhered to. The sturdy principal theme in various school march.” It presents no special difficulties, a long time in learning to value him at his real worth. registers of the pianoforte, each time with added except that the rhythm must be strictly preserved L-L 1 n me U ^ strength. The interlocking of the hands is fre¬ throughout. This trio with its cross-hand accom¬ As a student it is necessary to cultivate two things J 4 quently necessary. This, when well managed, is a paniment is particularly alluring. if you wish later on to be a concert artist whose t J highly effective modern technical device. The theme work carries immediate conviction, or a teacher must always stand out clearly, never being ob¬ IN THE ROSE ARBOR— . J xL !_#. whose pupils never hesitate an instant to respect scured by the accompanying harmonies. The mid¬ and to obey, and these two things are concentra¬ dle section, in G major, is in lyric, pastoral style, This is an attractive drawing-room piece by a con¬ tion and thoroughness. Learn to think of the one ^ v i r TeJt temporary German composer, a very good example contrasting strikingly with the principal theme. thing at hand exclusively, when the time for prac¬ 4 of its class, rather out of the ordinary. It will re¬ This middle portion contains some very interesting tice is at hand put out of your mind all vour \3 53 5 3 4 8 4 6 4 53W chromatic harmony. Note the capricious coda, or quire a clear singing tone and an expressive manner of delivery. pleasures and all your pains; think not at all of closing theme, of this piece, with its dying-away what you did last evening, of what you will do this fTT1 JTp effect and repetitions of fragments of the themes, afternoon but concentrate your thought on the task IN THE GIPSIES’ TENT—MARIE CROSBY. and the final vivacious measures and the crashing immediately before you. Few people ever do reach This is a little teaching piece, suitable for pupils the place where they positively put their whole 9 4*1 hardly out of the first grade work. . There is always being into their study, and if you can teach your- AT FLOOD TIDE—L. SCHYTTE. cres a strong demand for such numbers. It should be self *° ‘his you may rest assured that you are !Jsf: This is a graceful composition of the barcarolle played in characteristic style, in a spirited manner. on the highway to success—for it is positive that type, with a characteristic rippling figure in the every artist has this ability in superlative degree, right hand against the rocking accompaniment of RURAL SCENES (4 hds.)—E. JAMBOR. and it IS equally sure that no one ever ^ ITTT the left hand. The first section of the piece (in G Two very entertaining duets: “Return from the a partial success unless he had a partial control of major) will require careful phrasing and dynamic Hunt and “Dance at the Inn.” These are original himself in this respect. r * 'T—r * treatment, with precise accentuation. The second four-hand compositions, not arrangements Thev The element of thoroughness is so much a part of section (in D major) must be rendered in a song- are fresh in melody and original in harmonic treat¬ e every-day teaching of each individual teacher and likq manner. This portion has a quaint and inter¬ ment. Both require a characteristic interpretation as been so dwelt upon time out of mind that it esting accompaniment. Note that the chords all Return from the Hunt” is a sort of * fall on the second and fifth beats (counting six in for rePetition. and yet nothing is more fanfare in the French manner; “Dance at the W’ ure than that half preparation is fatal to permanent a measure), and that they are all to be played with is^a rollicking number in the style of a “Hungarian the pressure touch. This piece has musical merit ti^,CeSS 4° any *'ne- You may he talented, ambi- and real educational value. s, and you may have naturally repose, and withal 1 ne ?n\ount of natural ability, but if your MAZURKA (VIOLIN AND PIANO)-MLV ECHOES FROM THE LAGOON-C. KOEL- thormfA. anC!i t.heoretical preparation has not been NARSKI. •' LING. noPoland, 1870, and studied with t &r , ! ceding. It is rather in the style popularized by Godard. Strictly speaking, a “barcarolle” is an Auer. In 1898 he won th4 Paderewski prize atTdo sig with his violin concerto in D minor. * ^ P" Minara Wagner. no the etude THE ETUDE 171

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ft) “This entire movement should be played with extreme delir , . ■»-» _ "Sh. ”” ^-pp well brought out. C) While arpeggiating for the purpose of bringing out hence the additional stem, e) Theo in these four measures apply more at each change of harmony. This correct use is frequently indkmtetL^TTfrs melody tones is to be generally discouraged there are a few passages in this particularly to the melody tones, f) This middle voice should he Well nould be played m a tender, dreamy manner, the melodybeing movement where the device is peculiarly effective. These have been indica- brought out. g) Slightly emphasize this leading movement in the left ted thus: J Q) This F# is to be regarded as the closing note of the melody, hand. THE ETUDE 179 THE ETUDE PSYCHE PETITE VALSE

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E.MLYNARSKI the ETUDE A DUTCH LULLABY

R. M. STULTS THE ETUDE 193

in this regard the book is most admirable. For an absolute beginner I would recommend that you use “First Steps in Pianoforte Study.” It is capitally arranged for this purpose. After the pupil THE TEACHERS’ ROUND TABLE has finished this let him take up the first book of Conducted by N. J. COREY

ily find the originating faculty >ed in children for this. They people to tell them stories. I it necessary to take the lead in

