CONTENTS •‘THE ETUDE”—January, 1913. Etude Jubilee Greetings.• • • • •-' Personal Recollections.Dr. G. Uemchel Make Friends.■ ■ ■ ■ fjtjjg Hsnd Our ycrv&iit.F» McCoinus IIow Fine Editions Help..M. Moszkoicski Citizens of Fairyland.L. A. Buybee The Place of Technique.U. Godowslty Arm Weight in Piano Playing. .Dr. A. Ritsclil Take an Inventory.I■ Romeu The Etude Gallery of Celebrities. Calendar of Famous Musicians.. Stooping to Conquer..• • Making a Start.E- E- Moore Home for Retired Music Teachers...... Then and Now..A. Foote, P. V. Jervis, G-. P* Union, H. T. Finch, L. C. Elson, E. B. Perry, Mrs. 11. Kotzschmart J. J. Mutt- staedt, P. Goetseiiius. Planistic Progress...... A. Jonas llerbart.Dr. E. A. Ayies Positive and Negative Teaching. .E. if. Pierre Musical Europe.... Brain Training Yalu e of” Music!! '.A. J. Silver Johannis Brahms. Notes On Etude Music.sic . . . . • • • •- P- Orem George Dudley Martin.. Rubinstein's Barcarole in Roll of Honor. Teachers' Round Table. Voice Department ....',. New Books for Musicians... Organ Department.‘ Violin Department . Music Lovers' Digest. The Story of The Etude. Publishers’ Notes . Children's Department . Answers to Questions. The World of Music. Pupils’ Recitals . Arm Touch vs. Finger Touch.. Descriptive Music. Be Fair . MUSIC Barcarole Op. 30 No. 1.i Military Array.0. W Kern Irma Mazurka...G- Courtly Dance .Oeo. B. Martin Venetian Boat Song.Uavul Spooler Hungarian Dance (4 hands ) . . . ■ Kmil Ohisen Under the Mistletoe (4 hands).!(. E^elmann Pptitf* Hcrceuse.Dolmetsch . & ™rait.;;o.VSS Barcarole”Op. ‘ei' No. 4.X f>'«™eeTr Ellin Serenade. My Love is a Weaver (Vocal l. Euyen lUldach Yon are the Sweetheart of all My Dreams (Vocal) .Bonier TourjcC The Little Dustman ... .Joh. Brahms Hungarian Dance No. 5 (Violin THE ETUDE
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K .\uwfeau »S255?" *■**••• *» >:« 5'S £» 17 Little Folks . ,($f When the founder of The Etude and I were together I congratulate The Etude on its Thirty Year Jubilee ***•*» *»>■*. 14.00 (New Subaeription) . ... Leipsic thirty-two years ago he tftld me of many issue, and hope.that it shall go on for many years in S || Woman’s Home Comp. • things he desired to accomplish, but did not tell me its highly successful work. Regular value, $4.00 / ^.**1 *a,, ««r«tivw articles that he expected to found The Etude; now that it has Alexander von Fielitz. 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To Etude Readers Everywhere • Tn nrpsentine the congratulatory messages found in these paee
IM liter f*»» H. - ll« ... ,i tha„k“ > “e in person. *'*'*«• heart-felt thanks, with the sole regret that wc cannot see each one individually and tha ”
o If asked to name the most important factor in the t wishes for the continuance of the good work of Etudk. development of music in America during the last thirty- years, that is,, the factor that has contributed in greatest Arthur Foote. I [Editor’s Note.—The distinguished composer, conductor, measure to the dissemination of musical knowledge, T would be none the worse, if all the actors and actresses of these enthusiastic amateurs that their executive IIminfnt Composer (Boston). I sinner, pianist and teacher, George Henschel, who has kindly could make their exits with that consciousness, whether am sure that music teachers throughout the length and I consented to' give his personal recollections to The Etude, musical efficiency did not increase with the number [ was born In Breslau, February 18th, 1850. In the following in silence or amid the plaudits of the multitude. of their years. It must, however, not be supposed that ike great pleasure in wishing you prolonged and breadth of our land would unanimously name The I article he relates many of his interesting musical experi- dear old Breslau was not, in some respects, advanced fed success on this your Thirtieth Jubilee. Etude and its founder. The Etude has accomplished a I ences, but at best docs little more than skirt the fringe of MUSIC IN MY CHILDHOOD. Johanna Gadski. greater work than can be adequately estimated. his enormous experience. As the first conductor of the Bos¬ beyond many of the larger musical centres of Germany. ton Symphony Orchestra, he became known to American Breslau, the ancient capital of Silesia, where I was Eminent Singer (Berlin). Mrs. Hermann Kotzschmar. audiences! Later with his wife (.formerly Lillian June born at the beginning of the second half of last cen¬ A UNIQUE PIANO SCHOOL. Writer and Teacher (Portland. Me.). Bailv, born at Columbus, Ohio), lie made many tours of America, giving inimitable and unforgetaliie interpretations tury, is the proud possessor of one of the oldest Uni ¬ One, certainly, of her institutions, was of a decidedly Tty congratulations and best wishes to a musical of the great art songs. Dr. Henschcl's compositions include novel character, and that was a school for pianoforte tl of high aim and noble purposes. Hearty .congratulations upon your jubilee. I was a sixty opus numbers, ranging from his well-known Requiem versities of Germany; and there being connected with I (written in memory of his wife), able compositions for that University from time immemorial an institute for . playing at which the elements of that art were taught Philip II. Com*. purchaser as early as 1887. orchestra, an opera (Nubia, performed at the Court Theatre church music, it means that the art of music always in a very original way, invented by the director, Mr. Critic mu/ Author lPhiladelphia). Edgar Stillman Kelley, in Dresden, in 1899), to many beautiful songs.] Louis Wandelt; There were about ten Eminent American Composer (Oxford, Ohio). « accept my wannest congratulations on the It is a pleasure to learn that a little ar- large rooms in the institute, in each ot I tick from my pen would be welcomed by Near Jubilee of the world-famous Etude. I The Etude has been a powerful lever in moving mu¬ which there stood, dovetailed fashion, four, f (li.it the i.im audience that it reaches will wish Etude readers, and I am glad to write sical educational conditions, in the lives of teachers and six or even eight grand pianos, and before continued ami ever increasing success as heartily something in keeping with the tendency each of tlusq pianos there would, at lesson pupils. It has caused the former to earnestly endeavor of your excellent paper, viz.: to teach, to to do serious work in their profession, and the latter to time, sit a little pupil, and those four, six Katharine Goodson. strive constantly upward and onward. To artists also, it or eight girls and boys played, simulta¬ Eminent f’ianist (London). neously, the same exercises and “pieces” to has been the means of bringing them closer to the I in modesty if I choose as my subject some the ticking of a metronome. The teacher rti wytltljMllW to III! K TV nr. for thirty public. Surely a journal which has done so much for I early' reminiscences of my own life, whiclft went from pupil to pupil, noting the appli¬ an inspiration to the world's greatest army of musical uplift in the United States deserves most I like that of any musician who can look t teachers and students who do battle for the hearty congratulations and best wishes. I back upon fifty years of musical experience, cation of the fingers, the position' of the . E. R. Krof.ger. I must needs be of some interest to students hands, correcting, encouraging, scolding, Eminent Composer and Teacher (St. Louis). I of a younger generation. Moreover, in this praising, as the case may he, and putting the suj It riier (Xerv York). I age of almost alarmingly rapid progress it result of his observations down in the Many congratulations to The Etude in the hour of I may not be altogether undesirable to pre- shape of good or bad marks, in each pupil’s its triumph from one who knew it in the days of its '••r lin Etude has increased from I serve the memories at least of a slower— little record book. early struggle. Few men have had their efforts re¬ t deserves the great success it has I and perhaps surer—past. To this school my parents who had a warded as has the founder of The Etude, and few have I To anyone writing his reminiscences the deep love and feeling for music, though Carl W. Grimm. deserved it as he. I truth of Shakespeare’s “All the world's a practical musicians only in a very modest, ducalhmal Writer (Cincinnati, O.). Frederick S. Law, I stage,” must seem of particularly striking untaught way, with voice and guitar, sent Author and Teacher (Pliiladephia). | fitness. We all know the fascination .exer- me when I was five years old, and I have been lino of the most potent factors I cised on outsiders by the lives of actors and i n .inccmcnt of music teaching in this always been grateful to them for it, as I friendrty C°ngratulations t0 The Etude from an old I actresses on and off the stage. Reviewing >.u.ipi>oiiitv Hearty congratulations. consider the Wandelt method of teaching I the history of one’s life, many of the men ' ' ARitNat G. Hamilton. . Chas. W. Landon. the piano an excellent one for beginners, I and women whose memory is revived ap- ’r Author (Wellesley. MassJ. Educational Writer (Kansas City). stimulating, as it does, the ambition of the I pear before the mind’s eye like actors and pupils and, above all, instilling into them I actresses on a stage upon which the cur¬ ’"i;. m> '“u'c to ,h« great chorus of It is surely with great and sincere joy that vou ap- George Henschel. a sense for rhythm which is apt to stick 'iV sounded everywhere in congratu- tain has gone down for ever. Some of mavte iebSP "dia ^ Year Jubi,ee- The Etude to them all their lives. ,v" 1 •lnniversary. |t „URht to send them have stirred our imagination, kindled the fire of came in for a large share in the artistic pursuits of the artfstic work S? ■“ looking UP°" serious, r>'Ugn every member of the staff of our enthusiasm; some touched us to tears, provoked our citizens of Breslau. Several choral societies were flour¬ A FOURFOLD CONCERTO. the artist the m t !r y°Ur ed't'ons 7°u have shown laughter; some perhaps disappointed our .expectations, ishing at the time when I had my first music lessons. When in 1862^:an it really be fifty years ago!