The Round Table is glad of your appreciation and thanks you for it, but is very sorry that space ssrwill not ttat present ,t* permit of a detailed interpreta-z - -! that^will provide you with just the y by'T B''HipT*cHr2 you are^ the farther from it. In other words, the The Standard Course progresses rather rapidly . ’ °^ fifty-three standard piano composi¬ horizon is limitless. • Mendelssohn said, near the end for all pupils. Very bright ones might have no diffi¬ tions, with many suggestions as to their effective performance, as well as three or four essays on of his life, that the horizon was just beginning to culty, but with others the teacher is supposed to matters connected with musical performance I will r open up before his eyes. Moszkowski says, that exercise his judgment as to the use of supplementary suggest for you a program of pieces which you will m order to become a musician of the very first material. When good judgment is used, however, find ably treated in this book: 195 194 the etude THE ETUDE SOME HELPFUL TEACHING QUESTIONS issue of 1905 the subject was treated at AN5WEREB mense value. Here there is a teacher 2 As soon as they begin to learn them. In a greater length by the present writer. Beethoven: Sonata Pathetique, Op. 13- writing, however, they should be taught how to com who will repeat the phrase time and Schubert: Impromptu in B flat, Op. 142, No. 3. time again without exasperation. Its I would suggest that The Etude struct, and not merely to copy them. Children c by EVA HIGGINS MARSH. The Use of the Sound Reproducing Machine value to the singer who desires to mas¬ readers, who have those numbers on Chopin: Ballade in A flat. Op. 47. be easily taught to construct the scales as t y Chopin: Nocturne, Op. 37, No. 2. ter several foreign languages is un¬ their files, review them. write them, without referring to any model. Shall the child count aloud? Yes, always, until Chopin: Waltz in A flat. Op. 42. in Vocal Instruction and Musical deniable. The time is surely coming when 3. This will depend on the ability of the pupil. time becomes a part of his inner consciousness, and Rubinstein: Barcarolle in G major. It is not unlikely that the names of singers will be greatly aided by being The extra material should be made as pleasing true proportion an automatic thing. But counting Education Rubinstein: Kammenoi-Ostrow, No. 22. Thomas Alvah Edison, Emil Berliner able to secure and put on the machine possible, and thoroughly learned before new work aloud does not always remedy what is called “poor Weber-Kullak: Lutzow’s Wilde Jagd, Op. ill, (the inventor of the basic patents of records, not only of arias, but of all is taken up. You can always retain the interest time.” A sense of rhythmic, or regular recurrence of No. 4. A Symposium to Which Many of the Leading Vocal Teachers of the Day the disk machine), and Eldridge R. songs both in the secular and sacred of your pupil better by giving supplementary pieces any accented portion, alone can do that. Many pupils, Schubert-Liszt: Hark! Hark! the Lark. Have Contributed Johnson (the President of the Victor repertory, that are favorable either for One of the advantages of the Standard Course young and old, count to their playing. When the Liszt: Second Ballade. Talking Machine Company, who, program, church or teaching purposes. that it is in comparatively small books, and the relative value of notes is' realized, he will uncon¬ Wagner-Liszt: Tannhauser March. through his inventive ingenuity, execu¬ pupil is not so likely to get tired before having sciously “keep time” and audible counting will be The fourth, fifth and sixth volumes of “The tive ability and high artistic ideals, has By W. R. C. Latson, M.D., Editor finished each of them. If you never give a new found unnecessary and undesirable when he lapses Musician,” by Ridley Prentice, will also give you given the greatest impetus to the art) “Health Culture” Magazine. piece except when the one previously a®s‘fn':c\,1* into uneven and jerky playing. Count all new or When the art of printing came into teacher living at a distance from the copious directions for the performance of many will some day rank with the great edu¬ thoroughly learned you will, I think, find that the difficult work aloud. Good time alone does not existence the makers of fine manu¬ large metropolitan centres where large classical pieces. You will find it very valuable. cators of all time. The sound reproducing machine can extra material question will take care of itselt as make music, however, though the emphasis put scripts buried in their monastic cells, orchestral works may be heard. It is do 'some wonderful things, but—it can¬ you progress. upon it by many would lead us to think so. If the scriveners on the street corners and now even possible to hear an entire In order to ascertain the opinions of CLUMSY THUMB. not do everything. The best sound you want tone, expressive and musical, melody or the notaries in their offices all de-, opera such as “I Pagliacci,” with a representative voice teachers upon the reproducing records of the human 1 remedy__ f„r overcoming temperament, in addition, do not insist upon a me¬ dared the printing press a ruinous company of artists and an orchestra value of the sound reproducing ma¬ ...... _t It may have an easier TECHNIQUE AND THE STUDENT. voice can reproduce melody, tempo, chanical count. Singing the count on the other hand invention. But Gutenberg’s machine, from the world famous Grand Opera chine as a direct adjunct to voice teach¬ , .0 difficult to teach pupils to play approximate pronunciation, dynamics, scale passages smoothly and evenly. is often a help in gaining expressive and sympa¬ the strong right arm of a coming House, “La Scala,” Milan, the whole ing, we sent out the following ques- "2. Another trouble arises from nuplls not strik¬ BY HARVEY B. GAUL. phrasing—in short, style. But they ing chords simultaneously, the left hand slightly thetic tone, because song seems to be the first and civilization, was not to be held back performance being directed in person cannot reproduce, to the satisfaction preceding the light. This difficulty Is especially natural way of expressing musical feeling. by prejudice and conservatism. Mod¬ by the composer, Leoncavallo. Do you think that the sound repro¬ marked when the right hand has a legato melody Moussorgsky, the Russian composer, who bids fair of the critical ear, tone quality or accompanied by left hand chords. How much practice shall I require of a child? ern scientists have devised not only The recent improvements in the best ducing machine, in its present condi¬ •'3. Why do many pupils forget their old to have his name etched with the immortals, was a a means of retaining the thoughts of machines have done away with the tion, is likely to cultivate an artificial, vowel shading. pieces so easily?" With two lessons a week, a child from seven to man teeming with ideas musical. His correspond¬ men but their voices and their music “blast” or rasping sounds that used possibly disagreeable tone quality, if To the professional singer who uses eight years of age, twenty to thirty minutes a day. 1. Hold one key down with the second finger. ence was, to a great degree, relative to music, and, to mar some records, Only in the used by the voice pupils? comparative records of the same vocal being a modernist of the extreme type, whatever he This may be gradually increased to an hour. A child as well. Fix the thumb in playing condition, the point turned The stylus, with which the ancients records of ensemble work employing selection as a means of more critically had to say was given an attentive ear by the stu¬ from third to eighth grades in school may do from Do you think that records of the in toward the hand. This will force the thumb to slowly and laboriously carved the more than four voices does any de¬ determining the most effective rendi¬ one to one and a half hours. An adult pupil, with great opera singers might cause affecta¬ keep a position well away from the hand. Exercise dents of St. Petersburg. products of the human intellect upon ficiency become apparent in the best tion, the sound reproducing machine no school duties, not less than three or more than tion on the part of pupils? it with up and down motions for a few moments at In his biography, Moussorgsky says in his char¬ machines of the day. No doubt time cannot but be valuable. stone, has its modern prototype in the Do you think that the sound repro¬ a time for several weeks, until the muscles have acteristic manner: “Tell me why, when I hear young four. will remedy even this defect as hun¬ stylus of the sound recording and re¬ ducing machine would militate against Again, to the student under the care become both strong and flexible. Also let it strike painters and sculptors talking, I can follow their How shall the time be divided? dreds of thousands of dollars are be¬ producing machine. original thinking so necessary to true of a competent master, a study of keys under the hand, reaching as far as possible thoughts, understand their opinions and aims, but One-half hour.—Finger work, 10 minutes; regular ing spent annually upon ceaseless ex¬ high-class records will undoubtedly do without turning the hand. For example, holding E So great and so wonderful have been vocal progress? I seldom hear them speak of technique except in study, including daily review, 20 minutes. perimentation. much to establish tone ideals of style with the third finger, let the thumb strike C and F the improvements in this art that its Both sides of the question are pre¬ cases where it is absolutely necessary. When, on One hour.—Scales, etc., 10 minutes; studies, 20 The sound reproducing machine and treatment. Should such study lead in alternation. Arrange other similar exercises. educational significance, especially for sented in the following unbiased re¬ the contrary, I happen to be with musicians, I minutes (on one or two days use this 20 minutes should also be of direct financial value to' any affectation or exaggeration, or This, if practiced thoroughly, ought to accomplish rarely hear one vital thought; you would say they musicians, can no longer remain ig¬ plies. For obvious reasons we have for review); new lesson and necessary review, 30 to the teacher. Parents who have should the student imitate any unde¬ your purpose. were on school benches; they know only technique nored. The instrument that was once employed the term “sound-reproducing minutes. been deprived of a musical education sirable mannerism of the singer who and terms of the trade. Is the art of music so regarded as an interesting curiosity or machine” to apply to machines of all 2. Practice striking both hands together on a are encouraged to give their children made the record, the master would table, counting two, making the impact exactly young that it is necessary to study it in this child¬ Division I. as a dispensable toy is now becoming manufacturers. The teacher who favors an understanding of the great master¬ naturally perceive and correct such simultaneous. In same manner go through the ish fashion?” Three to four hours.—Scales, 30 minutes; studies, an important factor in the advance of the use of such machines should urge pieces. The interest in music of the errors before injury could be done. movements of a five-finger exercise with pure finger Painters and sculptors rarely talk technique. The 60 minutes; review, 30 minutes. civilization. That it will have as far his patrons to purchase the best instru¬ reaching an effect as the printing press better class is developed. When, however, we consider the use motion in the right hand, and strike, as it were, result is the great desideratum with these men, Thus from Edison’s simple yet mar¬ ment obtainable, as the poorer instru¬ chords with the left. Do not allow the sound made and technique is but a means to that end. Authors Division II. is doubtful. Its opportunity is more ments are no more or less than of the sound reproducing machine by restricted. velous discovery of a few decades the student working without a master, on the table by one hand anticipate that made by chat about their own or the other fellow’s writings. Three to four hours.—Pieces, 60 minutes; sight ago, has grown a great industry The ludicrous parodies on the better ones. the other. Then practice in same manner on the A wonderful industry has already the case is different. Here much de¬ To them the work is what counts, not the method. reading, 15 minutes; sonatas, etc., 45 minutes; apparatus with a little needle tracing keyboard, and a substantial improvement will soon pends upon the temperament and ca¬ The nearest they come to talking about technique memorizing and review, 15 to 45 minutes. been created for the manufacture of its way through the grooves made on Karleton Hackett. be noticed. sound reproducing machines. (One pacity of the student. The young man is when they discuss a literary man’s “style;” while Give pieces, however, your freshest thought at the a cylinder coated with tin foil and or woman possessed of a voice of good 3. You will find your third question answered in style is a blood relation to technique, yet there is beginning of either practice division. factory alone in Camden, New Jersey making squeaky little noises that could There is a great benefit for the pupil a vast difference. quality, a fine ear and some degree of another column of this department. Shall pupil play anything outside his lesson, employs twenty-eight hundred people.) with difficulty be identified as reproduc¬ in intelligent use of sound reproducing Millions of dollars are invested in the mimetic ability, would be practically It is, as Moussorgsky says, musicians who are for¬ popular music for instance? tions of the human voice, has now de¬ machines. There are great numbers of sure to imitate, if only in small de¬ STARTING LATE IN LIFE. ever prattling about technique—you join a clique If the pupil will do anything and do it carefully, manufacture of talking machines and veloped into a class of instruments our students who have heard only records. There is every indication that gree, the quality of the instrument; and after a concert, say the recital of some famous outside of practice hour, encourage it. Encourage that store sounds and reflect them at three or four of the standard operas, “Being a constant reader of The Etdde. I would that voice would be injured. like you to let me know if a young man of thirty, pianist or violinist—the talk will invariably drift in song accompaniments, duos, but watch carefully for this industry has become a permanent will. The fragile wax cylinder has and consequently have no idea of what with a great love for piano music, could learn one channel. It will be on method, rendition and the any bad habits that may come from playing too one, and that the sound-reproducing been supplanted with durable disks the singing of opera really means. To to play reasonably well ff he should have a good machine is far from being a transient teacher and patience to study for ten years, and much-mooted technique. Rarely will the conversa¬ much uncriticized work. and cylinders. hear the great arias sung by the mas¬ Dudley Buck, Jr. practice two hours a day? Nothing gives me tion be of the composer or composers who have fad, but has come to stay. It is there¬ greater pleasure than practice.” Shall he always practice slowly? As the civilization of ancient Egypt ters of singing is a most valuable form supplied the interpretive material. More musi¬ Practice slowly, yes; but play slowly, no. Study fore incumbent upon music teachers to went down into the Pyramids to be of study, and gives to many an oppor¬ The following are my answers to I know no reason why you should not accomplish cians are interpreters than creators, i. e., com¬ at slow tempo, gradually increasing until proper consider the relation of the machine to exhumed thousands of years later, so tunity they could have in no other way. your questions: very satisfactory results, granted that you have a posers. To be sure, an artist in a way is an inter¬ speed is reached. If any inaccuracies creep in, re¬ their professional work. are the voices of our great thinkers, to understand some of the possibilities I think the use of the sound repro¬ reasonable amount of talent. Two hours a day for preter in that he puts nature upon canvas. His duce tempo. Children must be watched very care¬ No machine can ever take the place scientists, orators, actors and singers of the voice and the laws of interpreta¬ ducing machine might tend to produce ten years, with a great love for music to start with, mediums, however, are vastly different. They call fully on this point. Guard against playing a piece of a living, active instructor. A ma¬ being preserved for future generations. tion. Of course, this is liable to abuse, poor tone quality. In fact I do not ought to count for much. The greatest difficulty for originality in treatment, so that in many respects too much to see what it sounds like. Every well- chine, however, may be used as a val¬ What if the sound reproducing machine as is any good thing but used under- see how it is at all possible for either a person of thirty will have to contend with will be he is a creator. learned piece requires some slow practice forever. uable adjunct in education. The record had been invented centuries ago? We standingly the phonograph is of great of these instruments, in their present the hardened condition of the muscles and liga¬ -- umiuicj uccus, ana tne si practical and artistic value. It has no lack of perfection, to be of any aid to The teacher’s attitude toward the pupil’s work is is really a kind of acoustical picture. could now listen to the living voices ments. The probability is that you would be unable dent always, is a larger vision—a right focus_a place in the work of the young student; the voice student so far as sensuous important. Know what you want, and why; know Imagine how barren the study of geog¬ of Rameses instead of regarding a to acquire sufficient facility to perform music of the to know there is something more than techniqi raphy would be without maps. Not it is for the singer well advanced to beauty of sound is concerned. On the highest grade of difficulty, but as this is the condi¬ that you get it, and the pupil will feel it worth ghastly mummy; we could hear from important as that is. One should try to know t even a Ruskin or an Irving could make aid him in interpretation. other hand, I think the sound reproduc¬ tion of things with the majority of players you may while to practice. Give judicious praise, but never the lips of Sophocles, Caesar, Dante, ideas of our great composers and interpreters. a word picture that would have the Milton, Shakespeare and Washington ing machine might be of aid in many hope, at least, to accomplish enough to afford you flatter. Be honest. Every child in his heart knows Von Billow once said: “When I make a mista definiteness of a photograph. The the vital thoughts of their day; the Mr. Herbert Wilber Greene. ways, i. e., it would teach phrasing, the greatest satisfaction. If you can become expert how much he really deserves. Train him to require every one notices it. but when Rubinstein mak word picture might connote more, but marvelous interpretations of Malibran, show what vocal effects were, what it enough to play music of the fifth grade of difficulty one nobody pays attention.” One was a matter as much of himself as you require of him, in ac¬ there would still be something lacking Jenny Lind, Parapa Rosa, Carlotta Acknowledging your request for my meant to enunciate well, what legato you will have opened up an enormous field of music technique, the other a matter of depth and feelir curacy, in methods of study in tone and expres¬ which only a photograph or a fine Patti, and the great singers of.the old participation in a symposium “on the singing was, etc., etc. I also fail to for your enjoyment. You will rarely be called upon What matters it whether these great men ma sion. Is correct fingering of any assistance? Fol¬ painting could reveal. Word pictures Italian school could be heard at will; possibility of the sound reproducing see how it could be detrimental to to play anything more difficult in your average mistakes or not?—one was a technician, the other low it. Do printed marks stand for anything? See of music are valuable and necessary, we might even hear Bach at the harpsi¬ machine as an adjunct for the voice original thinking. It is certainly true teacher” will say that it seems to me, experience. emotionalist. Each achieved the great result in 1 them. Is the playing steady and even or fast and hut they cannot compare with the chord, or Beethoven at his specially that in any kind of work we first learn sound pictures which the good sound in view of recent achievements of the by imitation, but the person who own peculiar fashion; that is all we have to co jerky? Does he hear these things? If not, he must constructed piano; the playing of Liszt, SCALES FOR BEGINNERS. reproducing machines make available. Rubinstein, Henselt, Chopin, Paganini vocal profession, that the subject word thinks does not stop at imitating, but sider. Each had ideas and ideals and each cc be trained to listen and know for himself. and Taussig would no longer remain a should be progress instead of possibility. allows his personality to enter his "1. How much scale work should be given a summated them. Look. Think. Play. Listen. How many look The sound reproducing machine pupil in the first grade? should augment the interest of the pu¬ memory to future generations. It is I have been in a number of the work, and thus becomes a creator. “2. When should students begin to write the and play, then think and never listen at all. To do pil very greatly. The idea that musical only by such comparisons that we can prominent New York studios this win¬ “3. Is It well to use much extra material with VVagner, of Michael Angelo, or of Tennyson! this properly the piece must be carefully analyzed realize the significance of the sound first and second-grade pupils who are using the mechanical machines will lessen the ter, and found sound reproducing ma¬ Louis Arthur Russell. Standard Course?" might think of technique in connection with and intelligently subdivided, studied slowly, phrase necessity for good music teachers is reproducing machine, and musicians chines employed as a part of the reg¬ Whistler or Maeterlinck, but never the first by phrase, or two and four measures at a time, until about as foolish and untenable as the should recognize it as an adjunct which ular teaching equipment. In my own Regarding question relating to sound 1. Pupils should first learn to play the scales in masters. each part presents no particular difficulty. Leave old fashioned idea that the automobile must be reckoned with in the future experience one of my most ambitious reproducing machine in Voice Teach¬ one octave, each hand separately; afterward both velocity to be a gradual attainment and the last would put an end to the demand for scheme of musical education. Even a students has used fine records as a ing. hands together. Much attention should be given detail to be considered. horses. There is a place for everything prima donna like Geraldine Farrar is model in the study of the principal * 1S of a11 arts the most universal in its That the sound reproducing machine to right finger conditions and motions during this now employing the sound reproducing arias, and found them of the greatest peal From the heart it has come, to the hear Bach said: “The fingers on thy hand are as good and the sound reproducing machine has can be made useful in the teaching of critical period. Most pupils will acquire this much its place. Records of orchestral works machine to study the interpretation of value. In the December issue of The shall penetrate,' wrote Beethoven on the Mass in as mine.” Not true, strictly, but a good basis to interpretation appears to me beyond scale work during the first grade. Some will even and of the playing of the best bands her roles from the standpoint of other Etude, in the year 1903, under the cap¬ and aH true music may take these words for work on. Thus may the child learn what will be question. Just how, when, and with do more, and begin their practice in two octaves. may be reproduced in the teacher’s great artists. tion of “The Phonograph as an Aid to whom it should be used is a matter maxim. —W. H. Hadow. of inestimable value in any pursuit, the habit of in¬ studio with surprisingly good effect, In the study of languages the sound Singing,” George Cecil wrote, strongly requiring great discrimination on the telligent, consistent, regular work. •this is particularly valuable for the reproducing machine is also of im¬ advocating their use. In the November part of the teacher. THE ETUDE 197 196 THE ETUDE “Well, a musician can,” slowly re. a single opera, ‘La Sonnambula’—and I VOCAL TEACHING THEN AND plied Cooke. I have never yet heard a sound re¬ chine and singer as to get what we RHYTHM* ANDPHRASINO. did it! ‘Once sing that well,’ I remem¬ NOW. The question was again asked, and producing machine record that could know as a good record. However, the ber him saying, ‘and you will be able to Cooke was required to give a direct be looked upon as representing a per¬ average result might prove beneficial, BY THOMAS J. LENNON. sing anything; and being once able to BY FRANK J. BENEDICT. and not extremely expensive. answer. Voice Department fectly clear tone; the auxiliary sounds sing, all music will come easily.’ And with which even the best intruments There is a certain amount of im- study of Rhythm in music is i “Will you explain to his lordship and really that remark applies equally to Not at all in an iconoclastic spirit, are more or less tainted require dis¬ perfection of vocal tone which dis- u appreciated, nor is it likely the jury,” interposed Sir James, “who but with every respect and, indeed, PARTICULARLY INTERESTING ARTICLES oratorio. missal from the mind of the keen-eared plays itself very markedly through a » le'g \he student is awakened are not supposed to know anything “Let me assure you that the people reverence for past achievements, the listener before real pleasure can be de¬ record andnd it might be well in many v-> inexinexhaustiblehaustible possiDiim*»possibilities about music the meaning of what you SELECTED FROM VARIOUS SOURCES who hold to the belief that Wagner’s writer would like to ask if the old mas¬ ► m nlro n nnn rnnf fnP Stllflftllt _ . < * ' ' — rived from the hearing. make apparent to the student Knyiiuu,Rhythm, which*■ ---many - call. call accent. . music is injurious to the vocal organs, ters of voice culture were really so On the other hand, the singer whose through the,i- sounda reproducing machine “time,”7 embraces„Lr..„ dynamics (accents;,(accents), Cooke replied: Musical accent is are mistaken. No music of any sort will infinitely superior to our present day emphasis laid on a certain note, just Editor for April, Mr. J. Harry Wheeler ear is hot keen enough to realize these his most glaring defects. but there is this important difference; injure the vocal organs if the student’s workers as some would have us think. by-tones, but hears the sound as a in the same manner as you would lay (To be Continued.) “time” is the regular repetition of ac- method of voice production be the right In every department of human activ¬ complete and more or less perfect (or cents, but rhythm,*.t,:i« while ifit uses— this stress on any word when speaking, one—the Italian method. On the other satisfactory) quality, is, of course, not in order to make yourself better under¬ ity old standards are being destroyed to regular repetition as one form, has MADAME ALBANI ON ORATORIO tioned me upon it, you might emphasize hand, instances undoubtedly are on make room for newer and better. Gold being benefited by the hearing of the THE FORCE OF HABIT. other almost inexhaustible forms. stood. Let me give you an illustration record of Wagner’s music having in¬ Sir James. If I were to say, ‘You art SINGING. that point. In addition, he should study is being produced from ore formerly An intelligent, discriminating, taste¬ jured the voices of pupils who em¬ considered worthless. Delicate per¬ The student singer needs a model BY FAY SIMMONS DAVIS. a jackass’ the accent rests on jackass “One of the main points to be re¬ not only the notes, as some students ful application of the rhythmical idea ployed the wrong method when trying fumes are being made from coal tar. tone quality for his guidance, and that but if instead I said, ‘You are a jack- membered is that the solos in an ora¬ are inclined to do, but all else that has results in denmtedefinite anaand ucuguuuidelightful phrases.--— ^ , . c* t to sing it. Beautiful toilet and other useful articles has not yet been produced by the you, Sir James; and I torio must be sung with due regard to be learnt—as, for instance, the true “Habit” may be a small word, but In this term phrasing which naturally ass> 14 rests y°u’ Sir James; an “A mistake students often make is are being manufactured from materials sound reproducing machine. it stands for much. Carlyle says that includes alI the preceding terms, i. e., ^ve n° doubt the gentlemen of for the religious character of the work inward meaning, the implied feeling and the what I call the mistake of introspecting formerly considered worthless. Sur¬ It is, however, also beyond question it is “the source of all the working and «time .. accent” and “rhythm,” we have JurY wl11 corroborate me. —one may say almost with devotional sentiment, and, of course, the words. —they study themselves, as it were, to gery saves thousands of lives which were that the hearing of “good” records learning in the world.” Every success- the s;cret of the artist; and if players - fervor—and that it is chiefly in this “Indeed, I go so far as to maintain see how they are getting on, and are formerly considered hopeless. Even made by the singing of first-class art¬ respect that singing in oratorio differs that the entire spirit of an oratorio ists can be made very useful in the ful man faces a day of hard things; his and singers studied more the inner HANDEL’S TESTY DISPOSITION apt to grow despondent if considerable the great white plague is losing its ter¬ so widely from singing in opera. The should be slowly and carefully thought matter of interpretation study, for improvement is not clearly noticeable rors when treated by modern methods. s',o“,l,/uhs very atmosphere, if I may call it so, out; that the student should strive to these records generally aim at the best, !zszzvjx week by week, indeed almost day by And yet they speak of our best at¬ that envelops an oratorio in no way become, as it were, obsessed by this giving excellent report of the emotional day. tempts in voice culture as being really 5“ -spiral groove of uni¬ able to produce it. This is so apparent essential qualities that he had named are rare on any stage, overcomes the so that the pressing surfaces can be im¬ these degenerate modern times until I was not a very long one, though it versa. form depth running from the circum¬ that it needs no argument. as of nearly equal importance. The defects in her singing as singing and mediately cooled, and the record mass heard Tetrazzini, whose art is of much reached from Chicago to San Fran¬ Then, again, training has a great in¬ ference of the black to within two or Aside from all artistic considerations listening company, almost wholly of their consequences upon a voice that consequently hardens quickly and re¬ the same stamp. The folly and mean¬ cisco, but it was hot and spectacular fluence in determining the character of three inches of the center, according to there is reason why one should learn Europeans, agreed substantially with might have been yet more expressive, tains the impressions of the matrix. inglessness of it all came over me with while it lasted. The two singers were the voice. If the teacher decides that the length of the selection recorded. the proper use of the light voice, name¬ him. One, however, of the two Ameri¬ characterizing and emotional than it The record is removed, and its edges terrific force. The same evening, upon in the same troupe on one of Maple- The exact construction of the sound ly, that of saving the voice. No matter he should train his pupil to be a colora- cans who were of it, demurred, insist¬ now is. By the sheer force of a singu¬ are trimmed up with emery wheels; for the same stage, the charming modern son’s Western tours and were mortally box used for recording is not disclosed how well the voice is produced, it will ture soprano he will induce her to ing that the public, cultivated and un¬ larly intense and compelling tempera¬ the record material is too hard to allow style of Mary Garden never seemed to jealous of each other. Mapleson un¬ by the experts. not stand an indefinite amount of imitate the light, high-placed, fluty tone cultivated, in this country still set a ment she makes the listener forget of any cutting instrument being used. appear to better advantage. Such wisely incensed Gerster by showing “The turn table travels, as a rule, warmth and expressiveness in her heavy, straight-ahead singing without in which seems to his ear characteristic singing voice well above any histrionic these things and possesses him with The record is then ready for sale.”— favors to Patti. When they appeared about i-iooth of an inch laterally for tone, such marvelous blending of song some way showing it. of that voice. Many singing masters qualities on the operatic stage. the illusion that she would impart. London Public Opinion. together on the stage Patti would re¬ every revolution, so that the spiral cut and action! I have spoken previously of legato teach one method to a baritone and “Home in the autumn the two Hers, at bottom, is a tour de force ceive a profusion of flowers, some of comes round about one hundred times Whatever may be the opinion of any and sostenuto. There can be no artistic them official, doubtless, but Gerster another method quite different to a Americans went; and each has been of singing-acting, the exception that phrasing without these two elements. in the width of one inch. It will thus INVALUABLE TO SINGERS one regarding the “hopelessness” (?) would get the most applause, and this tenor. this winter a more or less assiduous proves the rule. And Mr. Renaud and To these add contrast and we have the be evident that the lateral undulations of the present age, vocally, readers of so embittered Patti that at last she re¬ Of course, all such training is perni¬ frequenter of the two opera houses in Miss Farrar exemplify that rule. He is BROWN’S basis of interpretation. of the sound line must be minute in the this department in The Etude, month fused to sing at the same time with New York and observer of the temper skilled in the art of song; he sedulously Contrast comes as the result of an cious. The teacher should not try to extreme, as otherwise the lines would Bronchial Troches after month, must admit that earnest her. One day Gerster saw a poster of the public that resorts to them. practices it; with all his care of dis¬ intelligent concept of the meaning of make a tenor or a basso or a contralto; at points break into one another. effort and a good quality of “gray mat¬ with Patti’s name on it larger and Chance the other day brought the pair guise, pose and facial play, with all his the text. With this concept the evi¬ he should try to make a singer, and let “The recording blank is made of a ter” are being expended in the attempt together, and no sooner were they sat expert imagination in them, he believes dence of design will be seen in every blacker than hers, whereupon she dis¬ the pupil’s voice develop as it may. If soapy wax. Each laboratory has its to fathom the mysteries and possibili¬ than they began to compare notes on that a singing-actor acts most signifi¬ word, and contrast is the invariable re¬ appeared and was not found for two we all produced our voices aright they own recipe for the composition of the ties of the human voice and its relation the ‘new gospel’ and its advance. cantly and potently by the coloring of sult. It may come in the power of the or three days. Patti declared that would differ only as the violin, the blank, but generally speaking the com¬ to ever-changing, ever-advancing musi¬ “So much for the illusion of the eye. his tones through the art of expressive tone by way of a crescendo, a diminu¬ Gerster had the evil eye, and that when viola, the ’cello and the double bass pound is made up of stearin and cal art. More difficult and debatable, subtle song. Thence springs the vividness endo, or a sforzando. It may come in they reached San Francisco she would differ from one another in pitch and paraffin. While entirely in sympathy with probably cause an earthquake. Gers¬ and evasive was the illusion to the and the poignancy of illusion in his the tempo, by way of an accelerando, quality and power. The very wide dif¬ “The record in wax having been those who treasure up the wisdom of ter, however, got back handsomely, for imagination of an operatic character in operatic impersonations. And Miss a ritard, or a tempo rubato; or it may ferences in ordinary speaking voices made, the next step is to produce a the past, holding in affectionate remem¬ when she saw the Governor of Mis¬ the action in which the music drama Farrar is beginning to walk in the same brance our teachers and our teachers’ come in the tone color through the are due to many causes other than negative in copper. The wax tablet is souri kiss Patti, she quietly observed in cast it. Undoubtedly Miss Garden had path. She is learning to give each of teachers, yet we shall hardly fulfill our various qualities from the bright to the those just mentioned—race, language, dusted with graphite, which is worked Patti’s hearing that there was no harm attained such illusion with her Louise her parts the distinct and characteriz¬ destiny if we are content to be forever somber as the meaning of the words occupation, and, more than all, the into the grooves with a badger hair in a man’s kissing a woman old enough and her Melisande. They were alive ing voice, but to keep it the voice of looking backward. may suggest. mental habit. brush, to make it electro conductive, to be his mother. That settled it. and plausible; they had distinct and ex¬ true song. She is learning as well that Many of these things may be worked and is lowered into the electrolytic bath They spoke no more, but regarded plicit traits; they experienced palpable she may express all the emotions and out in choir rehearsals. If a general of copper salt solution. In order that each other haughtily from a distance. and differentiated emotions; they were the suggestions of emotion that stir in suggestion might be made to choirs it this negative may be able to resist the They traveled in separate cars. When PHYSICAL EXERCISE FOR integral and vivid parts of the music- her within those parts and yet keep the would be that not enough attention is pressure to which it is subjected in Gerster learned that there was to be SINGERS. dramas in which they shared. No less expression obedient to the demands of paid to contrast. There is not enough pressing records, it is necessary that BY D. A. CLIPPINGER. an extra concert in Denver, for which were the characters, already noted, in that song. Miss Farrar is an abler difference between pp. and ff. It is not There can be no question that bodily the deposition of the copper should be she and Patti were billed, she engaged which Mr. Renaud had appeared for singing-actress than she was last year, easy to get a good pp. It is much health is of the utmost importance to thoroughly homogeneous. To this end, POUR NEW SONGS By J. S. FEARIS PHRASING. more difficult than a forte. a special train to take her back to New the first time. No less were most of not because she is more or less the Easter Down—Two key. *o.6n singers, and, indeed, to all people, and and also in order to hasten the process Behold What Manner of Love-Two keys .... .50 York, and it kept Mapleson occupied actress, but because she is more the Take a chord and see how softly it for those who are making a bid for Mr. Scotti’s and Miss Farrar’s parts, so that the blank may not be attacked It usually takes the student of sing¬ can be sung. Get the softest possible a whole day in pacifying her with sym¬ or Mr. Gilbert’s, or in a very delicate, singer. With her, as with Mr. Renaud, Weg’iwEfd 'to success the old Roman proverb con¬ by the solution, the blank is kept con¬ ing a long time to learn how to use his tone. Then begin with medium power pathetic appeals, and direful threats of singing-acting is at once a new gospel cerning a sound mind in a sound body simple and truly poetic and pathetic tinuously in motion in the electrolytic light voice effectively. If he be a tenor and diminish to the vanishing point. the courts. Whenever Gerster’s name fashion Mme. Eames’ Iris. Now the and an old, and as sure to prevail as it J. S. FEARIS, 720 Berwyn Ave., Chicago, Ill. is one that may well be taken to heart. bath. The process is continued until he is not satisfied unless he is shatter¬ Do this not once but many times until was mentioned, Patti would make the does in Europe, or as it did—with Good health is of especial importance actor in the spoken drama when he sets the coppershell is nearly .9 of a milli¬ ing the azure empyrean. If he be a the tone can be drawn out to the finest finger sign to avert evil, and Gerster Ternina and Calve in their prime— in the case of opera singers, who are about the characterizing of a person¬ metre in thickness. bass he is always trying to add another thread, or until it vanishes completely. was not slow in devising similar here in America.” often called upon to perform under age in a piece finds costume and “The negative thus formed may be Essentials of Scientific Voice Training half-step to the low end of his com¬ Now begin with the softest possible methods of displaying her tender re¬ make-up, play of face and gesture, il¬ pass. circumstances that exact considerable termed the master negative, and from tone and crescendo to full power. gard for Patti. At last they reached luminating pose and significant action, Young singers are inclined to think When this can be done, practice the San Francisco, where the two had a physical endurance. Maurice Renaud this master a few commercial samples the charm or the power that is as a HOW THE VOICES OF GREAT that in order to sing with feeling they swell, which means a perfect crescendo picturesque variety of quarrels; but the distinguished singing-actor of the of the record can be pressed by means magnetic force in him, all useful means SINGERS ARE IMMORTALIZED. must “boil over” continually. The re¬ and a perfect diminuendo with one Gerster mercifully spared the city from Manhattan Opera House, is a stren¬ of which the quality of the record can sult is a sameness which in a very short uous advocate of fresh air and exercise. to his end. Yet his chief means alike be tested. It is not, however, usual to breath. Look out for the diminuendo. destruction by looking at it only with for the suggestion of traits and the ex¬ Less than a quarter of a century ago time becomes monotonous because It usually is too sudden. her good eye. The eruption was con¬ In a recent interview he gave the fol¬ the work of the great singer had only press more than two or three records there is no evidence of design back of lowing account of his activities in this pression of moods and emotions re¬ from this negative. Seeing that some¬ One of the most difficult things in fined to the troupe. It finally died mains his voice—in other words the the most transient value. Now she can it. It is mechanical, not artistic. It is singing is to produce a perfectly sym¬ respect: times as many as six thousand or more ARTHUR de GUICHARD away with low mutterings and occa¬ coloring of his tones. How much more, sing to audiences a hundred years lacking in the most fundamental prin¬ metrical swell. Now apply this to a “You know that for two years I copies are sold of a sirigle record, it is TEACHER OF SINGING sional splutterings, but the Colonel told the discussion ran nimbly forward, are hence. The following tells how the from rudiments of tone placing to arttatic^finlshing ciple of interpretation, namely, con- phrase in which a swell is indicated. To have gone to Monte Carlo to sing, and natural that the manufacturers should , retUrn that even the« he his voice and the coloring of his tones voice records used in talking machines coached. Teachers prepared^ Special classes In work out contrast in tempo, take a Z?could feel some of the seismic vibra¬ also in search of the beautiful sunshine, take steps to enable them to multiply French and English Diction. The young singer feels there is noth¬ the chief and similar means to similar are made: Boston School of Singing phrase of four or eight measures and tions, and that the episode was one of but this year I have promised Mr. copies without injuring their master ing he can do with his light voice, and ends in the operatic actor, speaking the “The person who is making the HUNTINGTON CHAMBERS, BOSTON, Mass. sing it with a variety of tempos. Then the worst he had experienced in a Hammerstein to stay for the entire negative or having it worn out for it is it must be said that in almost every exalted speech of music. If the actor’s record sings or plays immediately be¬ introduce such contrasts as acceler¬ career whmh was as liable to cyclonic season. I admit that the climate here fore the mouth of a horn or funnel, the not usual at this stage to obtain further case a good deal of teaching is neces¬ ando, ritard and tempo rubato. Espe¬ is trying. There are so many days voice may suggest and illuminate char¬ negatives from the original wax record. disturbances as a Kansas prairie.” acter and impart and intensify emotion, object of the horn being to concentrate sary before he can use his light voice cially should the choir be drilled in when out-of-door exercise is, for the They accordingly make duplicates of artistically. The reason is that when how much more may the singing actor’s the energy of the sound waves upon accelerando and ritard. It often re¬ singer, impossible, and he must depend their master negative. he sings softly he not only loses all The ‘Lied” is, both from a poetical voice achieve all these things by the the recording diaphragm. At the nar¬ quires dynamite to get a choir to accel¬ solely upon gymnastic exercises done “The commercial record is pressed Voice Culture resonance, but also forgets there are and a musical point of view, strictly a finer and fuller powers of music. row end of the horn is the recording erate. The ritard also needs watching. within doors to keep himself in good in a substance the essential qualities of such things as consonants. Conse¬ specialty of the German muse and Therein is the singing-actor’s compen¬ sound box and machine and its at¬ Ttie Art of Singing When this sign appears the tendency physical condition. which are that it should be hard at quently his soft passages are a mean¬ ^■". the terms “Sehnsucht” and sation for all the limitations that such tendant expert. The artist is on one is to drop the present rate of speed and “On a day like this, for instance"- normal temperature but capable of be¬ ingless jumble. Gemuth (yearning and sentiment) speech lays upon him—the compara¬ side of a screen and the machine on the take one much slower, whereas there it was a raw, damp day, now raining, When the voice is properly produced, which mark its sphere, and are iU Hfe- tively slow pace that he must take, the other, for in all the recording labora¬ should be an imperceptible abandon¬ how sleeting—“I go through these ex¬ the light voice is as resonant as the ing of the tempo. It should be grad¬ meeting of the orchestra at every turn, tories of talking machine manufacturers ercises three or four times at intervals, The Exclusive Training of Singers and Vocil Teachers heavy voice. There is no reason why ually slower, not suddenly. the purely vocal necessities that he the secrets of the operation of record¬ but they do not have the same mental THE ANNA GROFF-BRYANT INSTITUTE the quality should change in a diminu¬ In conclusion, study well the mean¬ must obey though at the loss of much ing are most carefully guarded. endo when made with the voice any effect, do not help one to shake off a Singers’ and Teachers’ Courses; selected studies or orivate lessons; the treatment of ing of the words that you may have c^se that he has imagined and would “The making of a good record is not vocal ailments; a limited number of students free The extraordinary claims of this more than when made with the violin. something definite to express. When certain depression caused by the so simple a matter for the artist as institute are open to the most rigid investigation. For particulars address weather, as would out-of-door exer¬ might appear; he often has to make cise.” “The singing-actor—and the debate MARION 0. GROFF, Manager,522-528 Fine Arts Building, Chicago,and mention THE ETUDE was Plainly nearing its close—is then several trials before he learns just how Please mention THE ETUDE when addressing our advertisers. 200 THE ETUDE the etude 201 tets were formed from the men of the THE CRESCENDO PEDAL. One young lady possessing y choir, each meeting for practice with several stroke or e,se by the Funeral March by Guilmant the soprano voice of light, clear q Y’ the choir director one night a week. BY HERVE I. WILKINS. the Rnnfp, Alt S strokes- In some of crescendo starts from a loud combina- who already had received some vocai Their appearances at the concerts were _ oush dnwnVelnTf tfT w:a? a sinSle on great and swell and after an instruction, was relieved of a tendency watched most keenly, the audiences be¬ Church Organs It is the habit of certain iconoclastic which was nicely related tobrin^on 0rga” ORGAN DEPARTMENT to sing off the pitch at times, and ot ing on the best of terms with both and the habit of noisy, laborious breathing. ready to encourage and applaud the When she was shown how to take tne work of each. crescendo pedal as martist c, while they Franz Liszt LATEST IMPROVEMENTS For various reasons not all the mem¬ casioned a pulsating throb in his voice; one piece where it is specifical y in- should be observed order to make bers took up this outside work, though In individual cases results varied vocal skill and acquirements than from BOSTON NEW YORK PHILADELPHIA a tenor who graduated to the ranks of dicated, and in these instances both the the cresCendo pedal universally avail- “No other instrument so enraptures the number at first was larger than the considerably, though all were benefited the lack of natural voices of sufficient CHICAGO LOUISVILLE DALLAS to a greater or less degree. Conditions professional singers, taking a position calibre and fitting quality. compositor and the proofreader have able. the player/'—X. Scharwenka number of those who finally settled with a newly organized quartet choir down to regular, steady work. Some of different kinds influenced progress. Nevertheless, here was a group of consented to a jumble of the types so Fi'rst> the crescendo should operate Main Office & Works Natural voice and capacity for learning, in a neighboring church; a young lady thirty people, of keenness and intelli¬ that the word “crescis of a different simultaneously on all the manuals and who started found it impossible to with a mezzo voice of unusual quality give the time demanded; others felt time available for practice, amount of gence, if not blessed with exceptional font from the word “pedale.” on the pedal, except that the great may HlcCinul'2);tin(itr who gained a much-needed confidence, that their natural qualifications were musical knowledge, these were among voices, with capacity for assimilating . begin reasonably after the others. Established 1827. All Sizes. lack of which was depriving her voice not enough to warrant spending the the things that made for rapid progress ideas and a desire to improve that Early Devices. since a greater proportion of the soft of more than half its usefulness. Even LISZT ORGANS time, and for these and other reasons or otherwise. showed itself in regular and faithful The earliest crescendo appliance in stops are on the swell and choir man- those who had ideas no more than sug¬ the number gradually dropped to about In order to show what was done with attendance at rehearsals and services, American organs consisted of a sliding uals, but the - crescendo should so oc- Furnish the most perfect substitute for EMMONS HOWARD gested to them, and of whom it could twelve, where it remained without much individual voices it may be a good plan who, in the domain of vocal music, at bar placed on the block just back of cur on all the manuals that except at a pipe organ of any instruments ob¬ Weslfield, Mass. not be said that any studying was done tainable, and are superior to small to give the details of a few cases. One least, by work in choir and outside, the pedal keys. This sliding bar was the beginning and at the end of a cres- at all, profited by these ideas to some pipe organs in many respects. They Pipe Organs of Highest Grade The first thing the writer discovered of the most gratifying instances was were steadily broadening their out¬ fitted with blocks or touches about six cendo to ful1 orSan the gradation will where a young man with a naturally extent, and all felt a larger and firmer differ materially from all other reed ELECTRIC TUBULAR PNEUMATIC was that this class of pupils could not look; gaining a firmer and surer grasp; inches apart so that the bar could be he peffect 0,1 eacrh man,u4 onIy organs, having a richer quality and rich, mellow baritone voice of not ex¬ hold on the whole subject of singing. All the latest facilities for Easy Control. be handled in the same way as the regu¬ raising their standard of what is true pushed along either toward the right ‘hls manncru °f regulating the cres- greater body of tone. tensive range was cured of a thick, lar people who were coming two or and worthy, and if the virtuoso heights No other organ approaches the throaty tone production left over from Relaxation. for crescendo or to the left for dimin- cend° actl°n that., tbf cresce”do pedal three times a week, following a more were scarcely even sighted, less ap¬ , can be made available on either man- Mason & Hamlin in the reputation it his boyhood manner of singing. This enjoys among the world’s most famous or less definite scheme of study. The one thing that helped more than proached, who shall say that the gains T, 'c , . ual. Thus if both hands are being em- was accomplished by first giving the any other, the one point that could be the first balanced crescendo pedal in ployed upon the swe„ raanuai the musicians. Among those eager to learn were made were not important, were not correct breathing method and then most easily grasped and put in prac¬ America was made by Steere for the creSce.ndo pedal can be operated to Send for illuetrated catalogue A young men with no musical knowledge, real reinforcements to the widening of March Organist telling him that the lower part of his tice, and that was followed by the most organ in the First Presbyterian Church increase the sound either momentarily no access to a piano, and with so little the knowledge and appreciation of Contains Easter Voluntaries throat, in the region of his collar-bone, effective result, was the idea of relax¬ at Syracuse, N. Y. Here a hydraulic Cr for an extended passage, since the time from their business as to make music, and who can tell where such ORGANIST’ ., home practice practically impossible. must lie perfectly still and passive at ation, to “let go” and sing with ease motor consisting of a cylinder and additions to the other manuals would pipe organ or reed organ 1 an influence, ever deepening and the start of the tone and remain so and entire absence of strain. By sing¬ piston was adjusted to actuate the cres- not be heard. On this account, if it is These conditions, and others similar, spreading, shall end? Editor. BesideftwoiEa- coupled to the very important one of while singing. Gradually the throat ing in this way voices were given a cendo mechanism; the piston was made desired to derive the greatest practical March “Organist," there only one lesson a week, with two serv¬ muscles relaxed and the voice began to chance to adjust themselves to their to move forward and backward accord- advantage from the crescendo pedal, get its support from the breath, until A NEW ORGAN IN A FAMOUS ices and a rehearsal of chorus singing natural support and position. The gain >ng to the position of the balanced the couplers should not be connected Class and Chorus—Revised-By D. (with all that means) between, soon finally there was a good diaphragm in quality and smoothness that would CHURCH. Pedal. This piston motor was placed with it. In this way a far greater “grip” on the tone. With this sug¬ In “The Musical Leader and Concert made it evident that the finer points of come from giving up to this easy, re¬ under a seat in the organ gallery and variety of effects can be obtained by gestion went another, to start the tone Goer,” Jaroslaw de Zielinski tells us New Easter Music vocal art would have to be approached laxed manner of singing was really was a success except that it was liable selecting the couplers wanted, or by most gradually, if, indeed, they could while absolutely free from all tension, that St. Peter’s of the Vatican, Rome, is remarkable, and the only difficult thing to be frozen in the winter time. Other omittithem’ and if one shou'd ,wish be touched on at all. while exactly in the condition as if not about . was inducing the pupils to free to have a new organ of large propor¬ builders law i t0 make a crescendo on the choir or Easter catalog. singing, and to be perfectly satisfied It seems that results could best be tions. . The Basilica has had an organ motor for he PP ed, a pnCUmatI" swell alone it would certainly not be .-school Programs, with the size and sound of the voice SA u"!’ik Cantatas, Sheet gained by laying.down a few broad of a" •“» ever since organs were first introduced later w fHhreSCend°, c permissible to have the couplers swell , „ Duets), Organ Music. All that came in this way. Easy hymns BIBLE INSTITUTE C0LP0RT1GE ASS N, 250 U S»U« in., Chiosfo general principles and let them be the into churches during the fifteenth cen¬ the mitt’ 1 He general adoptlon of to pedal, or great to pedal, or swell to jor taster. A copy of this Easter catalog and songs were given as practice, and tAfrtUrVhat Sdded special in‘erest free to those mentioning THE ETUDE. controlling factors in the pupils’ study. to the work was an informal concert tury, and many famous organists dis¬ actinn vw SyStem f°r St0p and key choir brought on by the crescendo an occasional unpretentious solo part The principles given were these: played their skill, chief among them a m t fBecame “necessary to have pedal, while at the same time any THE LORENZ PUBLISHING CO. in an anthem at the Sunday night serv¬ given by members of the choir a" in¬ Singing With Ease. tervals of two or three months. This being Frescobaldi, who, in 1614, was of th °f f°r tbe crescendo’ the motion couplers might be drawn beforehand, ISO Fifth Ave., New York. Dayton, Ohio ice made a good incentive to hard selected for the post of organist on Each pupil was urged to sing with study. would begin with a program of ten or all tv,6 °0t Up°n tke pedad supplying ln order to use the crescendo pedal account of his great reputation. When all possible ease, with entire absence This voice has already developed in welve numbers, which should be foT The6 ^ required' f°r lesser effects on swell or choir, or of muscular tension or strain, not forc¬ he played there for the first time he not byracuse crescendo pedal was even on great, it is also necessary to range and quality, and the owner’s had for an audience a crowd of over ing the volume of tone, but using only taste in using it is keeping pace with Si “SLe0” "‘-h just H°rreCdy regulated, but was ad- have a pedal organ separation of some helpful in two ways- W l S p™ved thirty thousand people. as much voice as seemed proper to the rest. It may be said that this par¬ the 6<1 *1° be US€<^ simultaneously with kind. Some organs have a pedal ventil, At present St. Peter’s has four this easy, relaxed condition. Breath¬ ticular young man is perhaps more ing the social side of the choTo ^ ste iTt peda*s °* swell and choir in- which silences all the loud stops of the ing was directed to be done with ex¬ zation, promoting the feelW JganJ' organs, but all four are quite insignifi¬ that 1 °f .working independently, so Pedal so that the crescendo may be ambitious than the average, for not fellowship among the m 1° good- The Carl Barckhoff Company, Inc. POom0OY pansive movement, slightly above the owning a piano, and playing very little, cant for so spacious an edifice. The could k USmg this Pedal the crescendo used in swell or choir, with pedal second, by giving toand> waist and not with an upward lift of he has become acquainted with two largest of the four was built some 188 oe managed in only one wav. coupled or uncoupled as desired. BUILDERS OF the upper chest and shoulders. Clear, young ladies who are able to help him, years ago, but was reconstructed about mad^to61^ crescendo actions were definite enunciation, with the tone and spends one evening a week with 1069 by Priori, an organ builder of and downed? by means of two up Crescendo Passages, and durability in construction, sharply focused at the lips, was insisted each working on his music. Rome. This organ has two manuals the other f j! °ile ^or crescendo and Some notable crescendos are greatly workmanship and sweetness of .heir W Church Organs tone. Only work of the highest and pedals, and 27 stops, of which four °r diminuendo, each pedal facilitated by the crescendo pedal. In grade d are for the pedal. 