—Mr. ; Weimar, long years ago. The play was their children, and I spent many an enjoyable and minor, on four pianos. I shall never forget the pride . * I**® earnest musicians [ Shakespeare’s King Lear. It was exceedingly well profitable hour, listening to the overtures and sympho¬ of my dear mother when she packed my little valise aided ,hKc of ,dcas which have 1 done as a whole, and the impersonation especially, by nies of Auber. Bellini, Boieldieu. Donizetti, Verdi, for the great journey, putting into it a brand new suit e progress of musical art in ■ sat —«“<*• a then already rather famous member of the regular Haydn, Mozart, Beethoven—not to forget all the popu¬ of clothes, consisting of a short braided jacket, a beau¬ lar dances of Lanner and Strauss. tiful embroidered shirt with frills in front and at the m . W. J. Henderson. n ■ ^IZA Lehmann. i c°mpany, of the majestically tragic and pathetic figure Eminent Composer (London). Well do I remember standing for hours at the time cuffs, a lovely leather belt and a glorious pair of long ■ mmcHi Critic (Xrw York). | of the old king, was a wonderfully fine and powerful piece of acting. before the pavilion in which the hand played, staring trousers, in the left pocket of which she had, unknown future of The EtudeT congratulations- May the At the end of the play the enthusiasm of the crowded at the man up in front there who kept beating the air to me. sewn a piece of superstition in the shape of a Etude be^' even31 greater than the past. house knew no bounds. The chief actor was vocifer- with a short ebony stick with ivory ends, and wonder¬ little crust of bread to avert evil. The amusing part . Edwin H. Lemare. l °usly called before the curtain over and over again. ing why he faced me, and not the players, At that of this was that, as I was dressing for the concert and mval at the three score Eminent Organist (London). At last when, recalled for the tenth time or so, he time, strange to say, military conductors and even proudly putting my hands in my pockets, I quickly some conductors of popular symphony concerts always withdrew my left with a cry: The dried-up sharp points p s Hi neke*. seemed quite overcome' with emotion on receiving such rtt'habeticaF'wd™5 us to continue this list in had their backs turned toward the men. Rather dif¬ of the crust had grazed my skin and very nearly pre¬ fnl CnlU (#*W Port-) j an ovation in the historical play-house which coufil °f many 0f the most dS&aJHi Tv™ tke greetings I boast the traditions of Schiller and Goethe, and. bow- ferent from nowadays when a swift flash from the vented my appearance at the concert! be found.) a,stmguishcd Etude friends may eagle eye of one of our titan conductors will perhaps >ng deeply, was heard to mutter—audibly, however, to MY FIRST FEE. those near—“I think I have merited it.” produce a fortissimo enough to shake the casements! Side by side with the piano I was taught harmony This, many people, and some of the press, considered The highest class of orchestral music could at that and singing, and when I Avas a little over nine, received Tsther arrogant and conceited, whilst I emphatically time be heard at the concerts, during the winter season, my first fee—a bright new thaler (shall I ever forget eld with the few who, in that no doubt unusual utter- if the “Orchester-Verein,” an institution which, then, the sensation!) for singing at one of the church music ance, could see nothing but the innocent, inadvertently counted among its active members many men promi¬ institute’s concerts, under Professor Julius Schafer, the escaped expression of the artist’s consciousness of nent in society, such as University professors, physi¬ soprano solo. Oh. for the Wings of a Dove, in Men¬ aving done, and given, his best. And L have often cians, army officers, etc., and it was not always an easy delssohn’s Hear My Prayer. ought since then how this great Theatre of Life task for the professional conductor to convince some the etude ■ n t t 1 tot 10 THE HAND OUR SERVANT.
After a while my voice changed into a contralto and. BY EDITH K. ivioGMAs. alter a while. fr.Im that into a high tenor I »ang wrong in the parts!’ , ... all the aria* In.in The Huguenots. I rofhet, Trova- Times have changed-havent they. & The first laws the piano player demonstrates in hjs tore. etc., with great gusto and all the aplomb ol an In the spring of that same year, at a meeting ot tne practice are those of anatomy. I lie Hand, which wc old litager much to the amusement and delight ol my “AHgcmeine Tonkimstler-Verein” ^Gene[a' T°"^ audience*.' connoting chiefly ol my proud lather and Vrtists’ Union) at Altenburg in Saxony I first met lift and ask to bring us heavenly melodies, is compos mother and visiting relatives and friends. that wonderfully fascinating personality 1‘ranz Liszt, (among other things), of two sets of muscles—th A DREAM DISPELLED. n some of whose works produced on that occasion, I Plexor, and the Extensor. 1 be Extensors contract, 0 lift. The Flexors relax, or let fall. The art of f„i| I revelled in bolding a high B natural or C with full had to .dug the bass solo. Liszt was beyond alll «- chest voice and already U-gan to dream of thousands pcctaiiou kind to me, and only too readily and grate¬ control over these two sets of muscles is the art 0f’ of people crowding into the opera house t» hear the fully i accepted his most cordial invitation to visit him making the hand our servant. How Fine Editions Help the Student and great Hensehelini. or rather Angrhni. as I intended at his home in Weimar. During the summer of 68 To contract and to relax a ousele to its full extent calling myself on the stage, when suddenly one tine 1 settled for some weeks in that famous little capital many times is to strengthen it just so much each time day. coming to breakfast and bidding my |iarcnts good and daily went to the “Gartnerei (Gardeners it is in doing this thing very, very slowly at first that House), a charming little garden residence placed at the Teacher morning, the “gnod" was still said in tenor, and the full control, or velocity, finally arrives. The brain! Liszt's disposal by the reigning grand duke. There "morning" in the deepest lass voice you ever heard. must control—but also, the hand must come to have Written especially for The Etude by So Duit dream was dispelled and gone lor ever, and Liszt held a sort of court, the picturesque old town an automatic technique from doing the tilings the brain' I nothing Inn an ordinary has*. Think of the humilia¬ fairly swarming with past, present and would-be pupils tion! Ami a* such—I was just sixteen then—made my and disciples, male and female, of the Master. It was, says over and over so many times that they have be-' MAURICE MOSZKOWSKI first public appearance at a concert for charity, which however, by no means pupils only that flocked to those come a habit, and the brain no longer has to oversee^ famous Sunday morning “At Homes;” at one of them, them personally. It should he possible for anyone to The Eminent Composer-Pianist-Teachei The year following, IWv, I was sent to Leipzig, to for instance, it was my good luck to not only see, but tell what your brain .is thinking by merely looking to study singing under Professor Goclic, an excellent also hear in that historical music room, besides the see what your hands are doing. To reach this point teacher who as a young man had been the first Lohen¬ illustrious and genial host himself, no fewer and no of perfection is the great end and aim of all practice. grin when that work was first given in Weimar, under lesser stars than Anton Rubinstein, Carl Tausig and The Flexor muscles arc on the inside of the hand ' Liszt. I also studied pianoforte under Ignax Moschclcs. Hans von Biilow. Here there were the four greatest the Extensors on the outside. After taking the proper 1 These two were the i.rst musical celebrities I lud met pianists of the time, gathered, not in a cast concert position at the piano, i. e.. elbow on a line with the {Editor’s Note: This is the conclusion of an article we can conclude that the same performance in the interpretations that the trill has found. It is singular to talk to ami I remember well how. on being intro¬ hall, but in a small room, at home, in their shirt keyboard and a little forward from the body—be sure upon the subject of “ Fine Editions ” which appeared in analogous passage in Mozart’s B flat major sonata how much confusion such a seemingly harmless orna¬ duced to Moschelrs. I stared at the man who had seen sleeves, so to say, enabling us privileged fellow guests, ment as the trill has always occasioned. Here is that you have a straight line from your little finger Beethoven face to face and been commissioned by the to compare, not from memory, but by immediate im¬ The Etude for December. ] another case, though, to be sure, of less importance. along the side of your hand and arm. Keep the fingers,' Master to make the vocal score of his Fidelia. pressions, within the compass of an hour or so, the In Beethoven’s sonata in D major, Opus 10, Number stupendous power uf a Rubinstein with the polished in toward the black keys so that the length of thj THE MAN WHO HAD KNOWN BEETHOVEN. 3, we find the following passage: infallibility of a Tausig; the irreproachable classicism thumb nail will be in from the edge of the keyboard. COMMENTS ON THE TRILL. I found him. however, most kind and sociable, and of a Biilow with the enchanting elegance and ro¬ The first and second finger joints must be firm—but! It is well known that in the execution of the trill— Ex. 19. soon became an alm..,t daily guest at the Moschcles manticism of a Liszt. They are gone, all those four the knuckles, wrist, and whole arm should hang free house, the presiding angel of which was hi» accom¬ especially in the older works—opinions vary greatly. great ones, but the memory of that morning is more from the shoulder. Only thus can you get the perfect plished. beautiful amt charming wife, a relative of A trill is not always written in the same way, and real, more living to me to-day than any reproduction “loose wrist.” Heinrich Heine's, who remained a motherly friend to the old text-books give different directions for its per¬ of their playing could he by those most wonderful and me until the end of her life. My lessons with Never on any account strike a key with a blow from formance. There is, however, unanimity on one point: ingenious musical inventions of this electric age. Mo*chclc« proved highly interesting and profitable and, the shoulder, except possibly in the advanced power A trill ending with an ascending note receives a passages which seem to some to call for a shoulder sometimes, amusing as well He had been trained in, WOTAN’S FAREWELL. Nachschlag (after note), if the note rises higher than ami was the foremost exponent, then, of a school of strike. To demonstrate the foolishness of using the The corresponding measures ; the repetition in D In the course of the morning Liszt, pointing to a the interval of a second, i. e., the interval is filled in occur thus: panoi-wte playing as far removed from the modern shoulder and upper arm muscles for ordinary work, allowed.” But there exists no analogy between two parcel lie had received from Wagner the day before with an appoggiatura taking the place of the missing aMgetamm. r klanrr technique as Mr. Oliver Wendell press your finger and thumb together. Can you feel quotations, for the first is by no means a trill. and which was lying on the piano, called out to me, note. For the present we leave out of consideration Holmes' "o«e-hor»e *hay" from a sixty-horsepower this at the shoulder ? No. The only place you feel it "Voila, mon chcr, tine jolie bagatelle four vons,” the rules concerning a succession of trills. Nowadays motor car. I think the dear old gentleman would have is at the knuckles. GERMER’S OPINIONS. had a til if any of u* had forgotten ourselves so far (Here, my friend, is a pretty little piece for you) and we often incorrectly disregard this rule. So, for in¬ handed me a short volume of music which we—for by In raising (or extending) one finger while you lower Germer pronounces a very peculiar opinion at the ft “ur hands as much ai two inches from the stance, we find in Heinrich Gertner’s treatise Musical that time I was surrounded by a number of eager and (or flex) another, the brain should attend to the one end of his chapter on the trill: “Finally mention must Ornanftntation, after a somewhat incoherent disserta¬ sanced composer, hr w.,„M admit for study iu his les¬ curious faces—discovered to be the first published it is extending, and inhibit (or forget) the other. Let be made of a trill, of which, strange to say, no notice tion on the trill, the following remark: “Also the trill son* I rrmembrr well one day playing a phrase of Vocal Score of Wagner’s Walkura—“Allans done mon the down-stroke do itself, but put your mind on the up- is ever officially taken, and yet it plays a very impor¬ Here.Beethoven, as we see, has omitted the termina¬ in the opening motive of Beethoven’s rondo, Op. 96 Heethoieti s m a " •mewlut ruliato style and his chiding chcr:’ cried Liszt, ’‘dmtons Les Adieux de WotanA stroke. Here is where we need power and strength, tant part in the compositions of no less a personage tion to the trill because the time seemed to be too short for it. In most modern editions this seeming me hs gently and innocently saying: "My dear sir. (Come along, my boy, let us sing Wotan’s Farewell.) and we can only get these through direct action of the than Beethoven. It is the trill with the lower auxiliary i >u may d>* that with Schumann or Chopin, but not And he sat down at the piano, I standing next to him, brain. note without the after-tone. In all his concertos he negligence has been “corrected” and the termination bending over the score, and we then and there played generally begins the long trills before the end of the has been written out in full, though the damage cre¬ ated is by no means great. On the contrary, there »>n another -ecaaion I brought him, for his criticism, and sang* that grand finale amid frequent exclamations A SIMPLE EXERCISE. movement with this trill rhythmically written out in has been a real negligence in Beethoven’s method of a pianoforte composition of mine in which lie sug¬ O delight from the audience, and had to repeat parts full, starting now with the upper, now with the lower of it over and over again. The following simple exercise of four counts com-j noting the familiar and often quoted passage' in gested a correction of about ten or twelve liars. “Shall i: auxiliary note. ,The fourth variation of the Kreutzer bines the foundation of technic, good tone, and correct' gruppettos in the first movement of the Sonata in C I play you now the corrected version?" I asked. “Mv phrasing. sonata affords an excellent study of this trill. In the 8 a!later major, Opus 2. Pianists who hold fast to Beethoven’s cdTof that: I 1. Hold the hand perpendicularly over the keyboard,! finale of Opus 35 Beethoven evidently intended this -I i ally ii is best interpreted exact notation regularly commit the fault of beginning entirely relaxed (wrist bent high in the air), and dro.i trill to be played as an accompaniment to the melody. t that: When I wrote n the gruppetto with the principal note, and in that MAKE FRIENDS WITH YOUR PUPILS. y yD*'t'1 el,d of finger tip on to the note desired. It is' not written out in full, but only indicated in the way make the gruppetto into a gruppo. 7 £nng wrist down even with the knuckles. ; Ex. II. form of a small appoggiatura note, which has given ird of innovati. rise to the most extraordinary interpretations on the I wrote my concerto with three . ’ ^aise the other four fingers into position to strike, BEETHOVEN’S INTENTION MISUNDERSTOOD. to a tutti I wanted rather fully t- c., knuckles,of first and second joints on a line when part of the uninitiated. It must be read as follows: In still another sonata Beethoven’s intention is almost raised. seems PUpi'S is * difficu,t task a‘ best, but it always misunderstood in consequence of a faulty nota¬ '**!?' . w,d ,VOM believe it, I -vims to me that a young man has a harder time start¬ •ind repCtUrn ^land Perpendicularly again—(wrist up),I Ex. 16. tion. I refer to the long trill in the adagio of the instruments so ing than a young girl would have. Small children seem whilst sonata, Opus 111 (twelve measures before the begin¬ '* * ** I jot ... a real head- Although the hand is in a stiff position when raised ning of the signature of E flat major). During two relaxation comes almost instantly. measures Beethoven calls for a double trill from the o do this over and over very slowly, counting on**! right hand in a very awkward position and hence it THE first PERFORMANCE OF DIE MEISTERSINGER. ™Z'rcr™*z rCtny- "0k a man teacher v°, three, f°ur-_gjves one flna]]y a pr0per automate makes a somewhat lame effect in contrast with the ~~ little pa* ,;.S 'IS “ t^TX ** ae . The position appears awkward at first, H The trill with the upper changing-note first appears ii preceding simple trill: , len come to concert playing we have learned to the fifth measure, and then the interpretation is Ex. 21. Wajjm the younger ones—feel that I* wa« ^‘P esPec|aHy pover it up so that the audience doesn’t notice it, wink a performance in Leipzig, prepar occasionally told funny stories and talked 1 get the same effect on our hands. Any motion, of Riedel, the great since it seems like a prolonged passing trill (frail- Wagm most interesting to children outside of mSc frllrSeIuWhlch wil1 distract the attention of the audience; • then triller), adding vigor and decision to the theme, while 1 the firs The spirit of friendshi,, was cn . *m . e composer is not to he tolerated, lormancc of a trill with a termination (Nachschlag) would make was given on the 1__ dren enjoyed their lessons so much that t"' 1?e chi1' mint S,r7 , stre"gthening exercise is to bend the end, came almost every one 0? ^ that.?hen ‘be sum- it appear weak and irresolute.” the Municipal Theatre not , the extreme consequence* that he draws country. With rare sagacity the scope of the publica¬ greater part of these compositions are celebrated, their mm from the theory of the “Anakrusis.”* which is the tion has been gradually broadened and extended, and it Leitmotiv of hts life. So. for instance, in the first understanding should be promoted and their study has always kept pace with the latest developments of motive of Beethoven's Sonata, Opus 7, 1 cannot rccog- facilitated. On the other hand, from these many edi¬ the world’s musical life. The influence of The Etude reditor's Note.—Tho following interview with the re¬ THE EMOTIONS IN PIANO PLAYING. mre the structure that Riemann tries to make clear tions, each framed after individual opinion, proceeds important of all. Attendance at the recitals of artistic has been incalculable. I wish it many years of con¬ nowned pianist, Leopold Godowsky. was secured shortly after through hit phrase-marks in one of his treatises. Neither a danger; namely, that the world of piano players will Ills arrival in America for his present tour. No pianist in “However, not until man invents a living soul, can pianists is of great help in this connection. ran I follow his legato curve in the first movement tinued success and prosperity. recent Tears has attracted such wide attention as Godowsky. piano playing by machine include the third arid vastly little by little lose direct contact with the originals of Hr was Dorn at Wilnn. Russia (Jtussian Poland), February “The student, however, may learn a vast amount of the Sonata in l> minor. Opus 31, nor can I go these works and will not be able to distinguish the Emil Liebltng. 13th, 1870. His father was a physician. When Godowsky important channel through which we communicate the about real piano technic and apply his knowledge to his was nine rears hid he made Ills first, public appearance as a from the chromatic passage of the twentieth measure intentions of the editors from those of their com¬ Eminent Teacher-Pianist (Chicago). ! works of the masters to those who would hear them. playing through the medium of the proper studies. into the twenty-first measure without making a alanist and met with instantaneous success—success so great posers. It should therefore lie the duty of musicians that a tour of Germany and Poland was arranged for the That channel is the emotional or artistic phase of piano For instance, in the subject of touch alone, there is a r by litmus] caesura.’ (See note on page 10.) child. When thirteen he entered the Itoynl High School for playing. It is the channel which the student must ex¬ to see that the possibility of a comparison with the As an earnest reader and co-worker, permit me to vast store of valuable information which can be gained That Riemann. moreover, .does not always conceive Music in Berlin as tile protege ot a rich banker of Konlgs- pect to develop largely through his own inborn artistic originals should always remain open, and this can congratulate The Etude heartily upon the joyous occa¬ lirrg. There he studied under Bargell and Rudorff. In 1884 from a review of the progressive steps through which the structure of Ueethovcn's themes as the composer lie toured America together with Ovide Musln. the violin sense and his cultivated powers of observation of the this significant phase of the subject has passed during did himself can be perceived by his treatise “What is only lie accomplished by having the oldest editions sion of its Thirty Year Jubilee. virtuoso. Two years later he became the pupil of Salnt- Saens in Paris In 1887 nnd' 1888 he toured France and playing of master pianists. It is the sacred fire com¬ the last century. The art of piano playing, considered a Motive ” He demonstrates by two examples—the constantly appearing in fresh print. If this is not Maurice Moszkowski. visited London where he received a command to appear at municated from one art generation to the next and apart from that of the similar instruments which pre¬ Leaner* Overture and the Sclicrto from the Ninth done only the musical antiquary groping his way Eminent Composer (Paris). ,[ the British Court. In 1890 he returned to America and made modified by the individual emotions of the performer ceded the piano, is very little over one hundred vears Symphony, in which Beethoven works out his motives through our dusty libraries will really learn to know this country his home for ton years, appearing frequently in concert and engaging in several tours. In 1894-1890 he himself. old. the original texts of our musical classics, but the in a way that, considered from the standpoint of mod¬ The Etude has been a constant help and stimulus became head of the piano department of the South Broad ern phraseology, does not at all correspond to their great public will be obliged to have recourse to what Street Conservatory, Philadelphia. lie then became director to me. Hearty congratulations. of the Plano Department of the Chicago Conservatory and CHANGES IN THE MECHANISM OF THE INSTRUMENT. structure. Riemann dors not say in so many words will lie veritable palimpsests. held this position for five years. In 1900 Godowsky appeared Frederick Maxson. “During this time many significant changes have been that Beethoven should lave done something different; Thus vidcant consults! in Berlin and was immediately recognized as one of the groat Teacher and Organist (Philadelphia), il piano masters of his time. In 1909 he became director of made in the mechanism of the instrument and in the he point* out the conflict lietwcen the rhythm and cries (Translated by Frederic S. Law.) the Master School of Piano Playing connected with the Im¬ out at the end. "Who is right?" Since out of these perial Conservatory of Vienna (a post previously held by methods of manufacture. These changes in the nature Until Sauer and F. B. Busoni). His success as a teacher has of the instrument have in themselves doubtless had themes developed falsely from the theoretical stand- LITTLE CITIZENS OF FAIRYLAND. Hearty congratulations to The Etude. I am glad been exceptional. His compositions, particularly his fifty p>‘int two master works finally originated, we must say to be considered an old friend. studies upon Chopin Etudes* have woe the admiration of the much to do with changes in methods of touch as have entire musical world.] the natural evolutions coming through countless experi¬ that Beethoven was right. The case reminds one of H. C. MacDougall. the report made by an Austrian general to the council ments made by teachers and performers. Thus we Professor of Music, Wellesley College. of war in Vienna after a battle that he had lost to Until the age of twelve the child lives in a won¬ IDEAS UPON TECHNIC OFTEN ERRONEOUS. may speak of the subject of touch as being divided Napoleon, with much chagrin he admitted that it was derful land filled with fairy creatures. Indeed, he into three epochs, the first epoch being that of Czerny “It is quite impossible in a‘short talk to the readers indeed true that Bonaparte had won the victory, “But, becomes one of them in his own mind. The teacher No great artistic movement is possible without thor¬ (characterized by a stroke touch), the second being of The Etude to do more than discuss a few of the gentlemen.” he explained, “he won the battle against who fails to use the child imagination as an aid in ough and practical study of the underlying problems. that of the- famous Stuttgart Conservatory (character¬ more important points in the subject proposed. It may all tbc rules of strategy r securing results is failing to enlist the wonderful little The great value of The Etude is that through such 1 ized by a pressure touch), and the third or new epoch safely be said at the start, however, that the popular subjects of fairyland in the manner in which they study it has provided abundant means whereby the which is characterized by weight playing. All my own conception of technic is quite an erroneous one and HI KM AN NS VALUABLE WORK. will work most fii'olively. All experienced teachers playing is based upon (lie last named method, and I student and the teacher may discover the most direct > one that deserves correction. It is highly necessary In spite of my demonstrations ot his limitations, I have observed that a child will learn a descriptive piece had the honor of being one of the first to make appli¬ road to educational success. Heartfelt congratulations that the student should have a correct attitude of mind wish to lay particular stress upon my sincere admira¬ much quicker than one in which there is no suggestion upon your thirtieth anniversary. cation of it when I commenced teaching some twenty tion for Riemann However. I find a tendency to regarding this matter. First of all. I distinguish be¬ given to the imagination. A child lost in a fairy years ago. exaggrrati.m in hi» theoretical writings, in his volumi¬ Max Meyer-Olbersleben. tween what might be called mere mechanics and technic. wilderness docs not realize the amount of hard work Director Royal School of Music (W&rsburg), nous indication* f* performance ami phrasing, and. “The art of piano playing as a whole seems to divide THE SIGNIFICANCE OF WEIGHT PLAYING. above all. m his fingering In speaking of exaggera¬ it takes in getting out. Perhaps this is what itself into three quite distinct channels ‘when it is con¬ “In this method of playing, the fingers are virtually tion in the last respect it i« with reference to the way Shakespeare meant when he said: sidered from the educational standpoint. The first 1883-1893-1913—numbers indicating a period of thirty ‘glued to the keys’ in that they leave them the least in which he follows to the utmost the principles laid “Love in labor physics pain.” channel is that of mechanics. This would naturally years and embracing marvelous progress. The first possible distance in order to accomplish their essential down by modern writers, in particular by von Billow, One child was making very poor progress during a include all that pertains to that branch of piano study decade was my beginning musically as well as that of aims. This results in no waste motion of any kind, Tausig and Klmdworth, which leads him to mucli practice period with her teacher. The teacher devoted which has to do with the exercises that develop the The Etude. The early part of the second decade saw no loss of power and consequently the greatest possible useless labor for both head and fingers. To illustrate time to each beginner every day until the children could hand from the machine standpoint—that is, make it my connection with The Etude for four years as conservation of energy. In this manner of playing the this 1 quote several measures from Beethoven’s sonata, manage alone. This child did not feel like work and capable of playing with the greatest possible rapidity, associate editor. The third decade witnessed (he arm is so relaxed that it would fall to the side if the Opus 10. Number 2, which Riemann fingers as follows: everything seemed beyond her; finally the teacher see¬ the greatest possible power, when power is needed and divergence of our paths. But the interest I have felt keyboard were removed from beneath it. Since the lx. 22. ing that the time was being wasted said, also provide it with the ability to play those passages in The Etude, strengthened by the synchronism of hand and the arm are relaxed the back (top) of the Now. Elizabeth, let’s play I have gone out for a which, because of fingering or unusual arrangement careers and one-time association, gives increased cor¬ hand is almost on a level with the fore arm. walk and that you are working by yourself”’ of the piano keys, are particularly difficult to perform. diality to my congratulations on this thirtieth anni¬ Leopold Godowsky. “The high angular stroke which characterized the Then the teacher went to a chair across the room. versary. playing of the Czerny epoch and which could hardly This is how the child talked, Arthur L. Manchester. THE BRAIN SIDE OF PIANO STUDY. fail to cause tired muscles and unbearably stiff playing, “Now be careful, you know you must curve your “Even though the performer may possess the most Director of the School of Music, Converse College “In the second channel we would fipd the study of highly perfected mechanism, technical mastery which is seen very little in these days. By means of it the Ungers. Why didn't you make those notes staccato? (Spartanburg, S. C.). the technic of the art of playing the instrument. Tech¬ enables him to play great masterpieces effectively, if student was taught to