5e mention THE ETUDE when addressing our advertisers. THE E 203 THE ETUDE TIDE 202 jin to his tricks. His tone on account he earned $80,000, and so great was his THE CLASS SYSTEM. they were receiving individual instruc¬ ■a Viave won a considerable of the thinness of the strings he uses is popularity in Great Britain that he re¬ tion, they would at least hear the music bad, and owing to the use of an almost I have often been surprised that the ceived $4000 for one concert in Liver¬ which was played, which would be a flat bridge he can on the A and D class system is not more generally used pool, and on one tour in sixteen distinct gain. I am satisfied, however, strings play in the lower positions only, in violin teaching in the United States famous French detective. , months’ time he gave 274 concerts in that teachers will have excellent suc¬ and then only piano. Hence his per¬ By the “class system” I do not mean finally taken in hand by a after- the United Kingdom. Had he saved cess with the class system if they will French lady, whose daughter be alter formances when he does not execute ensemble work, where a number of pu¬ his money, and wisely invested it, he introduce it and explain its advantages wards married, and who he Peb bim to his tricks are monotonous. We ex¬ pils meet and play at the same time, but would have died a millionaire several intelligently to their pupils. If, in ad¬ make his ddbut. This event took place perienced this in his playing of some of where each member of the class is given times over. dition to the class lesson, the teacher in .1832, and he was assisted by Chop.in Mozart’s quartets. At the same time a private lesson with the other mem¬ gives his pupils the advantage of an and Ernst. He made a sensational suc- he plays with much feeling, if not cul¬ bers of the class listening and taking POSITION IN MUSICAL EDUCATION. notes, just as college students do dur¬ orchestra or ensemble practice, lasting, cess, after which he left for Italy, tivated taste.” where his playing created a furore. From an educational point of view, ing lectures. The class system is very say, two hours per week, the pupil will This, while true in parts, fails to give receive four hours of practical instruc¬ From this time on his fame was estab¬ the results of his career were indirect. popular and widely used in Germany. credit to Ole Bull’s peculiar talents, The classes usually number four pupils tion every week, where if the teacher lished, and for nearly fifty years he He did practically no teaching, as he but as it was written during the early traveled almost continuously, giving was ever "on the wing,” so he left no and the class lessons last as a rule simply gives the lessons privately and portion of the violinist’s career, might for two hours. This gives each mem¬ has no ensemble class, the pupil has the art of violin playing. Like all concerts in the principal civilized coun- coterie of pupils ■ as the direct repre¬ OLE BULL. have been modified if Spohr had heard ber of the class* a half hour for his in¬ but a bare half-hour instruction in the great artists, he felt deeply, his whole sentatives of his art. He left no violin him later. As opposed to this we have After Paganini there is probably no tnHis adventures during his wander¬ school or etudes, or other material for dividual instruction. The four mem¬ week, against four hours under the natured teemed with emotion, and he the tribute of Joachim, one of the other plan. The teacher, on the other ■more unique figure in the history of had the supreme faculty of portraying ings would fill many volumes. During educational purposes, and his composi¬ bers are chosen so that their stage of greatest violin authorities, who says: hand, will only be obliged to spend the the art of violin playing than Ole Bull, these emotions in sound and thus com¬ one of his American tours he pur tions are now rarely studied by violin¬ advancement is about equal, and the “No artist in our time has possessed additional amount of labor necessary the great Norseman. Although he had municating them to his hearers. chased a vast domain consisting of ists. The effect of his remarkable per¬ studies assigned them are either the Ole Bull’s poetic power. No one has to teach the ensemble class. brief periods of instruction, yet he was It is impossible to make even bare 125,000 acres of land in Pennsylvania, formances, however, towards creating same or elsd of a similar grade of with the idea of colonizing his coun- surpassed his playing of the adagio.” difficulty. If the members of the class largely self-taught, and as a rule his mention of the important events in so enthusiasm for the study of the violin, In John S. Dwight, a Boston critic, well pay close attention to the playing of concerts consisted principally of his busy a life as his within the limits of trymen on 11. <* ------and inspiring students of the instru¬ said of Ole Bull’s playing in 1852: “He the others and the corrections and ANSWERS TO QUERIES. own -compositions, of which few were a short article. The life of Ole Bull ment to greater achievement, can hardly reads more like the feverish adventures be estimated. Especially does America cannot be judged by the usual standards, comments of the teacher, it is readily Y. E. W.—You would probably find published, and which are practically of the hero of one of Dumas’ novels owe him a mighty debt. He made five his genius is exceptional, intensely indi¬ seen how much more they will profit it better to take up the study of the never heard in a present-day violin pro¬ than that of a nineteenth century vio¬ tours of the United States in all. His vidual in all its forms and.methods and by the class lesson than if they had violin before that of the viola, as you gram. Yet with these same original linist. first tour was in 1843, and he was the belongs to the very extreme of the ro¬ a scant half hour private lesson. Not say you intend to study both instru¬ compositions such was the genius and first great violinist to visit the country. mantic, as distinguished from the the least advantage of the system is ments. After you have learned the magnetism of the man that he was able THE MASTER’S YOUTH. His success was immense. He became classical in art. He makes use of the the fact that the pupils will gradually violin, it will not be difficult to learn to sway millions of people as it has violin to impress his own personal overcome nervousness when they ars Ole Bourneman Bull was born Feb¬ a national hero, and his coming gave a the viola, since the technic is the same, been given to but few solo artists to do. mighty impetus to the study of the vio¬ moods upon the audience. You go to obliged to play before their fellow and all that is necessary is to learn to ruary 5, 1810, at Bergen, in Norway, hear Ole Bull, rather than to hear and pupils. During a long lifetime Ole Bull was his father being a chemist and physi¬ lin, and to the popularity of violin read in the viola clef. feel his music. It is eminently a per¬ a wanderer on the face of the earth, his cian. He was, as the Italians say, music. One of the prime reasons why H. B.—What was stated in the sonal matter.” life being made up of continual concert “born with a fiddle in his hand,” for Another lesson which may be drawn violin pupils in our country do not ad¬ October issue of The Etude was that vance faster is that they do not re¬ ROOT VIOLINS tours throughout Europe and America. he was barely five years of age when from the violin student from the life AS A COMPOSER. experts in the large cities will some¬ Few violinists have been more merci¬ his uncle "presented him his first violin, of Ole Bull is the necessity for a broad ceive enough instruction. Successful times give general opinions* as to the lessly criticised than he, yet once his with which he was supremely delighted. musical education. His education on His compositions consisted largely teachers of the violin who have a name genuineness of violins which are taken in the musical world, and who have fame was established his tours were a The family was musical and there were broad musical lines was, to some ex¬ of elaborate fantasias on national and to them without charge. It is against frequent string quartet meetings at the succeeded in turning out large num¬ series of triumphs such as have rarely tent, deficient. Had his father recog¬ folk melodies. Some few have been the policy of The Etude to advertise house, where the boy heard the quar¬ bers of successful violinists, charge by name dealers in musical instruments been given to musical artists, and were nized his great talents and given him published, among which is a “Madon¬ tets of the great masters performed. na’s Prayer” and a nocturne, which are high prices for lessons, and as a rule or experts. You can no doubt obtain more like those accorded to political systematic instruction from the very The lad made some progress on the start in violin playing, piano, theory, sometimes heard at the present day. the lessons last but thirty minutes. In the address of several experts by going leaders or military heroes. violin before he had regular instruc¬ harmony, counterpoint and composi¬ His “Niagara,” “Solitude of the Prai¬ the’ conservatories in the larger cities to any leading Boston music store. Contemptuously rejected as a pupil tion—to such an extent that he aston¬ tion, as did the father of Mendelssohn, ries,” “To the Memory of Washing¬ two half-hour lessons per week is the You had best have an understanding in his youth by the great violinist ished the family by performing a part for instance, there is little doubt that ton,” etc., were written for American rule, but taking the country over, it i3 with the expert to whom you submit Spohr, who failed to detect in the in a quartet at sight at the age of the name of Ole Bull would to-day audiences, and were extremely popu¬ no doubt true that the majority of vio¬ the violin, as some experts charge from eight. His first teacher was Paulsen, rugged, uncouth exterior of the young stand high on the tablets of fame as a lar in this country. lin pupils have but one lesson a week, ’ $5 up for an opinion. Others are will¬ a Dane, and later on a Swedish teacher artist the genius which lay beneath, he composer—perhaps one of the great¬ and in many cases the lesson is only ing to furnish the information gratis. named Lundholm, who settled at Ber¬ Ole Bull was an ardent lover of his lived to achieve even greater popular est—for the musical gifts of this man of-thirty'minutes’ duration. Now, how VIOLIN INVESTMENT OFFER gen. With the stupidity which has native land, its traditions and its' D. G.—Your letter states that you triumphs as a solo violinist than those were superlative. Instead he was a on earth is it possible for a teacher, are inclined to doubt that $5,000 is marred so many fine careers his father natural scenery, and it has been said no matter how gifted, to turn out really awarded the great German, although it self-made man, a mere virtuoso, whose ever paid for genuine Stradivarius failed to see the remarkable talents of that while the hearers of Paganini felt good pupils ■ in such a difficult art as ■wHte and'ask *n9 B°ld °n credit if desired—easy terms— must be admitted that these triumphs highest aim was to astonish and en¬ ■violins, and think that these figures his son and decided against a musical as if under the spell of a demon. Ole violin playing when the work must all were not achieved in the same pre¬ career, and Ole Bull was sent to a trance his auditors. He felt the limita- are fictitious. You also state that E. T. ROOT & SONS Bull transferred his audience to the' be’ done in a half hour a week? If, cincts of classic violin playing. Re¬ theological school to study for the - tions of his education throughout his you have a violin which you are 8 Patten Bldg. Established 1857. CHICAGO entire career. dreamy moonlit regions of the north. however, four of these pupils come at certain is a genuine Antonious Stradi- fused as a pupil by the Paris Con¬ ministry. The call of the violin was the same - time,’ and enjoy ‘the benefit The technic of Ole Bull was aston¬ Ole Bull has been honored with sev¬ -variuS'i.qf 1724. If your violin is servatoire, he lived to set Paris wild too much for him, however, and he of the teacher’s work for two hours, ishing. A great critic has said of his really genuine there are dealers in your with the witchery of his art, with went to Cassel to see Spohr, at that eral statutes by his native land. One of. even although they receive but a half time at the height of his fame. He playing: “In the matter of mere tech¬ city who will gladly pay you $5,000 in VIOLIN STRINGS Paganini himself in the audience on the most famous statutes is in Bergen, hours’ individual instruction, their prog¬ was coldly received and left disap¬ nic he excelled even Paganini, and .cash oyer the counter for your violin We carry constantly in stock a com¬ the occasion of his Paris debut. designed by the noted sculptor, Stephen ress must be vastly increased, for pointed. We next find him involved in at once, provided the violin is in good plete assortment of various grades of I know of few works more interest¬ probably never had his equal. All the Sinding. The cascade is supposed to there is so much in the nature of violin ing to the violinist, the musical stu¬ a duel at Gottingen, where he lived a difficulties of the violin, double and preservation and is a good specimen. Violin Strings. These are imported by emanate from “Nokken,” the water wisdom which the teacher can impart ourselves direct from Europe and are dent or even the general reader than short time, after which he returned to even quadruple stopping, were as mere F. C.—The usual order in which the sprite of Norway. Other statutes of to four as well as one. fully guaranteed as being absolutely re¬ the “Memoirs of Ole Bull,” by his Norway, where he gave successful'con- child’s play to him, and yet a critic etudes you mention are studied is, the violinist are at his grave in the Some teachers with whom I have liable in tonal quality and durability. second wife, Sara C. Bull, who was an could discern the self-taught musician Kreutzer’s Etudes, Fiorillo’s Caprices, We are certain that these strings are Ole Bull. Bergen cemetery, and in the Bergen discussed this subject complain that it American woman. The work is as BULL AND PAGANINI. behind all this prodigous technic.” Rode’s Caprices. In regard to the use qualified to fulfill the exacting require¬ absorbing in interest as a novel, and museum. His famous Gaspar da Salo is difficult to hold the attention of all of D strings wound with aluminum ments of tfie most critical., His staccato bowing, both up and four pupils during the entire time of the sidelights it throws on the noted In 1831 he went to Paris, attracted down, was exceptionally brilliant, and violin lies in a glass case in the museum. wire, the writer’s opinion is that these lost the large : 1 he paid for it. the lessons. They assert that the violinists, and on the art of violin play¬ by the immense fame of Paganini. his intonation in the most difficult pas¬ new strings are more of a fad than S gut. 7"" $0.25 He died in 1880 at his country s average American pupil wants to get ing in the nineteenth century, make it Here was the turning point of his life. sages remarkably pure. He played HIS VIOLIN. anything else. They are certainly no of fascinating interest and of the ut¬ Many violinists had the torch of their in Norway, at the age of sever his lesson over as soon as possible, with a bow of exceptional weight and better than, if as good as, a plain Italian gut (packed most importance to every violin stu¬ talent kindled at the flame of Paganini’s His death was deplored as a natio This Gaspar da Salo violin has the and go, and loses interest as soon as length. gut D string. E Genuini ~ dent. Few public libraries of any size genius, and young Ole Bull proved to loss, and he was accorded fune scroll adorned with an angel’s head, the instruction of a new pupil, com¬ ~ Best silk. D. J. P.—You can get tools for violin are without the work, but the student be one more. Paganini’s playing pro¬ honors more than royal. In the city The feature which impressed the vio¬ mences. I have no doubt that there is Conservatoire Eternelles... with a figure representing a mermaid making, also suitable wood, varnish, Russian gut. who cannot otherwise obtain it will duced a profound impression on him, Bergen all business was suspend lin student most about his playing, was considerable truth in this, but I believe Best German gut. at the back of it, the whole being etc., from any leading music dealer in find it money well spent to purchase a and he set to work with the greatest ar¬ and he was mourned by its entire p the fact that he used a bridge much if the teacher explained the advantage Genuine Italian gut...*77 colored in red, blue and gold, the carv¬ the larger cities. Best German gut . copy. Violin teachers would do well dor to conquer the technic of the vio¬ ulation, and, indeed, by the wh flatter than the ordinary bridge. This of these class lessons to his pupils, and to purchase such works as this and lin, so as to equal Paganini if possible. nation. was to facilitate his playing of chord, ing being the work of the famous urged them to pay close attention, lend them to their pupils. They would During this part of his life troubles PersonaHy Ole Bull was tall and of which he was very fond. In his sculptor, Cellini. The violinist also and addressed his explanations and cor¬ be repaid tenfold by the increased in¬ came thick and fast. He received no athletic build. He had large blue er own compositions he introduced long owned a fine Joseph Guarnerius violin rections to the three waiting pupils as of 1742. terest and enthusiasm which the pupils help from home and fell into want. and a wealth of rich flaxen hair, ; passages in quartet form, all four well as the individual pupil receiving 3 Be better'quafit1’ C°^ed ' ’ would take in their violin studies. An He became so low spirited that at one was in short a typical Norseman. strings of the violin being played The musical world owes a great the private lesson at the time, he would enthusiastic, intelligent, progressive simultaneously. The feature of the fiat time it is said he attempted suicide The story of Ole Bull’s life conta debt of gratitude to any artist who have no difficulty in holding the atten¬ class always grows, and the business by throwing himself into the waters a powerful lesson for every struggl bridge, of course, had its disadvantages tion of all four. superfine quality. , of the teacher increases. I remember of the Seine. He applied for a posi¬ in other respects, as it made it practi¬ causes millions to fall under the spell music student and aspiring artist. W Our public school system where fifty DISCOUNT TO PROFESSIONALS' that when these memoirs first fell tion in a Parisian theatre orchestra, but cally impossible to produce a tone of oHhe wonders of the musical art, for. practically no financial assistance in or more pupils are taught at the same into my hands I sat up reading them lost his opportunity by sarcastically it is such artists who keep alive the in¬ THEO. PRESSER youth he worked his own way to any volume on the A and D strings in time is in the main successful, although until three o’clock in the morning, so asking the director, when he went to the higher positions. centive to study, and furnish the ideals 1712 Cheslnul St., . Phila., Pa. pinnacle of earthly fame as a solo x it is true that many of the pupils allow absorbing was their interest. be examined, at which end of a very Spohr, who failed to detect the towards which the student should hmst. He was honored as a ori' their minds to wander during the ex¬ Whatever his shortcomings as a seri¬ easy piece he should begin, ■ because wherever he went, and his mate^ Norseman’s genius, says of his playing: strive. The whole world, and especially planations of the teacher. Even at the ous artist, Ole Bull is now recognized he felt insulted that he should be asked “His playing in chords, and the cer-( gains were very great. He won ; nierica, for whose development in worst, if the members of a violin class PROFESSIONAL DIRECTORY on page 215 as having been one of the most re¬ to play so simple a piece. A weird tainty of his left hand are admirable,: ost several fortunes during his lc music he did so much, surely owe such of four paid little attention to the ex¬ Inserted 12 Times Before Half Million Musical markable natural geniuses known to story is told of these days, in which he but like Paganini, he sacrifices tool life. In one tour of the United Sta a debt to Ole Bull. planations of the teacher except when People for $12.00 many of the noble qualities of the vio-' Please . THE ETUDE when addr THE ETUDE 205