deliver a blow to the keyboard— That fingering wasn’t right, go back and do it again.” nic differs from the mechanics of piano playing in that he does not possess the emotional insight, his perform¬ a blow which permitted very little modification to the Once when the teacher attempted to speak, the child, requirements of modern technic. Hearty congratulations to The Etude on the com¬ it has properly to do with the intellectual phase of the ances will lack, a peculiar subtlety and artistic power placing her hnger upon her lips, said' “In my experience as a pianist and as a teacher, I pletion of thirty years of life. May it be as useful subject rather than the physical. It is the brain side that will deprive him of becoming a truly great pianist. “Sh you know you are out walking. I know mv have observed that the weight touch allows the greatest mistake and will correct it.” and stimulating to the student in the future as it has °f the study not the digital or the manual. To the been in the past. average student who is short-sighted enough to spend INSPIRING THE STUDENT. possible opportunity for the proper application of those She thought it great fun to be her own teacher and all-important divisions of technic without which piano Ernest Newman. hours hammering away at the keyboard developing the ‘Exercises for the mechanical side of pianoforte pupd. and good work was accomplished in half an playing is not only inartistic, but devoid of all interest. Eminent Critic (London). mechanical side of his work, a real conscious knowl- playing abound. Czerny alone wrote over one thou¬ Weight playing permits nothing to interfere with dis¬ e?ge of the great saving he could effect through tech- sand opus numbers. There have also been valuable at¬ Preparing for a recital, ___ UK L ;is soon as the pupil’s piece mc, Would be a godsend. Technic properly has to do tempts to provide books to assist the student in his criminative phrasing, complicated rhythmical problems, From far away lovely Texas, T send hearty greetings the infinitely subtle variation of time for expressive ’lint that you are at with Rhythm. Tempo, Accent,' Phrasing, Dynamics. technical "work, but it should always be remembered and sincere wishes for mam- more Jubilee Festivals. purposes now classed under the head of agogics, all person whom she Agogics, Touch, etc. that this depends first of all upon understanding and Long live The Etude. shades of dynamic gradation; in fact everything that The excellence of one’s technic depends upon the then upon the ability to translate that understanding and after ,h "‘''T™' f" ,he center of *e ™om ^ Mtgrani from Mme. Lillian Nordica. falls in the domain of the artist pianist. and afur the rendering of the piece, say what is just accuracy of one’s understanding of these subjects and to the instrument. ami true as if that particular person were talking Eminent Opera and Concert Singer Hs skill in applying them to his interpretations at the “There can never be any exercises in the emotional (New York). MOULDING THE FINGERS TO THE KEYS. eyboard. Mechanical skill, minus real technical grasp, side of the student’s work other than the entire litera¬ Henry Ward Beecher said, “Lf you have bouquets to P aces the player upon a lower footing than the piano- ture of the instrument. One may as well try to cap¬ “In weight playing the lingers seem to mould the hrow, don’t wait. Let us have them now to cheer Pa.ving machines which really do play all the notes, ture the perfume of the flower as define the require¬ piano keys under them, the hand and arm are relaxed, ments of the emotional in pianoforte.playing. A great but never heavy# The maximum of relaxation results „ 0n our way-” May The Etude live long and with all the speed and all the power the operator de- Prosper in the grand work i( is doing. ands. Some of these instruments, indeed, are so deal may be done to inspire the student and suggest in the minimum of fatigue. In legato playing, for in¬ ideas which may bring him to the proper artistic appre¬ stance, the fingers rest upon the fleshy part behind the rt»mctari,Z”hich John Orth. •instructed that many of the important considerations ciation of a passage, but it it is this very indefinability tip rather than immediately upon the tip as they would Pianist and Teacher (Boston). . at 'v® bave placed in the realm of technic are repro- ced in a surprising manner. which makes the emotional phase one of the most in passage work when the player desired to have the (.Continued in alphabetical order on page 22.) 14 THE ETUDE THE ETUDE 15 this instant the second tone is produced. On] WHAT SIGNIFICANCE HAS ™E WEIGHT ing of pearl5. The sensation in legato the tip of finger 111 meets a firm foundation**116 OF THE ARM IN PIANO PLAYING. of pulling hack rather tnau striking the depressed key—that is, in the moment of tone |.IB ^ let where force is required the sensation tion, or possibly an instant later, is it possible fZ- BV PROFESSOR DR. A. RITSCHL. become in turn a buttress. When linger II rjs *he said of the sensibility of the linger the case in strict legato, its withdrawal (indicat hS“ * they . nr in contact with the ivory and ebony the dotted line) can only occur after finger mV) Uu.1 rrry artist has a strong consciousness [Editor's Nora.- -TUls article appeared In t been extended and gained a firm foundation on th I that t hr very manifest relation between his emu- rr,/oyuf/(«rAr Blatter and Ihin l>oen translated expressly foi pressed key. In other words, the tone produced tl I final | actilc a that In piano technic it is a question of the utmost im- linger III must sound before linger II can be rel 1 of feeling at the huger portance whether in addition to the weight of the fall¬ t»p* on the keyboard. However, the phenomena may ing fingers wc allow the weight of those parts of the RAPID FINGER PLAYING. be captained from the psychological standpoint, it is nevertheless true that the feeling of longing, yearning, arm above the knuckles also to act in the force of the In very fast playing these changes naturally tat. hope or soulful anticipation, for instance, induces a stroke. If this question can be answered affirmatively place with great rapidity. One has the impression I totally different kind of touch from that of anger, all objections urged against pure finger playing, such, the moment one finger strikes that the preceding fi™ J resentment or hate. for instance, as the insignificance in weight of the allows its key to rise. Thus the sensation results Ti "The artist who is incapable of communicating his lingers, the inadequate strength of their flexor muscles, the weight is transferred to the striking finger Jit rmutKMM to the keyboard or who must depend upon are met at once. It would be only necessary to make every stroke. This transfer actually takes place n! artifice to stimulate emotions rarely electrifies his up for the lack of linger weight by use of the weight after the tone is already produced, for in the mo . audiences Every concert it a test of the artist's sin¬ of the hand, forearm, and upper arm according to need. in which finger III extends toward the key the adf^ cerity. no< merely an exhibition of hit prowess, or his In this way even a child could readily develop any ing finger II cannot give up its support since the U acrobatic accomplishments on the keyboard. He must desired strength of touch in finger playing. It would is movable and affords no sure foundation. Henc ' have tome vital message to convey to his audience or be superfluous in forte playing to extend the lingers happens that while finger III produces its tonetb ebc (us entire performance will prove meaningless, with any great expenditure of force from the knuckles. weight M is still sustained by finger II, and a descen o- mm When I first took up this question I had the impres¬ upon the keys by its flexor muscles is prevented i “That which is of greatest importance to him is to sion that in finger playing a forte touch called for a weight, however, can only increase the strength o' have the least possible barrier between his artistic con¬ continuous pressure which was felt beginning in the touch when in connection with the striking finger ception of the work he would interpret and the sounds finger tips and extended up as far as the shoulder; draws near the key. In rapid finger playing such *^1* *fe conveyed to the ears of his audience. If wt that with this was connected the action of the great sinking of the arm and hand cannot take place since obliterate the emotional side and depend upon artifice muscles leading from the trunk of the body into the the quick action of the fingers gives no opportune or what might be called in vulgar parlance "tricks of upper arm. I therefore adopted the opinion that in for it to rise with the next stroke. Therefore, in rapid the trade, ptanism will inevitably descend to a vastly finger playing there must be a varying weight consist¬ playing the hand always remains at a certain distance ***** By cultivating a sensibility in touch and ing of the upper parts of the arm, in connection with impl^ying _ the technical means which will bring the frqm the keyboard, which to be sure, as for instance; the weight of the fingers, that through muscular action during a scale, can be varied from time to time but interpreters message to the world with the least possi- could be brought into increased activity in its down¬ Me obstruction, we reach the highest in the art. Those cannot avail itself of the aid of the flexor muscled r- ward effect, and that this weight could be transferred In pure finger playing the tone production depends ■ ho would strain at gnats might contend that with front one finger to another. This opinion was strength¬ the machinery of the instrument itself, intervening be¬ entirely upon the strength that is brought to bear bv. ened when I noticed that the tone gained in fullness tween the loach at the keyboard and the sounding the weight of the fingers engaged in it and in the the more one yielded to this pressure and allowed the wires, would make the influence of the emotions though rapidity with which these can be controlled by their wrist to sink and with it the forearm and the palm flexors. The weight of the arm, however, depends ia i T 21 i ****** l1*1*** of touch) is wholly negligible. ot the hand. Later it grew clear to me that this down¬ its activity upon the position of the wrist. With the ° '* i y '!•** the experience of the ward pressure increased the strength of touch only in forearm this is lowered. As soon as the wrist is then * n *KU 1 . ,ea<"cr '* always more reliable, more so tar as the flexor muscles assumed a condition of extended the flexor muscles of the fingers are brought that* f fln*f *2’rrc'a,l“n* °1 values than p:iss)vv automatism caused by the sinking of the wrist . ® *"* f0** “*°r'**- who views his problems into a state of passive automatism which disposes them a:u ‘I'"* j'r'"'ucing, according to a well known phy¬ i , ~,tru‘ r,,hrr «■»". iptritual eyes. Every siological law, a maximum of strength to exert their powerful effect under the most favorable 1 influui.** ™* hi1*** '* ^am',iar with ,hc remarkable circumstances. If, however, we raise the wrist high itl»l,pWO ,>>e nrrYC* ot vo'«f-»»wking apjia- the muscles relax and interfere with the development:1 * 1* '* n°t reasonable to of any great rapidity. (Translated by F. S. L.) : an iilta , • r,n*cr Dps possess a similar sensibility ' • ,B***P**ta'K>,»» °f »ny highly trained artist are auiy altntril through them? Delphin Alard Lowell Mason William Hall Sherwood TAKE AN INVENTORY OF YOURSELF. MtmnDOAUTT. CHAEACTKR AND TEMPERAMENT. BY J. ROMEU. arclbfTT|'ii -*P<*l,*<*tt>lllj’ l^har*f,cr and Temperament oewanurd hi V* *'** I*0** *‘«nif‘,can‘ •" the highly iJAV'iny°lL.eVer thought of taking an inventoiy of And ^TpliyiL0 f JhT°fMr1e R«"°vc these y rse . Finding out what you really know? On than that of a ***"1 becomes little better you measure up to this test? Tver achieve lhe*d°",'l*> No machine can i-m. ,, •_. islmguishiiig . barm that this trinity ni'an-r u°T< years of very methodical labor, the Pianist should have acquired: s a •grriiut* who°hI« 'yhr,l*c'r (,|e performer mi \ COm.pass -sufficient to stretch nine and ten mce o7 a - fo y developed the perform- • 0 fys- ,n order to obtain the essential sonorilj tuishttM mark ""Hi •* *v'd*7,fc* that distin- in certain chords. iheiher he it a ‘ul *“,™’rVa,,vr interpretation, or ,tr2;nIract-aIly equal value in all the fingers as to •f the moment int ir h* "* ,,np^o’r'lf, •* *he mood In pure tinge .hand back of the I '”dei)endence, suppleness and mobility. I •>m p> wit ion twice in an th"' ***? P*ay* 'be same 1knuckles (see M in 'the Figure) isheld in , m more or wed nut fear the nv [ '"f "C * **m*.,ar manner. he less horizontal position over the kevs dem>n,r J ?qUaI SklU of both hands. j trreater or less elevuinn ,i { ’ depending on its J' P.0.wer- delicacy, feeling. weight of the am, ft bornekeyboard- The execution""111051^'’ Sty'e’ sl,Per'or and transcendent in case it is not Sed in h, ^ J\Part °f the hand, genius and work join, and wrist, ft J/' ,0" V * Stiff shoulder oerferJnn ai)lbty t0 PIay at sight, and. with certain attack of the fingcr tip „ ^„ve by a free cienr r, a' complicated compositions of an¬ r. is the very cient and modern , most times. *■'11 take the to furnish'4 '.ebable memory-, of such a nature as rial fnr ' 'e c,rcurnstances requiring, ample mate- andSrshthe ^ g. f°"one or .more concerts. **f ,h' a*m. The pr^'tf*L",tai? th« *eigK Study vo,-e ablbty t0 accompany without previous ma-v ,H‘ diminished through the Con}b,ncd burden 9 Th ' !i-?StrUment or orchestra, °t extensor muscles or siren«i tractl°n of groups required -3 1 lty t0 P'ay simultaneously, with all the that even lg°r’ •tWo u°tes against three, a difficult)' iven to a large extent lair skill SUperior artists frequently render with onl) c technic of the instru- »l.v at the keyboard. works. ThC ab',ity to analyze judiciously symphonic I with the problem of httle more than li Th6 alJ,!,dy to develop a given theme, runnins- ^ Sk' to imProvise a long phrase without and mdodyUnter t0 the fundamental laws of harmony! the knuckles, or it „‘v! ,x,n? of the finger fn^ whrChrCSCmfd in ,he hgure^hv“fh ‘ ?°WDward- This H SlLSf?7 °f transp0sing into any key at sight Iv'anH* vSh°.rt, project>°n simflaM ‘h 0f f,ngerVr ni.HI. constantconstant nrnet'- , hebe hardened against fatiguefatig by S s0 rth i,S ,0W" : ■££ J" lingersfingers Practice. (Translated by V. J. Hill.) » t»ne for publication in this Z ^
Does w!f|S tbe best his circumstance allows, Edwin Henry Lemare ’ acts nobly, angels could do no more. _YouhQ- THE ETUDE 17 16 the etude STOOPING TO CONQUER. she would let me have my way and not criticize me till the end of the quarter—at Christmas time—then if she was not satisfied she could take Alice away. She BY MADAME A. PUP1N. left in a most depressed state of mind. Special Notice to «***-.««• »~f”.. >-™» I had taken away those pieces because Alice' had practiced them carefully with the new technic, up .to a No matter how much a teacher may love his work, certain point; and I foresaw that a greater familiarity there must be times when he is at his wits’ ends to with them would be apt to make her slip back into her know what to do; for a mild-mannered boy may sud¬ old way of playing. The third piece was perfectly denly be transformed into a belligerent opponent and learned, the new technic having by this time become a charming little fairies changed into exasperating imps. habit. I told her to bring the other two pieces, and My plan has always been to take no apparent notice DELPHIN ALARD. when 1 asked her to play them she said decidedly, “I, LOWELL MASON. of these changes of mood, but preserve a calm exterior cannot; for I have not touched them since you told WILLIAM HALL SHERWOOD. Lowell Mason was born at Medfield, Alard was horn at Bayonne, France, while thinking up some stratagem which shall gain me me not to. I really cannot play them.” “Well, try; to March 8, 1815, and died in Paris, Feb¬ the victory. Sauwooo was born at Lyons. N. Y., Mass.. January 24, 1792, and died at play them,” said I. To her great surprise she played In a school of music I once had I gave private January 31. 1H54. and died at Chicago, Orange, N. J„ August 11, 1872. He was ruary 22, 1888. He showed great musical them both perfectly. Her general progressijiad put self-taught, and in earlier years attempted lessons in classes. The class pupils were obliged to her far beyond the place where she had left off, and January 7, 1911. He studied first with ability at an early age, and was sent to to play many instruments as well as to play in the monthly musicales when I considered them the new technic had become so natural that she. had his father and with Hetmburger, Pychow- Paris in 1827. He attended Habeneck’s sing in the village choir. When twenty prepared. Beulah Pendleton said, with a toss of her not to think constantly of her fingers to make' them *ki. and Dr. William Mason. He then class at the Conservatory, soon winning y ears old lie became a bank clerk in Sa¬ head, that she would never play in a musicale. I said go right. The secret is not to allow any one to practice the second and, a year later, the first •pent five years in Europe under Theodor vannah, Ga. While there he compiled a “You will, have to conform to the rules for the class mistakes. Better, when inaccuracies begin to appear, to Kutialc. Weitxmann, Wtirst, and Dcppe number of hymn tunes from the works prizes for violin playing. His profes¬ pupils;” to which she replied that she did not want to, cease practice on a piece for a time until ft- can- be in Berlin; Richter in Leipzig; Scotson of the classic masters. This collection sional career commenced in 1831, and he and her father would not let her, and besides she did taken up again almost as a new piece. Clark and Karl Doppler in Stuttgart; and was subsequently adopted by the Handel soon established a great reputation. On not play well enough. I told her I would attend to the Anally with Franz Liszt in Weimar. and Haydn Society, and its success re¬ the death of Baillot. Alard succeeded to latter, and that she would not play until she could A PUPIL WHO HATED SCALES. Upon returning to this country he quickly sulted in Mason being called to Boston the post of professor of violin playing at play well enough. Sometime after I gave to Beulah Lilly Daly was a tiny tot of a girl, with a very small in 1827. He became president of the So¬ and two other young girls the Minuet of Boccherini, became famThe Barber of Seville, Norma, Sonnam- This having been played in public with success, there and had begun on the scales of two octaves, each hand on an old German folk song. Among study the educational methods then in btilct, and Faust, besides writing original was no demur when I later proposed that Beulah alone, people began to take notice. The fluency, others are his Suite of five pieces, two vogue. His impressions were published pieces such as Brindisi Walts. His Vio¬ should play a solo in a musicale, for she had become velocity and evenness of her scales and her tiny hand in a volume entitled Musical Letters from mazurkas, scherzos and a Romania A/>- lin School, however, is very comprehen¬ thirsty for the praise which followed her really beauti¬ surprised and delighted everybody, and Lilly was de¬ Abroad. Mason was universally loved by ful playing. lighted with scale playing and looked out of the comer fonoaata. Sherwood also contributed ] sive and has won wide recognition on all who knew him, and did perhaps more of her eye to discover what others thought of her saiuablc articles on musical education to I account of its many valuable qualities. It Twz Em*. than any other American to popularize OUTWITTING THE “CLOCK-WATCHER.” playing. One of the other pupils remarked one day, music in this country. His son, William is therefore as an educator that Alard Julius Ryder, when he came into the class, was con¬ “Lilly Daly is a terribly vain little thing.” To which Mason, was almost equally famous. has earned his place in the regard of sidered an impossible problem by all his former I replied, “She has a right to be vain. When yoj.1 can violinists. teachers. I discovered that his bugbear was practicing. do what Lilly Daly does, you may he vain, too.” He did not like to be fettered by hours and minutes. I told him I did not require my pupils to practice an MUSIC BY WAY OF A METRONOME. EDWIN HENRY LEMARE. hour a day—or even half an hour. I gave a short Arthur Wittig thought I was the most wonderful lesson—half a page—and all I asked him to do was and interesting person he had ever met—until he sat Li * vat w as born at Ventnor. Isle of FRANCESCO PAOLO TOSTI LEOPOLD STOKOWSKI. to play each line ten times with the right hand, ten down to the piano—then he changed his opinion. I Wight. England, September 9. 