204 THE ETUDE subject. So a club may pursue both club and one which even the smallest PIANOFORTE CHORD PLAYING- position and time which only concen¬ objects previously mentioned, yet keep¬ body of working musicians might ARM WEIGHT VERSUS tration can remedy. Nothing should be ing them separate and distinct. undertake is the Department of Philan¬ ARM FORCE. permitted to interfere with the practice ideas for club thropy. This department is under the asftsspaRf ■ BY AVE GALBRAITH. a happy company? period in any way. No matter how SUGGESTIONS FOR MEETINGS. direction of one of the .club’s philan¬ good a teacher you may have, his WORKERS The following will, I think, be found thropic members, and through her In these strenuous days of pugilistic in am mg me ~ r»inv’our niece, efforts will be wasted.” to be of great interest as well as fertile directions music will be carried gtwo,e thmrlef oTe,PlJo, three; on in the suggestion of kindred themes: monthly into the public charity institu¬ piano playing it well to pause for a little in order to think of, and decide two, three—three. Conducted by MRS. J. OLIVER Musical Myths—the ancient legends tions, the hovels of the poor, the jails on the proper method of producing MAKE YOUR PLAYING Pre*» Secretary of National Federation by which various peoples have ac¬ and poor-houses, any place where the ^But*we’ll 2lUrvia“ehigryo«e’know; good tone. There is a strong impres¬ MORE BEAUTIFUL. Women’. Mu.ical Club. counted for the origin of music. Thi^v refining, uplifting notes of a sweet sion abroad in the pianistic world that, s«w^«r^t^way’ will, of necessity, be entirely verbal, song, a violin solo or any musical in¬ Do not make the mistake of thinking in order to play forte chords, intense and some of the following subjects will strument might afford pleasure to some Tra-la-la, Tra-la-la, Tra-la-la, la! that the way to get ahead is to play Little children of Music we are be likewise. sun-starved soul or create better thought muscular force is requisite, and this de¬ Offerings of fingers and voices we hrmg. rapidly. Of course, there are pieces in lusion often has the effect of ruining a Merrily, merrily, play and sing. “MUSICAL CLUB WORK.” Primitive Music—which derives its in a sin-hardened criminal. Beside the player’s touch. which we must reach a very high speed, chief interest from the fact that the director of this committee, it has been I have had the pleasure of hearing but there are many more in which speed BY EDITH L. WAGONER. music of primitive peoples of to-day is found advisable to have a musical di¬ two pianists of world wide fame, who is of no consequence. our principal means for the study of rector for the department. The chair¬ have carried this thought so far that MY PRIMARY CLASS. and from that hour her advancement BY CAROL SHERMAN. Suppose you take a little piece like prehistoric music. Wallescheck, in his man arranges all dates, makes the There is in the musical clubs of our their forte passages have degenerated was sure and delighted to behold. With the “Happy Farmer” (Froeliche Lands¬ necessary preparation for the coming A Memory Picture from Greenwood cities throughout the country a great “Primitive Music,” gives many interest¬ into mere thumping of the poor keys, what music in the touch her fingers The little picture upon this page shows ing examples which could be sung or of the musicians, and the musical di¬ Days. man) from the “Children’s Album” of and scarcely appreciated force making with the result that, not only was the played the “first piece”—“In the Merry a condition which will ruin the best for the promotion of music. Their played on the most appropriate instru¬ rector arranges a suitable program and Robert Schumann. This is a merry lit¬ assists with the work of presenting it. tone ugly, harsh, and void of carrying BY V. C. CASTLEMANN. Sunshine.” Only two lines of music; efforts of the most faithful pupil. name is legion and their methods vari¬ ments available in connection with a tle tone picture that all children like. The chairman of the committee need quality—but the players left the plat¬ but for the little musician the entrance There is nothing so annoying as being ous, but their object is “art for art’s talk or reading. How many times have I heard it ruined not be a musician, but the musical di¬ form physical wrecks, worn out with The springtime at Greenwood will into fairyland—such you would have disturbed at practice. Children whose Hebrew and Greek Music. Illustra¬ by some of my little friends rushing sake.” . , . , ,, rector mbst, of course, be able to the hard muscular effort they had been ever be associated in my mind with my thought to see her radiant face at her parents are not musical should request In passing I wish to remind all mem¬ tions of these two classes of music can through it as if the Happy Farmer was direct the program. putting forth. Now none Of this is in little "primaries," a fitting part of the first recital. them to let the practice hour be undis¬ bers of musical clubs that it is at the only be approximate, but may be made At the end of the season it is the the least necessary; no one requires to “merry sunshine,” the birds’ carols and Those other two little maidens of my turbed. Some parents call a child riding on an automobile, instead of re¬ expense of arduous labor and thought very effective with the aid of a flute away from practice several times a day purpose of this club to give a public get tone by using so much force as, in the spring flowers. Primary Class—I can see them now turning joyously from his work on foot? of “the few” that these organizations and harp, or even a mandolin. with the idea that the child can go concert in one of the city’s largest many cases, to break the long suffering They came to me one bright morning entering the Music-room together (for By rushing through this pretty com¬ are maintained, and that adequate ap¬ Music of the Early Church, which, right back and go at the same work theatres, every number on the program strings that are unmercifully ham- five rosy-cheeked little maids so eager they were inseparable companions), the position they lose the fine chances to preciation of those labors is rarely ex¬ with the authentic and plagal scales, ■without any loss of interest whatever. to be given by the club talent, the pro¬ to learn more of this wonderful music one fair and blue-eyed and dreamy; the bring out the bass so that it sounds pressed by those who receive the constitutes a subject of great interest. other, my brilliant, dark-eyed little one, This is all a great mistake, and no good ceeds of the evening to go to a fund Pianoforte playing, like many other singing in their souls that it made my like the farmer’s song. benefits. Then degressing from historical order, alert and sensitive to every sound, the teacher should permit it to continue. for “needy musicians.” things, has been reduced to a distinct heart throb to look into those glad and Try to make everything you play as Almost every musical club passes which may easily be continued— and knowledgeable science, and what we tender faces, and to listen to their soft, crimson color going and coming in her One of the greatest of the present- beautiful as possible. Always listen through its first few seasons somewhat Music of the Orient, many interesting all—artists and students alike, have to sweet voices—each voice a tiny music- cheeks with each varying emotion. Side day pianists told me a few months ago while you are playing. If you get tired as follows: The first season is devoted examples of which are to be had. AN INTERESTING MEETING. do, is to learn how to attain a given re¬ box in itself, I love to remember, for all to miscellaneous programs; the second Music of the American Indian. of listening and trying to make each sult in the best possible way, and with five possessed the gift of song. to the music of nations, one nation to Negro Music and its Sources. The Managing Board of the National Such a happy half-hour daily we repetition better, take another piece. Federation of Musical Clubs recently the least possible bodily exertion. And each program (or vice versa), while the Folk Music, which would require at from the outset, let me say, that in forte spent together, not all play by any Unless you listen and try hard you are programs of the third are made up of least two sessions. held a most interesting meeting in means, for each little pupil must have chord playing, arm force should never really not practicing. Get your teacher the works of individual composers. Dance Forms, which should be studied Grand Rapids, Mich. Plans were made her copying-book out and the tiny for the coming biennial which will be be exerted. Some of the great teachers to pay particular attention to the way When the fourth season dawns there is prior to the early instrumental music, hands must struggle laboriously over held in that city in May, 1909. A it is true, insist on their pupils con¬ of making your tone more beautiful. apt to come a doubt (or many) as to since it was these simple forms which the making of the notes—whole, half, report of the “Plan of Work” depart¬ sciously using this power, but almost Beautiful tone is a very valuable pos¬ “what to do next.” This is exactly were of necessity utilized and amplified quarter, etc. Much assistance was de¬ ment showed that 17 clubs have feder¬ inevitably when the pupils are away session for the pianist. It is wonderful where I hope the following suggestions by the ojd masters. manded, child-fashion, of the teacher ated in the southern section during the from the master’s keen ear, the tone how one person can sit down at the may be helpful. The Rise of Opera and Oratorio. A in whose guidance they trusted im¬ past year. Following the business ses¬ which he has kept at the proper qual¬ comparative study of the events and plicitly. keyboard and strike a few notes in sions elaborate entertainments in the ity, gets louder and harsher, till it be¬ causes which made for the development Five or ten minutes of copying; then such a way that they seem to jar your THE PURPOSE OF THE CLUB. way of luncheons, trolley rides and con¬ comes the unbearable pounding so much of these two art forms is fraught with the naming of the notes of the count¬ whole nervous system. Another per¬ In the first place—“to return and go certs were enjoyed by the visitors and disliked by the true musician. In¬ an interest which cannot but be absorb¬ ing, and then, the event of the hour, son can sit dojvn at the same keyboard back” as Samantha would say—such a their hostesses. Mrs. C. B. Kelsey, stead of this “force” then, should be when each one had her turn at the and strike the same notes in such a club must have one of two objects. ing. . president of the N. F. M. C., presided used simply the conscious weight of the piano, listened to by the others with way that they seem very beautiful. Either it must exist for the purpose of The Lied, that, perhaps, youngest of at all meetings and contributed largely arm, which is, if properly employed, breathless though sometimes impatient Beautiful tone comes from a good giving its individual members oppor¬ all forms of the youngest of the arts. to the entertainment of the visiting quite sufficient to give the very fullest interest. Children know not how to The Ballet and Ballet Music, the study members. tone required. And the way to prac¬ wait. If at the half hour’s close I was touch, and when your teacher gives tunity and incentive for public perform¬ you exercises that may seem very queer ance and appearance before musical of which reveals unexpected facts, such tice for this unfailing quality of tone is nerve-exhausted, what matter?—the as follows: to you and tells you that they are to- audiences, or for the purpose of study¬ as that of its use in the early oratorios. memory remains precious for all time. Space forbids the citing of authorities CHARLES LAMB’S AVERSION TO Place the fingers on the keyboard in improve your touch, always try to ing the works of the great masters of Let me picture them to you. to which Browning’s “of the making of COMPLICATED MUSIC. an easy chord position, raise the whole practice them very faithfully, because musical art. If the first is elected, each There were the two fair-haired sis¬ many books there is no end” is partic¬ arm considerably and without stiffness, ters, the elder marvellously gifted with performer should be given free rein in they will give you something more ularly applicable. .Nor have the “reg¬ Charles Lamb had an aversion to and then lower it swiftly, catching the the melody of ear and touch, the younger the choice of works to be interpreted than the ability to play rapidly; they ulation” subjects of musical history everything in music but the simplest weight as it falls by the use of exertion timidly following the elder’s lead. by him. It then devolves upon the ar¬ will give you a fine touch. born. The brilliant English essayist With what delight, with what rhythm ranger of the program to make an been touched upon in this endeavor to of the hand and fingers. At the moment Mr. W. J. Henderson says in this suggest topics not on the beaten path. was born long before the era of the of sound, which should be just as the they played together their first waltz connection: “Let it be admitted at agreeable succession of the individual duet! Then, there was the song-child, so-called “music of the future.” He arm becomes level with the knuckles once that technic includes ability to numbers. Conditions should be made the development of whose voice I had did not even hear the music of on the hand, take away the weight, and strike without error and at a given as favorable to all participants as pos¬ watched from infancy, since the hours A PUBLIC-SPIRITED MUSIC Schumann yet the triumphs of the mas¬ let the arm support itself—-the feeling speed all the notes set down in a com¬ sible. Should the club prefer, however, when she stood beside me at the church INTERRUPTED PRACTICE. CLUB. ters of the tonal art were all to much being as if the tone was falling through position. The street pianos operated to study composers or schools, then all organ to lisp the Christmas carols in desire for personal display should be A most interesting and instructive for him. In expressing his “agony,” the piano keys. This, of course, is for angelic strains. by side they sat to practice daily, the by turning a crank, possess the best a staccato chord. For a tenuto one, in¬ technic of this kind, but their music is laid aside and works should be selected plan for the year’s work is that selected he has used his literary stiletto in the I had looked for equal precocity in blond and black locks touching as they in this country of the necessity of ‘co entirely with a view of “getting into” by one of the federated clubs in the following fashion. stead of taking away all the arm weight playing as in singing, and was at first bent to their task, which was yet to fit only for Hades. The true aim of a slight amount must remain on the cen-tra-tion,’ that is, putting the mii the subject in the most thorough pos¬ Southern section. At an informal re¬ Above all, those insufferable con¬ them a pleasure, and with what spirit piano technic is the production of a disappointed in the child; she seemed upon practice and nothing else durir sible manner. ception held in the club rooms after keys in order that they may be kept de¬ they played their first march, not a tone of beautiful quality and singing char¬ certos and pieces of music; as they are slow to understand, and bewildered by the practice hour. The. child should Whatever its object, if the club is to an hour of social intercourse a study pressed. Begin by practicing pianissimo, single false note nor time error to be 1 acter under all conditions of force and called, do plague and embitter my ap¬ the instrument, not being used to a alone in the room, and the piano shou five beyond a few seasons, it must fos¬ class was organized, every member just letting the arm fall easily of itself, piano in the home. Her father was a heard. I was proud of them that day, speed.—Aunt Eunice. prehension. Words are something; but be so placed that he will not be di ter a spirit of comradeship and help¬ present joining the class. then increase gradually in conscious laboring man, himself gifted musically, you may be sure, for their enthusiasm to be exposed to an endless battery of tracted by occurrences in the stre< fulness and that higher sociability The plan for work is one which weight lapse till the strongest For¬ but without opportunity to cultivate his rekindled ours as we gazed upon the mere sounds; to be long a-dying; to No other child should be permitted which results from mutual love of should appeal to the layman as well as tissimo is reached. These movements voice and ear. sweet child faces there! ROSSINI AND MEYERBEER. lie stretched upon a rack of roses; to enter the room while the pupil is pra beauty.. The writer has no intention to the musician. Meetings are to be will gradually become automatic. Won¬ “If I could only have a few lessons, In my dreams, waking or sleeping, I keep up languor by unintermitted ef¬ ticing, and children in the adjoinh Widely different in many respects as of making a detailed plan for a sea¬ held twice a month, a director ap¬ derful results can be attained with like the child here,” he said in bringing often saw my five little girls or heard the two men were, we yet find that one fort; to pile honey upon sugar and this method even with children, show¬ her, “I am sure I could learn,” and his the echoes of their tender voices, and rooms should be kept as quiet as po son’s work, but it is hoped that the pointed for each month, and the class of Meyerbeer’s warmest admirers was following hints may be found adapt- will take up the study and discussion sugar upon honey to an interminable ing that it is not tremendously wistful tone touched my heart, for I for them I made up the simple waltz- when ,^arents shou,d watch childri Rossini, many of whose own operas tedious sweetness; to fill up sound with strong brute-force that is required for knew the utter impossibility of that song suiting the springtime and the when they are practicing, and if the of a school of music, which will be minds are apparently ‘wanderin' had been displaced by Meyerbeer’s. illustrated by the following monthly feeling and strain ideas to keep pace pianoforte playing.—Musical Canada. with his mechanic hands and long hours lambkins. Everyday for a week they Indeed, Rossini and Meyerbeer were of toil and a large family to support. stood in a semi-circle to sing it for me, AT THE MEETING. concert of the club. Those chosen for with it; to gaze on empty frames and tharthhOUld be -made t0 ur|derstai intimate friends. On one occasion they So the little girl was to have the father’s looking so unconscious and yet so seri¬ that they are wasting their time. I on. Assuming that each meeting is of directors must be talented and capable, be forced to make the pictures for Expression, feeling, and sensibility were together in a box at the Paris lost opportunity along with her in¬ ous it. thrilled me to hear them. This saw a child playing finner exercis one hour and forty-five minutes dura- and the discussions planned in a way yourself; to read a book all stops and are the soul of music, as of every other Opera, listening to a performance of herited musical nature; for her, at least, is their own little song, which one day and at the same time reading a new ion. Let the first fifteen minutes be to make them both interesting and in¬ be obliged to supply the verbal matter; art. If we were to play a piece of Roberto il Diaziolo, when Rossini was so to invent extempore tragedies; to an¬ the golden chances he had missed. This they will prize for sweet memory’s paper. I know that Henselt and Lis e.voted t0 business, appointing com- structive. Beside the study class and music with exactly the same degree of delighted with one particular piece that his compensation. After several weeks sake, since Greenwood is their childhood said to have spent part of th< “ittees to attend to what cannot be monthly concert this busy Southern swer to the vague gestures of an in¬ forte or piano throughout, it would he started up and said to its composer: of patient reiteration of the rudiments home: practice time reading a book and pla accomplished in that time. Then divide club has a choral class of probably explicable rambling mime;—these are sound as ridiculous as if we were to “If you can write anything to surpass the child at last showed signs of CHILDREN OF MUSIC. mg scales at the same time. This m e remaining time into two periods of twenty-five members, who receive free faint shadows of what I have under¬ recite a beautiful poem in the same this, I will undertake to dance upon grasping these new ideas, and presently have been true, but it is a verv , or y-five minutes each, devoting one to class lessons in singing from one of gone from a series of the ablest ex¬ monotonous tone in which we are used Tra-la-la. Tra-la-la. Tra-la-la. la! my head.” “Well then.” said Meyer- the little hands grew at home with the Little children of Music we are; misce1Iane°us program and the other the most talented singing teachers of ecuted pieces of this empty instrumental to repeat the multiplication table.”— Offerings of fingers and voices we brine Shi faseyoTth- PUPil fol,0w and beer, “you had better commence prac¬ piano, the. melody stirred within her, Merrily, merrily, play and sing the case of this particular pupil led be study of some particular musical the city. Another department of the Carl Czerny. many extremely bad errors of L ticing soon, for I have just composed the fourth act of Les Huguenots.” THE ETUDE 207 206 THE ETUDE Questions and Answers We are No name orders belong to a different spection. In addition to the anthems Plaster Placques From Stuttgart, Twelve Short We will continue on the Elements of Music, veiy glad, class. It may be surprising, but there and solos mentioned in the February for Studios. Germany, we have Melodious Pieces during the present By M. G. Evans. indeed, to sue a new march album for piano solo been in the received a consign¬ is not a day goes by that this office Etude, we now take pleasure in an¬ for Young Players, month the special see the in¬ containing the latest and best music course of preparation for some time, ment of composition reliefs of musi¬ does not receive postal cards and even nouncing these: “Sing With All the terest taken in this work. It is one By Geza Horvath, offer on this vol¬ for the march, including two-steps, the is now approaching completion. The cians. These placques, in size 4)4 by letters to which no name has been PUBLISHERS ume. This is a Sons of Glory,” solo for medium of the most useful that we have ever grand march and the slow march. The teachers edition is entirely done and 614, are unique in design, and provided signed. The result from this is that set of twelve new and original pieces of voice, by Mueller; “He is Risen published. The name has been changed music of this book will be entirely in the hands of the practical printer. with a clasp for hanging requirements. our claim of being the quickest mail order characteristic style, by this popular to convey more definitely the nature anthem, by Attwater, and “Behold 1 modern, and it will be our aim to make The pupils book will not be ready for The heads are treated in tasteful shades music supply house in the country is. composer and teacher. They are all of the book. The name under which Show you a Mystery,” by Solly. Others it one of the best books of this kind some time to come. that bring into sturdy relief the physi¬ severely attacked by the persons who attractive and as varied as possible. the book will be issued will be “Primer NOTES may be found in our regular advertising on the market. Our usual custom of At the present time there is no book cal characteristics of each subject. neglect to sign their names to the Pupils will be sure to like them. They of Facts About Music.” It is in reality columns, and any of these publications offering works of this kind to the pub¬ on kindergarten music teaching. The In the list we have reliefs of Bach, orders, thus rendering it impossible for lie chiefly in the second grade, al¬ a modern primer, not on the order of lic at a reduced rate will hold good on only way that a person can become Beethoven, Brahms, Handel, Joachim, us to fill them at all. though a few of the pieces are a trifle may be ordered from us for examina¬ Burrows’ and Jousse’s, but one con¬ this work during the present month. acquainted with the subject is to take Liszt, Mozart. Schubert, Schumann more advanced, approaching the early tion. Patrons may depend on prompt taining a wider field and up to date. Guide for the Male This is the Therefore if anyone sends us 25 cents some of the patent systems that are and Wagner. The price of each placque Program Forms. We desire at this third grade. All, however, are adapted The work will positively be out before Voice. By F. W. Root. next volume we will send this book postpaid to any advertised by various parties. These for small hands. During the current the end of this mouth, as it is now in is 50 cents net. Postage is extra. This that is to be part of the United States and Canada various patent systems are not pub¬ tion to the program forms which we month, for introductory purposes, we Music “On Sale.” It o c c a s i onally the binder’s hands, so this is the last amounts to about 15 cents for single issued in connection with Mr. Frederic when it is published. lished and are only given to those who brought out last season, and which are offering this volume at 25 cents, comes to our month the special offer will be in force copies, but when two or more are W. Root’s well-known vocal course, take the course, and they have no have been used very largely since then. postpaid, if cash accompanies the order. knowledge that patrons entertain a and 20 cents will now procure a copy ordered the cost would hardly be over “Technic and Art of Singing.” The First Grade Studies We have in press material which is for sale on the 25 cents. We made them because of the demand mistaken impression to the effect that of it postpaid. We publish a few ques¬ work gives particular instruction as to for the Piano. a set of studies market, so that this work will be the there was for an attractive form that Sacred Songs: We will continue for the “On Sale Plan” is available only tions from the book in the last issue the development of bass, baritone and By L. A. Bugbee. of the very easi¬ first kindergarten method published. could be gotten in small quantities at For High Voice; this month only the at the beginning of the teaching sea¬ of The Etude, and this will give an idea “No Name” Orders Packages of tenor voices, providing special exer¬ est grade for the This system will not require an ex¬ a fair price. For Low Voice, special offer on our son; this is far from true, as this plan of the character of the questions that and Returned music a re re¬ cises and songs. The work will be a pensive studio furnishing arid is These program forms are in two two new volumes of is in operation continually so that cus¬ are answered in the book. The book piano written by a musician whose life packages. t u rn e d daily great help and aid to women teachers adapted to classes of from four to styles, one “Concert given by” as the sacred songs. One volume is for high tomers are always at liberty to ask teems with just the kind of informa¬ has been spent in teaching children. with no names who have to deal with the character¬ fifteen members. It lays the solid title, and the other “Recital by the pu¬ voice, and the other for low voice, and for music to be sent on sale, subject to tion that the average teacher is seeking. This work is the result of many years’ upon them by which we can identify istics which differ from those of the pils of.” Both are printed in two col¬ while some of the songs will appear settlement at the close of the usual practical experience in teaching begin¬ foundation for the ultimate artistic the sender. Then the post office has a female voice. in both volumes, each volume will con¬ performance and forms the first musical ors, the former perhaps slightly more teaching season; this may be in June ners. The exercises are all original way of either not postmarking printed This work should have been ready to tain the majority of songs adapted for Four-Hand This is the title of a new ideas so that rapid as well as thorough attractive than the latter. The price is or several months later, depending on Miscellany, collection of duets for con¬ and many of them contain words. matter or of postmarking it so that it 75 cents per hundred. The matter to deliver to the advance subscribers dur¬ the respective voices, high or low. In the part of the world in which the results may be attained. It is the aim cannot be read. ing the past month if it had not been other words, the contents of the two cert and home use. As They are unusually interesting and of the authors to produce a method by be inserted can be either written in, teaching is done. We have “On Sale” Result: By means of careful and that at the last moment Mr. Root, in volumes will by no means be the same implied, by the title of the book, it is progress in difficulty in the most grad¬ which music may be scientifically printed or mimeographed. Sample of customers in India, China, Japan, New a miscellaneous collection containing lengthy investigation, going so far as both free for the asking. We do not order to improve the book, decided to throughout and neither volume will Zealand, South Africa and many other ual way possible. The pupil is first of taught to the young child by natural pieces in all styles: classic, romantic, even communicating with the post¬ do the printing. add considerable material to it. That contain any trite or hackneyed ma¬ foreign countries, to say nothing of the all interested in the studies, and these means and in a pleasing manner. operatic and popular. In point of master or the express agent, etc., etc., material is now under way, and unless terial and no songs will be found which thousands in America, including Can¬ studies are bordering on pieces in a We offer the two volumes, the difficulty the pieces range from Grade etc., we are able to identify about half NEW PUBLICATIONS. something unforeseen occurs it will be have appeared in other collections. We ada and Mexico. The music school teachers’ and the pupils’ volume, for 3 to 5, with a preponderance of the very great many ways. We predict a of such packages; the balance which we Touch, Phrasing and Interpretation, by feel sure that these volumes will be season varies so much, even in the only $1.00. possible to promise the book about the lower grades. It will be a large book, very wide circulation for this work find it impossible to identify are the J. Alfred Johnstone. Published by highly appreciated by singers, espe¬ United States, that we find, our “On time this issue reaches our subscribers. cially by church singers. handsomely gotten up and clearly among those who have to deal with cause of almost all the complaints William Reeves, London. $1.50, net. Sale” business extends completely In the meantime the special advance For introductory purposes we are printed from large plates. There will Reprinted Editions Modern Sonatinas, which we receive with regard to ac- through the summer months. This elementary teaching. The work is to Mr. Johnstone has ideas of his own, price introductory offer of 30 cents re¬ offering either volume at 40 cents, post¬ be in all about 20 duets. Many of the for February. edited and revised “On Sale” scheme is one of which all be gotten out in the most approved some of which are valuable. There is mains open until March 31st only. paid, if cash accompanies the order. pieces are original for four hands; others by Maurits Leef- music teachers should avail them¬ manner, and we will place it on our The name and address of the sender much in his book that is practical, help¬ have been especially arranged. Every son. This work has passed through selves; it saves time, expense and an¬ special offer for 20 cents, postpaid. Do should be placed on the outside of ful and free from that “rhapsodic” piece is a gem. The work is already quite a number of editions. A most every package returned to us. We re¬ style (to use his own word) which so Novelties for We have just received Czerny’s Studies, These two vol- noyance without obligating any one to not fail, if you have any beginners to Op. 261 and Op. 453. umes of Czerny’s completed, and is about going to press, useful work for teachers, with careful ceive hundreds every day; it is obvious frequently mars works devoted to the Six Hands. from Europe a series of pay for music not actually used. We teach, to procure at least one copy of easy pieces in the third Studies, both very but during the current month for in¬ and expert editing; a pleasing intro¬ that otherwise it is impossible for us aesthetic side of piano playing. Con¬ should be glad to send full details of this work. duction to the classics. grade for six hands. These composi¬ popular and widely used, are now troductory purposes we are offering it to know from whom they come. siderable space is given to the discus- this plan to any teacher making appli¬ at the especially low price of 30c, post¬ tions are very melodious and well ar¬ ready and the special offer on each is herewith withdrawn. Both are pub¬ cation for same. paid, if cash accompanies the order. ranged. For those in search of novel¬ lished in the Presser Collection, and If the work is to be charged, postage ties for pupils’ recitals we can heartily are gotten out in the very best pos¬ Standard This volume is now will be additional. recommend this series, any of which sible style. We can highly recommend will be sent “On Sale” with our regu¬ Compositions, ready; and the special our edition of these works. Grade V. price is hereby with¬ lar liberal discount. Bach’s Some time ago we drawn. It is a splendid Hofmann. “Rosebud”. $0.75 Little Fugues, published in the APRIL ETUDE : the most notable ever issued Musical Fairy Book. This little volume collection of pieces; one of the most Gossec. “Gavotte from Olden Presser Collection the By Sartorio. is now ready and interesting of the series. Its educa¬ “Little Preludes of Bach.” This vol¬ Days.” .50 tional qualities and musical worth will In consequence of many unusual features, some of which are mentioned below, the price of the Easter ETUDE Hirsch. “Friendship Polonaise”. .60 the special offer ume is largely used for teaching, as it is herewith withdrawn. We shall be appeal to the teacher, and the pieces Leonard. “A Tour In An Auto”. .75 is an excellent preparation for the will be raised to twenty-five cents; regular subscribers will receive it without extra cost pleased, however, to send the work for themselves will prove most attractive Heller. “An Open Air Dance”.. .50 more advanced works of Bach, and examination to all who may be inter¬ to the pupil. Golde. “Prussian March”.75 affords special drill in elementary poly¬ ested. It is really a most attractive Leonard. “At the Telephone”. .. .75 Although this volume is no longer on phonic playing. We have decided to work to use with young pupils. The A Beautiful Supplement. 15 Attractive Pieces. Articles of Great Value. Strauss. “Radetzky March”.75 special offer, we shall be pleased to issue another volume which will con¬ pieces all lie in the treble clef and each send it on examination to all who may tain the "Little Fugues of Bach.” A catalog of music arranged for six one illustrates some well known fairy be interested. hands, two pianos, four hands, eight These little fugues may be used directly A Supplement that has hitherto sold everywhere for $1.00 tale. In most cases the book is ac¬ to follow the little preludes, or they hands and other combinations will be companied by text which tells the sent free upon application. Heuser’s This volume is now off may be used in conjunction with the story. Young people especially will Piano Studies, the press and the little preludes. While they are a trifle be interested in them and musically -BALESTRIERI’S MASTERPIECE- special offer is hereby more advanced in difficulty than the they are extremely well written. New Musical Constant additions are withdrawn. This is an excellent set o"f little preludes, they are not so difficult Post Cards. being made to our large modern studies, affording fine drill in as many of the inventions. BEETHOVEN’S “KREUTZER SONATA” list of musical post Gurlitt, Op. 82, This volume is now velocity, is suitable for pupils of the In addition to publishing the little cards. Each month we receive from Volume 1. ready and the special early third grade, and is especially fugues complete, in one volume, we will printed in 10 colors to resemble an oil painting. THEODORE LESCHETIZKY on Europe new cards of famous musi¬ offer is hereby with¬ adapted to precede Czerny’s Velocity issue also another volume containing cians. These cards are all printed in This picture took the first prize at the Paris Salon “ Modern Piano Playing.” The teacher of Pader¬ drawn. It is one of the new numbers Studies, Op. 299. We shall be pleased the little preludes and little fugues the superb platinotype finish and form of our Presser Collection, and has been to have teachers give this work a in 1900 and since has become the most popular of ewski, Bloomfield-Zeisler, Gabrilowitsch, Esipoff, tasty studio decorations at a minimum complete. Both these new volumes we very carefully prepared. It is well got¬ careful examination and due trial, and sembrich au musical pictures. Hambourg, Katherine Goodson, and other famou^ LESCHETIZKY cost. During the past month we have are offering this month at special in¬ ten up and clearly printed. As this to this end it will be sent for examina¬ troductory prices. We will send the received as novelties: is a popular volume we anticipate that virtuosos gives important advice to students in i article secured tion at any time. little fugues for 20c, or we will send MME. MARCELLA SEMBRICH on “How Fortunes Bonci, Debussy, Guilmant, Halir, our new edition will prove welcome exclusively for THE ETUDE. the little preludes and little fugues Henschel, d’Indy, Joachim, Marchesi, and will be widely used. *re Wasted in Voice Culture.” “The greatest coloratura (complete in one volume) for 25c, Melba, Mossel, Patti, Scharwenka, Sitt, me nnai month Soprana of our times,” who has just retired from opera after 25 Repertoire, the special offer on tl postpaid in either case, if cash accom- Walenn-Quartette, Ysaye. triumphant years, gave this exclusive interview to THE TEN PRACTICE RULES by Mm, Bloomfield-Zeis¬ Easter Music. During t h e present Organ Repertoire. Tl panies the order. The card of Joachim is a superior month all prepara¬ work is almost ready, but we ha ETUDE on the day after her retirement. ler, W. H. Sherwood, B. J. Lang, E. R. Kroeger, Perlee Jervis, photo, and that of Ysaye playing the tions for the Easter Day Services decided to continue it for this mon Melba Photographs. We have a lim¬ Amy Fay, Chas. A. Watt, J. Zielinski, A. Lambert and others violin is perfect in detail. In ordering will have been made, and if we are only It is a large and important wo ited number of ERNEST SCHELLING, the American Virtuoso and these cards it is necessary to state will contribute to a symposium upon “The ten most nec¬ to judge from the numerous requests and has entailed much care and atte platinotype cards of Madame Melba in disciple of Paderewski in an exclusive article for THE March Novelties, as we have two other received for Easter music, the day or “Ten impor¬ tion in its preparation. We are su cpstume. The cards are 7)4 x llVs in ETUDE tells “How to study a new Piece.” It gives essary conditions for piano Practice,” poses of Ysaye and four of Joachim. will be marked everywhere by un¬ that the work will prove a great su size, and are an addition to any singer’s tant rules for Practice,” which will make the most valuable These cards are all sold at uniform usually good musical programmes in the teacher and pupil much-needed advice that can be directly cess and come into general use as h studio, being of superior grade and rate of 50 cents per dozen, or 5 cents the churches of all denominations. applied to their daily work. educational feature of the issue. our previous volume entitled “The O hmsh. These pictures retail for fifty each, postpaid. We carry in stock the To those who have not yet selected gan Player.” It will be a handson cents, but while they last we will send largest list of musical post cards in their solos, quartets and choruses for volume, superior in every respect. a copy postpaid, securely packed, for the country. A catalog of over 300 the occasion we suggest an early appli¬ The special price will be 65 cent but fifteen cents. As we have but a ADDITIONAL FEATURES WILL MAKE THIS ISSUE WORTH DOUBLE THE INCREASED PRICE subjects will be sent free upon applica- cation to us for an assortment of ap¬ postpaid, if cash accompanies the o limited supply, an early request is Avoid disappointment by ordering in advance. The December and January issues are now out of Print propriate material to be sent for in¬ necessary as this offer will not appear again. THE ETUDE 209 208 THE ETUDE

ANSWERS 'Effi!@£&£SS QUESTIONS gsrrgSSsSKs 5ge:!r!“ js-ras

PRIZE FOOD.

“When I quit tea and coffee and be- THE ETUDE the etude 211

TOLSTOY AS A MUSICIAN, The following is taken from an ac¬ normal courses bv jvuvil BY count given by Wanda Landowska, the What Others Say celebrated pianist and harpsichord per¬ her school HARMONY CORRESPONDENCE former, of a visit she paid to Iasnaia- CORRESPONDENCE SCHOOL “We are advertised by our loving Poliana, the home of the great author. Choir and Chorus Traini Elementary, Intermediate and Advanced Courses. friends." Shakespeare. Her account of Tolstoy and his artistic The Shepard Systems opinions throws an interesting light on Thoroughly Practical Lessons. Also Course in Mel¬ the man who published such a retro¬ THE PIANO SYSTEM ody Writing, Music History, Music Biography and After carefully examining Phlllpg ‘School gressive and revolutionary book as THE HARMONY SYSTEM „ _„ _j'dorse it as “What is Art?” of Technic” I can ‘ L-around ”school There are TWO SIDES to Music Study—the Phys¬ This Method teaches what You Would Like to Know—that which You Pedagogy of Piano. Full information on request. “There is no doubt,” she writes, “that ical and the Mental. NEITHER CAN FULLY SUC¬ Need Every Day, and which You Do Not Believe can be taught in any form music has played, and still plays, an HM8warthout, Dean Oxford College. CEED WITHOUT THE OTHER. within your reach—But It Can. important part in the life of Leon Tol¬ Nearly all Methods treat the Physical side at least fairly well, but NONE THOMAS TAPPER i New York City delighted with the “^Velocity stoy, and when the peasants of Iasnaia- One teacher said : “I never expected to find, nor did I helicon there nvas Studies,« » bv Horvath, and several or my has given systematic attention to the Mental. pupils Whov ordered the studies are express- Poliana had brought my harpsichord so much light on this subject, as you have given me.” inglng theitheir pleasure at finding such short and By the addition of this Mental side the SHEPARD interesting studies to help them along the into the great room where he, and his The Method Differs from all Others. path of music.—Anna Williams. family and friends, are wont to resort SYSTEM opens NEW AND WONDERFUL POSSI¬ Designed for the Performer as well as the Composer. SUMMER SCHOOL The book on “Piano Tuning,” j>y_Fisher, each evening, I have seen the master BILITIES TO TEACHER AND STUDENT. New Methods—New Exercises—New Results. _much pleased with it. received, and profoundly moved. It does not condemn your past way, but adds a New Element, transform¬ Personal Instruction—adapted to each individual student. ADVERTISING IN While. I, ’. _tuning for f ’ ing it into a work, the beauties of which you can form no adequate idea. _f lots of good Information the book.— “ ‘My mother had an instrument like Prepares for the Practical Musical Life, by ample training in Ernest 8. Lay. that,’ he told us, ‘and I well remember This system is not merely a method of Technic, but a Complete Analysis, Keyboard Drill (actually forming and u ing all kinds of THE ETUDE placing my little dolls on the strings, System of Teaching and Study, from the Kindergarten chords, etc.) Modulation, Improvisation, Ear Training; and Principles 1 the past twelvt so that when any one played a minuet Grade to the Highest Virtuosity. is Indispensable to perfectly satis Eactory. I could r instead of Rules. a Successful Season ;ht my pupils the dolls used to dance up and down; We would like to send you, free, “How to Make Technical Exercises and successss if it had m you can imagine with what joy we used Fascinating,” “The Secret of the Artist,” “Piano Study Simplified," and other A Revelation in Simplicity, Directness and Practical Value. BEGIN WITH APRIL ISSUE to adjourn to the piano.’ matter containing New Ideas for Teachers. A Specimen Lesson and Circulars will be sent on request. Forms Close March 10th ___ H_technic, “Among the reminiscences of his Specially Low Rates lilipp's "School of Technic” is youth with which the patriarch is wont _ _ its breadth of scope and the thor¬ New York School, Carnegie Hall Summer School and Mall Address. Orange, N. J. C. W. Wilcox, New York. “ Great oughness with which the exercises are ‘to refresh and relieve his soul,’ he Oaks from little acorns grow.” Beginning THE ETUDE ‘E&asSSE worked out. These are points which discrim¬ tells the story of a ‘poor devil of a inating teachers will not fail to appreciate. only a few short years ago to teach com¬ German musician,’ whom he met some position and arranging of music by —H. Hirst Bevis. sixty years ago, and took to Iasnaia- THE CALLING OF THE shorter time than he would if he has to mail; to-day he has erected a college for receive a Presser work that Also pages 210 the same, and has his offices in one of the id surpass advanced Poliana. This musician worked at his TEACHER. stumble along in the dark. handsomest buildings on Fifth avenue, in Mr. and Mrs. Crosby Adams music with great tenacity, and dreamed _ Probably all of us have cause to be Summer Schools 213, 214 this city. Surely no greater proof of the great things. Tolstoy has used the sub¬ grateful to our former teachers, not only success and efficacy of his method could ject to his novel ‘Albert.’ for their valuable instruction, but for their rounded American Conservatory 188« Music, Dramatic Art Chicago,! sign a task for next lesson? These mat- simply trying to make us into a shoe ters are all necessary, but this is not to fit their particular “last,” without any

this is not fit to be trusted with the trai ing of growing young talent. No! The reply: “That was good real teacher is an illuminator, and he isn’t it good enough for you?” True ^such iigh^on HSi subj'ect that to^ his enough indeed, but why lm not Jell

figured, and worth the greatest effort it The day has'gonc^^whenthrmuskstudent is possible for him to make. He fills can be put through the mill without refer- his students with an enthusiasm and a ence to his individual capacities, limita- hoiy zeal which calls out the best effort of tions or preferences. Because a student their minds and the highest flights of has played the first twelve studies by SCHOOL OF MUSIC-EDUCATION their imagination. Cramer is not a reason why he should CALVIN BRAINERD CADY. Principal rP mb Compi Summer School and Normal Courses

thf'action'ofTsmdrnr. rind n. School of reverent love and gratitude of’ a genera- ing in an important equipment. In fact, tion of students who owe their success to it sometimes seems that the psychological