1865. He times with the left, and both hands together ten times, could never get him to do anything as I wanted it Tosti was born April 9, 1846, at Ortona (Sto-kovs’-ke). »oo the Goss scholarship to the Roval and then to play the scale of eight notes eight times done until I gave him Wieck’s Studies—little exercises sur mare, Italy. He studied music in Stokowski was bom in London, 1882, Academy of Music in 1878 and subse¬ with one hand, and the next day do the same with of eight measures. I began with No. 8, setting the -Naples at the Royal School of St Pietro quently became a Fellow of that institu- and is the son of a Polish father and the other hand. He was overheard to say to another metronome at 72 for a sixteenth note, and increasing 'J0" *nd «« also appointed, in 1884 » a Majelta under Pinto (violin). Conti and ns mo*er- His early musical training boy, “I’ve got a bully teacher now. I don’t even have speed until he hesitated or made a mistake, when that Fellow of the Royal College of Organ- te aged Mercadante (composition). He was at the Royal College of Organists, to practice half an hour a day. All I have to do is was the limit for that lesson. I marked it on the mar¬ wte. He held various important organ made such rapid progress that he was an a ter graduating he became a pupil to play each line of my lesson ten times every day. gin of the page so that after several lessons the record made a pupil ,cacher at thc munjfi sppomtment,. but while at Holy Trinity °f Parry, Stanford, and others in com¬ It’s as easy as sliding down hill. I’m going to do as might have stood thus^-132: 100:JN- 152:J-96. Church. Sloane Street. London, and at salary of 00 I,re ($12) a month. He re- position. At the age of fourteen a prize the teacher says, for the girls in my class are dandy Of course he did not like the slow practice, but one day .t. Margaret s. Westminster, became so matned there until his health broke down a , , was Performed at St. Paul’s players, and if I can get ahead of them by such easy he had played well up to a certain tempo, and I was famous as a concert organist that he gave and he was forced to return to Ortona . 6 raJ ky a chorus of four hundred work, you bet I’m going to do it.” Two factors made about to write it on the margin when he said, “Let me up church work. He not only possesses During h,s illness he wrote songs bin es Stokowski is an excellent pianist, this boy a good pupil. First, I took his mind away try the next one; oh!. do let me,” and this finally «re gift* as an interpreter of ‘'legiti- found great difficulty i„ securing a'p^ a viohmst, and is able also to play from the time question: he forgot all about hours and became the order of the day. bsher f0r «hem. Upon ^ Jl ** *”*■ |or*»" mu*ic. but is also specially Thn Ut , 0t^er orchestral instruments, minutes. Secondly, I got him to practice so that he All persons, children included, love to do what they •wed for hi* organ adaptations of or- though he graduated at Oxford Univer- was interested in the results. do well. So it is the teacher’s work to make them do cfcc-tral works. He has visited this coun¬ ’ e as spent much time on the con- small things well and this leads to doing great things try several times, and in 1902 was ap- LEARNING A PIECE BY NOT PLAYING IT. batt Through the aid of his new friend o e®pecial,y in Munich, where he well. When Alice Arnold came to me she had many faults rr,??•* c*n,f»if »*»• Knt tan, 3 °me' bas held two impor- N'rgh but after two year, returned to of technic which I set about at once to correct. After EngUnd He ha, also visited Australia. P?rL°uga\ P°sltions—at St. James’, KEEPING THE EYES AND EARS OPEN. awhile I gave her a piece, but before she had learned mew’f M \0nd°n’ and St Bartholo- Technic is ordinarily supposed by a young learner ™ZVT.Tlion> inf,ode wme im- it very well I gave her another, and told her to put d'?* «»tn buncos to the higher psfs sical lni Y°rk-but «» greatest mu- to consist of striking a certain number of notes with London in visited the first away and not touch it until I gave her branches of organ music and a large leavino- c?StT>'S tbe orchestra. After accuracy and evenness, legato or staccato, in a certain Barth°l°mew’s, he became permission. The next day Mrs. Arnold came in to b«««iful pieces In specified time. The pupil should be made to feel, how¬ the smaller form*. Some of the best orchpet COnductor w'th various important say that she wished Alice to learn one piece perfectly ever, that quality as well as quantity of tone, and the before she took another. I said, “Mrs. Arnold, why ■"own of the shorter work* are -f« ""merous. and a goo,| Mattiuata Venc L l” °"d For™r. sm th01pp,ed W'th ,]lat of Car1 Pohlig ment. ’ Before Alice had got her second piece perfectly Many students are not keenly conscious of the effects T T? V* arraof Chopin’s Tbe las, named is '• l'romntlv blkldeiphia Orchestra, he was learned I gave her a third, and told her to put the they produce; they are so occupied with the perceptions His con'll Se.Curcd ^or the vacant position, ” favori(c'’f Q-en 3 second away with the first. The next month Mrs. of the eye that the ear is only half awake. Tnis organ tal ]mt. ctmSJs virile and temperamen- Arnold called again, in a very excited state of mind, should be developed at the same time with the fingers; a clnrm-°ne ^ess Signified, revealing it should he alert to the most subtle distinctions of pitch charming and since** personality. saying she did not think Alice was being properly- taught, and she wished I would not give her a new and the most exquisite gradations of timbre in the piano, violin and the human voice.—Dickinson. piece till she had learned the old one. I asked her if THE ETUDE 19
Then and Now Thirty Years of Advance in Musical America Discussed by Foremost Composers, Critics and Teachers
ARTHUR FOOTE. Intermesso .Yirf.l-Perabo This much of musical progress has been attained in In many ways 1883 is significant, for it is just about Minuet .Schubert-Perabo thirty years. A program comparison will also show Marche Funebre. that date that we find to be the beginning of what so > Paine the progress made in this period. At Mr. Thomas’ far is the period of greatest growth with us musically. Four Sketches (Op. 26). first concern in Chicago he gave such light numbers as Theodore Thomas had, during the ten years preceding, Farantelle .R. Hoffman The Imitation to the Dance Stigelli’s Fear (on trom¬ Silver Spring.Mason shown us what the lightest type of orchestra playing bone), Schumann’s Traumerei, a fantasie on A Midsum¬ Castorella e Cavagliirc.v should be; and then we have witnessed a remarkable mer Night's Dream music, overture to William Tell, Flome. Sweet Home.c Gottschalk development, resulting in the group of orchestras Strauss’ Blue Danube, Titl’s flute and horn serenade, Banjo.} reaching from the eastern coast (Boston, New York. the Strauss polkas and one of Meyerbeer’s Fackeltan- Philadelphia, etc.) to the Pacific slope (San Francisco As for piano playing, it is hardly necessary to refer sen. At the last Cincinnati festival conducted by him, and Los Angeles). to the higher level that it has reached, for no one can he produced the Bach Suite in B minor and his Mass in What many of us regard as the most powerful factor ■ help being aware of it; we may say that this is due to B minor, Beethoven’s Mass in D major and Eighth of all in musical cultivation—the Women’s Clubs the greater intelligence in teaching, and to the fre¬ and Ninth Symphonies; Elgar’s Dream of Gerontius, (especially in the West)—is a product of this fruitful quent opportunities to-day of hearing and studying Bruckner’s Unfinished Symphony, Berlioz’s Hymn period. It is difficult to overestimate the sound and artists of the first rank. I have no doubt that those (Op. 26). Brahms’ Rhapsody and two Strauss sym¬ far-reaching influence that these clubs have had; they who are living in 1943 will look back to another thirty phonic poems! years of splendid development, and will be as happy make for musical intelligence, not only by their con¬ Thirty years ago it was the period of Trovatore and to have lived through that period as we, who are certs, but through the comprehensive study given to Martha, of Zampa and VZilliam Tell, of the Field the history, development and technical instruction of thinking of 1883-1913. nocturne and Thalberg fantasia, of Monastery Bells and Maiden’s Prayers, of Julien, “a charlatan of the ages,” GEORGE P. UPTON. Another encouraging thing is that music is being and Gilman, the organizer of musical tornadoes. Since To the Editor of The Etude : recognized as a dignified study, to be included in the that time there has been advancement all along the A thousand congratulations that The Etude has curriculum of colleges and secondary schools. And line, save in one particular, we now have musical come¬ reached its thirtieth anniversary; a thousand more that while we are still too backward, as a whole, rn our dies ad infinitum and ad nauseam. Thirty years ago it has been so successful; and a thousand wishes that public school music, there are plenty of exceptions, and audiences were more particular. They had the opera it may go on with its good work until its anniversaries there are so many intelligent and earnest men and comique, the opera bouffe, and the Gilbert-Sullivan are numbered by hundreds. women working with high ideals and with knowledgc- operettas. But the public has made a long step for¬ Looking back a little more than thirty years, I recall that we have every reason to expect a constant ward and is now only satisfied with the best. one or t.wo incidents which, it seems to me, illustrate improvement. But what of the next thirty years? We have