MARY WOOD CHASE SCHOOL OF ARTISTIC PIANO PLAYING

view un,derstaml his own point of Walpole were also said to have been divid'Jm, \ho wiI> respect his own in- without love for music in its higher ,ty- he is likely to arrive in a forms. T HE ETUDE THE ETUDE 213

have been before the musical pub¬ BIKEHE!*1 lic over 50 years and rank with the THE RUSSELL SYSTEMS SVu D v highest standard pianos of the day. DECKER PIANOS Uprights, Grands and the celebrated Decker Player Piano. Full information and < italog sent on request. mmem _ , „ o T 699-703 E. I35th Street Manhat- Decker & Son,, Inc., new york city n denied PIANOS. The result of skill, inspired by a keen appreciation of the artistic, and a desire to THE WORLD OF MUSIC. live up to an enviable reputation directed by DEVELOEffiSi?vFETSSiCEA CHICKERING the latest scientific knowledge and practical ex¬ perience gained by eighty-five years of piano building. It is conceded to be a stand¬ ard of comparison for all other makes. Send for catalog and mention 11 HE ETUDE. # - . , n o 7QI Iremont street Chickenng Cf bons, boston, mass. BUSH TEMPLE CONSERVATORY ESTEY PIANOS “£ST

JtL MME- SK.SS.„ MSKtLDSiBi.. 112 Lincoln Ave., New York, N. Y. "M. A. WILLETT ^ EDDTr«»

St^mersb^frg^music teacher,’ is leaving that FREDERICK MAXSON IP* S" MUSIC aESSSUES ORGANIST FIRST BAPTIST CHURCH Seventeenth St. above Walnut, Philadelphia, Pa. Teacher of Organ, Piano & Harmony

HARRISON M. WILD YOUR MUSIC IS TORN!!! The Sternberg School of Music CONSTANTIN VON STERNBERG, Principal Complete Musical Education in all branches [DING TAPE ORGAN and PIANO LESSONS NCORPORATED1900 THE PENNSYLVANIA amsmemssa College of IVIusic THE WORLD RENOWNED DEGREES OF MUSIC CONFERRED NORTHWESTERN UNIVERSITY 1511 Girard Avenue K. H. CHANDLER PREST. SCHOOL°OF MUSIC 1011 There’s a good deal of satisfaction and comfort in hitting upon the right thing to rid one of the varied and con- by coffee drink-

Sa JiS VIRGIL! PIANO SCHOOL and CONSERVATORY MRS. A. M. VIRGIL, Director 19 West 16th Street NEW YORK CHOOSING A GOOD TEACHER. The British Columbia Saturday Sun- Wo„, et prints the following as part of an SSsfSSs by Frank K. Austin, for stu- INSTITUTE OF MUSICAL ART AN ADVANCED ”■ .v® This article is of especial inter¬ OF THE CITY OF NEW YORK parents who may not take a SCHOOL OF MUSIC ! paper. It would be in your lUZ'X.'ttrztiZt Thorough Musical Education added, and a snappy taste similar to :ake it to the office of your mild, high-grade coffee, and we found tl paper and request them to reprint The editor would no doubt be glad DANA’S MUSICAL INSTITUTE, WARREN, OHIO THE OLDEST SCHOOL OF IVIUSIC IN NORTH AMERICA Music taught in all its branches. Instruction daily and private. Practice in buildings devoted to that purpose. Fine dormitories for the pupils. Healthful location. Foodstuffs, etc., from our own farm. Maintains a large Orchestra and two fine Military Bands. Send for a 64-page catalog and the blue book which give3 full information. WILLIAM H. DANA. President.

FINEST CONSERVATORY IN THE WEST DETROIT CONSERVATORY Of MUSIC Founded 1874. FRANCIS L. YORK, M.A., Director 530 Woodward Ave., Detroit, Mich. Unsurpassed Advantages for a COMPLETE MUSICAL EDUCATION OVER 1,000 STUDENTS. 50 THOROUGHLY SKILLED INSTRUCTORS. SPECIAL SUMMER SESSION svrv Five weeks, beginning June 28, 1909. Piano, Voice, Violin, Organ, Theory SWkms PUBLIC SCHOOL MUSIC Sn « tZStfZSgft severafCyear3 THE ETUDE 215 214 THE ETUDE PIECES PARENTS LIKE. lessons free of charge. The teacher STACCATO AND LEGATO. may think that he is doing you a kind¬ Edith—“Mama, mayn’t I play the COURIRIGHI SYSTEM OF MUSICAL KINDERGARTEN If You Are A Progressive Music Teacher BY MRS. M. A. WHITFIELD. 150 LEISOX AYE., BB1MEPORT, COSTS. and would be interested in the most modern ness; but gratuitous tuition will prove piano a little to-day?” ideas pertaining to Harmony, Musical Form, a great curse to any who accept of it. Mother—“But, my dear, your grandma BY PROFESSOR FREDERICK NIECKS. The Business Side of Music Teaching and the Science ol Successful Music Tea, hing, write for It is contrary to all natural laws that has only been dead a week and—” « jew years ago I. was asked to take our free booklet and circulars, they will inter¬ we can receive something for nothing. Edith—“But I’ll play very softly, h-iree of a large class in a remote est you. DO IT TO-DAY. THE MILLS SCHOOL, To say that the greater the virtuoso Blanchard Hall Bldg., Los Angeles, Cal. At first you are most grateful to your mama.” frontier town, the musical standard of the better the interpretation seems to be benefactor; but you soon grow indif- Mother—“Oh! very well; but be care¬ which was very low. In fact, a supe- a truism. For is not the insufficiency of _ARTISTS AND TEACHERS THEORY AND NORMAL COURSES ferent, careless and often to scorn the ful also to use only the black keys.”— . tw0-step would have been consid- the performer’s technique the chief ob¬ very hand that sought to help you. It Philadelphia Press. CARRIE Ear 1 THE AMERICAN INSTITUTE OF APPLIED MUSIC "red a piece as bordering on the stacle in the way to the realization of the is a very true saying that ‘What is classical. ANDREWS ALCHINJ (THE METROPOLITAN COLLEGE OF MUSIC) not paying for is not worth having. composer’s ideas? The apparent truism SILVER, President 212 W. 59th St., New York City Under the favoring circumstances You ■ may possibly become a great Berlioz, when at the Paris Conserva¬ is, however, in reality a downright fallacy. becker . BURROWES SS THE FACULTY AND EXAMINERS which attended my arrival there, I felt The great virtuoso often fails to be a pianist by receiving a free education, tory, was an unruly pupil, composing that, to a great extent, the situation but your character will suffer as a con¬ when he should have been studying good interpreter even if he combines ex¬ davis '~:z: DUNNING r:3S sequence. When you accept one lesson counterpoint. Consequently he was not was in my c quisite taste and high intelligence with a For three or four months I worked gratis, you become a borrower, and in favor with his teachers, and especially masterly technique. Now how is this to denison:;::';:.5. with the zeal of a reformer, and, while the borrower is servant to the lender. with the precise and classical Cherubini, be accounted for? By excess of egoism. FLETCHER “lags was always treated with great re¬ “If you have no money to afford under whose direction he came. 1 The acquirement of an all-sufficing DEVINE,LENA DORIAN spect, after “the novelty of the new music lessons, remain in ignorance One day Cherubini was running over a technique is so laborious a quest that he harmony:;:::':”:":,: teacher” wore off I noticed a very de¬ CORRESPONDENCE COURSES AT REASONABLE RATES £ rather than accept free tuition at the piece that Berlioz had submitted, when who has been successful takes a pride in GREENE Z3S- cided lack of interest in my pupils. Musical Moments With Children Developing tin risk of. loosing your self-respect and he came upon a complete rest of two his attainment, and does not feel inclined KERN” The work is rather an influence producin independence of spirit. It is a false measures. Then I heard the first mutter of dis¬ to put his candle under a bushel. Nay, GRICKS: , irtii^j knowledge to teael charity to give a poor man money. content. normal',:-,:;: '• sTmea^s ' f ■*le ProPer development o “What’s this?” growled the director. more, the consciousness of power is apt Help him by giving him a means by One pupil told me that her mother HAGERTY 7 , as children; systemat'ized'efemCTtarj ___ __, “Mr. Director,” said the pupil, “I to make self-assertive and overbearing, musical education. Kindergarten and Primary. Address for which he can help himself and he will wished to produce an effect that I hated to hear her practice now—she if not also vainglorious. Now, interpreta¬ SHEPARD:1 PROVIDENCE, R love and honor you all his life. If you thought could best be produced by si- never played anything pretty. tion is ministration. Loyal interpreta¬ HAIGHT:—''.gg cannot pay for lessons with money, Another confided to me that her tion implies self-denial; and that is what heink :::::37:7( SCHOOLS AND COLLEGES pay by work; pay if it be with drops of Cherubini scowled. “You thought to father didn’t see the use of her taking virtuosi are very rarely willing to give. blood—but pay!” produce a good effect upon the audience lessons if she couldn’t learn to play Their temper is to rule, not to serve. JOHNSON billOOL Ol’ MUM if you suppressed two measures?” something. These remarks and one or They love their own lights better than AQUINAS “Yes, sir.” two more of a similar nature made me the composer’s. KINDER':':'..7,. “Very good,” added Cherubini. “Sup¬ do some hard thinking. I had my Hence the strange phenomenon that the BARTEL” FLETCHER MUSIC METHOD ideals and could not give them up; but The following list is taken from the press the rest; the effect will be better easier a composition the worse the virtu¬ KROEGERJeSSS still.” it would be futile to attempt to ex¬ orders received by a large music dealer. oso’s performance; and the more difficult BEETHOVEN TlSha. Three Facts Well Known to the Musical Public of America Are— plain those ideals to people who never They are comparable with the mistakes the composition the better the perform¬ MONZEL”'.(Xr-YEr Owing to the floods, Kubelik was un¬ thought of music as a science, still less made every day in ordering music. Aside ance. A difficult composition gives him able to visit Invercargill. In consequence as an uplifting force. carl .:: from the phonetic spelling, there is much opportunities for the display of his MOULTON Mrs. Fletcher Copp is of great educational value, is beautifully constructed and the following notice was posted on the It suddenly became crystal clear to to amuse the music clerk who has a prowess, and he is satisfied. In more or CHANDLER 777, window of one of the music shops: me that if I continued to teach in my PETERS ILEA: The following fads, however, may bear repetition— faculty for looking on the funny side of less easy compositions which afford either PUACC MA“v "000,,,,, KUBELIK customary way I should accomplish insufficient or no opportunities, he tries potter: U M r\^ L 680 Fine Arts Bldg., Cl Mozart’s S. W. W., V. & P.; Artist’s not to visit INVERCARGILL. nothing. The mountain top could not to make up for the composer’s neglect of Troubadour; Range of the Rocky WASH-OUT ON LINE. be reached by leaps and bounds, but him by ways of his own with which he DANCING rrSFa patiently step by step. So I resolved QUINLAN S Mountains; Greeting, by St. Paul; hopes to evoke the admiration of the au¬ A number of more or less disappointed to meet the people half way. Jewell’s Oratorio of Faust, Original dience. He finds it absolutely impossible DETROIT rsSS; enthusiasts were reading the notice when Breaking through all precedent and SALMON! Key; Sand Mansion, by Brahms (Sand a dear old lady remarked: “Poor fellow. to keep the ego for ever so short a role (of my own), I asked the first time in the background. Suppose the DURHAM! Man); Gates Asleep, by Fisher (Gae Fancy his only having one of each.” mentioned pupil if she had a piece shryock to Sleep); Inflammatus from Trova- composer places in the hands of the per¬ which she would like to learn? former a simple melody simply accom¬ £ GOTTSCHALK2 tore; Aida, Vocal Score for Alto; Bit¬ She smilingly answered, “Yes!” She TILDEN SStss She—“Do you think my voice will ever panied, the virtuoso is sure to bring him¬ ter Blonnie (Bit of Blarney); Six Mor¬ had one that she liked and her mamma Philadelphia. Pa. be suitable for opera?” self forward by tricking out the com¬ TRACY “SiS r HAHN'S SCHOOL sels by Wollenhaupt (Morceaux); liked, but she did not know whether He—“Stage or boxes V’—Yonkers poser’s simplicity with all imaginable ec¬ Pretty Little Eugene (Ingenue); I would care for it. Statesman. centricities of tempo, rhythm, dynamics, VEON: “ HAWTHORNE Weber’s picture, to go with a Weber “If you and your mamma both like piano; Selection of Vocal Duets from and even text modifications. Dunning System of Improved Lady (whose sister is singing in the ad¬ it." said I, “why, bring it to me and we To hear virtuosi play the classics is wheeler:: 1 HEINZE TfLsS Parsifal; Useful Diversion (Youthful joining room)—“How do you like the will see what can be done about it.” among the most irritating and torturing Diversion); Ural King White (Erl IMusic Study for Beginners song, lieutenant?” When she brought the piece, a catchy experiences a musical person has to go WILDERS. KNOX' King); Poke Contest (Polka de Con¬ Lieutenant—“That’s all right. You can’t little waltz, I told her that she might through. I hear quite a chorus of ques¬ cert); False Bleu (Valse Bleu); Harry fool me; I know a phonograph when I learn it. “But,” I said, “I tioners indignantly crying: So you de¬ WINKLER "" LIEDERHEIM.‘,B Rochelle Organ Book (Harry Rowe hear one.”—Meggendorfer Blatter. agreement with you. You In response to a demand, which has increased from year to mand the suppression of the interpreter’s STILLMAN- Shelley); Trovatore, by Wagner-Liszt; may learn this piece to please youi individuality? My dear sirs, what I de¬ MARKS' '"TsSS year, that the Dunning System be taught at Chautauqua L, CONCERT PIANIST Several Duets for Plantation; Messiah, mother. Next time you must learn one mand is that the interpreter should not Lake, the second normal class for teachers of the summer for Contralto; Chevalier, Op. 370. by de Fair Soprano (having finished her please me.” ~ LECTURE RECITALS RATIONAL ana 10 substitute his individuality for that of AJ ENTIRE PROGRAMS will open August 12th, at Chautauqua Lake. This beautiful Kontski (Chevalier de Kontski, Op. trial)—“Do you think my voice will fill She readily consented to this ar¬ the composer, and especially that he IT CHOPIN, LISZT, BEETHOVEN spot is too well known as the Mecca for teachers, who go 37o); Fra Diavolo, Song for High the hall?” rangement, as did all to whom I made should not sacrifice the composer in order T ORIEQ, MacDOWELL northwestern: Grim Manager—“I fear it would have Proposal, and it worked like a SCHOOL OF IU there knowing that at no other place will they be able to Voice; Over Tour Lutispel (Lustspiel 7 that, by freely indulging in caprices, he 1 Address, 143 Carnegie Hall, N. Y. City Overture); Idle of My Heart (Idol); just the opposite effect.”—Tit-Bits. ciarm. Through the rest of the year SHENANDOAH combine the same educational privileges with a summer himself may satisfy his vanity. To a sea¬ Sail On Mazurka (Salon); Farmer pursued this course of consulting soning of individuality, where the in¬ recreation. The first summer class for teachers will open ST. CLARA ' Lyon’s March (Farmers’ Alliance); heir preference as well as mine, and dividuality is interesting, nobody will ob¬ Beethoven Conservatory of Music The Musical Critic—“Your leading so¬ July 5th, at Buffalo, N. Y., an ideal summer resort on Lake De Beriot’s Sixth Heir; Valse Strych¬ am free to say that I never had ject. It is otherwise with the obtrusion St. Louis, Missouri prano’s voice sounds metallic to me.” VIRGIL Erie. nine (Valse Styrienne, by Wollen¬ a more mterested set of pupils. I think of individuality, especially of would-be Operatic Manager—“I know; there’s As these classes are limited and applications are coming e' ttrat there was something fa- haupt); Mattel, in duet form; Venez¬ money in it.” •7 individuality. in earlier than ever before, it would be wise to thoroughly uela, by Ethel Burt Nevin (Un Giorno “f ar for ‘hem to hold to, and yet they My remarks are aimed exclusively at WeTre reaching out, too. investigate, then register as early as possible. Endorsed by m Venezia—A Day in Venice, by the pianists, the worst offenders. They “Has that girl next door to you still Dlav ^ week'y classes I would always are the worst probably because they per¬ Boston Musical Bureau Leschetizky, Scharwenka, De Pachmann, Dr. Mason, Wm. Ethelbert Nevin); Maiden’s Prayer by got her melodeon?” a movement or passage from form alone more than other executants, Sherwood and many others. Paderewski; Trovatore, Song in Key of Crane Normal Institute of Music F; Gone to Leave, Missed (Gondolier, t “No; she exchanged it for a comet, me-inin °nL,0r sonata an

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