come musical progress. Not long after the Chicago fire, the As for original composition, these last thirty years to the parting of the ways. Will the world take the Thomas Orchestra came to the city for a series of have witnessed great things, for nearly all our im¬ road that leads off into that unknown region where no concerts. As all the concert halls had been destroyed, portant work has been done in this period, in orchestral melody lives, where dissonances stalk, and new scales they were given in a church outside the burnt district. composition, chamber music, choral music, and in the cumber the way, where emotion is dead and impression As I went into the church on the opening night, I met smaller way of piano and organ pieces, and songs. takes the place of inspiration? If so, then The Etude Mr. Thomas at the door. He turned to me and said: Publishers now are publishing symphonies, string has a great work before it in conserving the accomplish¬ “I am going to give them something to chew on. They quartets, and such (commercially unprofitable) works ments of the great masters of the last four centuries, won’t digest it now, but they will like it some day.” I as thirty years ago no one dreamed of seeing in print; as against the cryptic cacophonous racket of the ultra¬ naturally asked what it was and he replied, “the Lie- Arthur P. Schmidt’s publication of Paine’s Spring moderns masquerading as the music of the future. bestod from Tristan und Isolde." It was new to Chi¬ Symphony in 1880 is probably the first of such things. Looking back, not thirty years but sixty years of cago. The audience listened in a dazed and impatient As so many of the readers of Thf. Etude are teach¬ more or less active participation in this advance, I con¬ manner and went home, some chewing but most ers, it will not be out of place to remind them that, gratulate The Etude on this, its Thirtieth Jubilee. It eschewing. But hearing it season after season they so far as concerns piano pieces and songs, the general deserves the success it has made. Public is mainly dependent upon the teacher for its began to know it and to like it, and now no concert knowledge of such works; and that, as a rule, the number is more popular than the Liebestod. In those teacher has not done his duty in this direction: we davs when Mr. Thomas gave a Wagner or a Beethoven JOHN H. HATTSTAEDT. should'all of us give the American composer an equal number, he placed it at the beginning of his program, The standard of musical culture and musical taste of thirty years ago could certainly not be compared chance—if he cannot hold his own, that is another followed by the lighter music, so as to keep a large matter. part of his audience from escaping it by leaving. It with that of our present time. Looking over the files of concert programs of that period, I find but few To show where we were, look at the following pro- is not necessary to do that now. A Beethoven or a piano recitals. Here in Chicago, Carl Wolfsohn, Emil fFam, and reflect what a different one could be made Wagner program draws a large house. There has been to-day: growth in thirty years. It has taken just about that Liebling, Silas G. Pratt and a few others did most of time to get from the Spring Song to Zarathustra, from the pioneer work in that direction, with an occasional the Traumerei to Tristan. It confirms what Mr. visiting artist thrown in. Among these latter must be Concert of .American Compositions at Boston, May mentioned Mr. W. H. Sherwood. I attended his first „ . 12, 1877, by Madamf. Essipoff. Thomas once wrote me: •'felodie. “Throughout my life, my aim has been to make good piano recital in Chicago. The program was of the highest order, including the names of Bach, Handel, Fantasie.} BrandEIS music popular, and it now appears that I have only Von Weber, Mendelssohn, Beethoven, Grieg, Saint- Gavotte ...... i . Foote done the public justice in believing, and acting con¬ Saens, Rubinstein, Henselt, Liszt, and also those of (’^»e .BAcn-PARSONS stantly upon the belief that the people would enjoy and Folse... support the best in art. when continually set before Otto Floersheim, Ferdinand Dewy, W. H. Sherwood Mazurka..i W. H. Sherwood them in a clear intelligent manner.” and Chevalier de Kontski. the etu DE THE ETUDE 21 20 combined. This seems to me conclusive evidence tto In 1883 great teachers often Stmall towns The Etude had found and Idled an important oh that can gladden or pain he wrote, and with what demand for real*, the following little in the musical life of the country; and I have alwa** S appealing accents! point. are iS if~n with the been glad to identify my work so far as pJgl In his works, and they are nearly all for the piano, J, myself to the music More of Newell. Lewis with it. we live our lives again. Not one string of our heart •. where the sale of seats was to begin. Mon- thorough foundational kno*JjJ®* -c teacheT in small A quarter M a «ntunr ago the music^ frQm I believe the aim of this publication, and the gratis does he leave untouched, and with what a delicate, uni! at ten o'clock. Mr. Gibbs who. by the mm l.I.Ill.11.Iiyan.IT!.HITll'lgi country places began the day s - q{ bril]iant womanly hand! But he can also pulsate a lyre of omcthing of a wag. in opening the box office. ing results which it has been largely instrumental i iron, and none is more manfully eloquent than he I, “Gentlemen, please don't crowd, form in bouse to house carrying « hour's time was producing throughout the country, might be summed t showy compositions. Much or the when (as in his great Etudes A minor and both of n looking around I found myself to be a tip, in six . words: "Better Music; Better Teaching. occupied in playing the . «"«*S? utmost by Better Students.”- the C minor) he hurls forth his passionate, throbbing pupil; a performance always enjoy** , . sijghies* Mile-Posts in Pianistic Progress MtW protest against Poland’s downfall. ling I '-anno* forbear paying my tribute to None can exceed the heroic and martial valor of his oc for its invaluable work in music education PERLEE V. JERVIS. By the Eminent Pianist Teacher ==== \ In^ common with all the readers of The EruDr.. I great soul. In his Polonaises F sharp minor, A flat PERCY GOETSCHIUS. extend to its editor my hearty congratulations and best SENOR ALBERTO JONAS |M^W major, A major, C minor, reverberate the tramp of cy of musical activity in America during the At the present time, in centrally located stud.os w, h Wishes for many years of prosperity and helpfulnesa armies, the boom of cannons, the sinister howl of grim y >cars reveals no feature more striking or every up-to-date appointment, music tethers rece.i, To me, one of the most significant events of the ^ war. Chopin, the morbid dreamer of Nocturnes, the t than the altered attitude of students gen- their pupils. Away from instruments at hrst;the Vfr^ ppst -thirty years, is the growth of The Etude from 1 elegant composer of aristocratic waltzes, we all know; ward the study of mtisical theory. Thirty ing movements of the tody essentia to proper tone an unknown quantity, as represented by its first nutn- 11 but not all have as yet fathomed the might and sweep i it was a matter of surprise to encounter production are clearly analysed and the “reason why . her, ’to a magazine easily the first of its kind in the of his greater works: the Fantasie in F minor, the who included harmony among his musical certain effects or movements produce certain results is im four Ballades, the four Scherzos, the great Polonaises, United States, if not in the world. iL the inijnl gave it am thought at all. he impressed upon the pupil’s mind.. Now all this change The important part which it has taken in musical the Sonatas in B flat minor and in B minor, the Etudes •nsulvred that harmony was dry and wholly has by no means come about of itseit;. travel, enlarged education cannot be overestimated—it certainly has and some of the Preludes and Mazurkas. . . Our opportunities, have all played their part, but a mosi piano technic has had to grow because of him; scales • at only one text-tools in common use, that been a potent factor in my growth, as it doubtless has important factor in the development has been the wide [Editor’s Note : This article is the third in the present series by Senor Jonas. Students should not fail to secure in thirds, chromatic thirds, fourths, sixths, the boldest •r. an importation fn»m Germany; very few in tfiat of many of my fellow musicians. I well re¬ circulation of the musical magazine. Ilia previous articles as they_givc a very comprehensive outline of the development of the art of piano playing from the passages in octaves, arpeggios of superoctave range, authors at that time had the courage to member with what fear and trembling I sent my first very earliest beginnings. Senor Jonas resided in the United States for many years, but is now chgnged in teaching in coursing through the entire keyboard, call for endur¬ armonv book in the vernacular, that aimed to effusion to the editor, some twenty-five years ago. To LOUIS C. ELSOX. Berlin. Ho Is the teacher of the remarkable prodigy, Pepito Arriola.] ance and strength as never before. tient and appropriate for the calibre of Stu- In writing a “reminiscence’’ for The Etude on its my surprise, the acceptance of the article was accom¬ thirtieth anniversary, I cannot but reflect on the great panied by a kindly letter from Mr. Presser, in which DEVELOPMENT IN THE EIGHTEENTH CENTURY. LISZT AND RUBINSTEIN. o leu progress in Music in America during the lifetime of he asked for more copy and at the same time pointed von Weber (1786) have lavished on it the richness of i plain folk* means that even to-day, the paper. It has been not exactly a “Thirty Year's out some of the defects in my writing while he noted We seem to have strayed far from piano playing, their creative genius. And here, as we did before Bach If Chopin is the poet, Liszt is the virtuoso, par ex¬ anged to a truly remarkable degree War.” but certainly a thirty year’s struggle, with con¬ the strong points. To the encouragement of Mr and yet how can one be a really fine pianist, a musician and Beethoven, we must again pause; for a quartet of cellence, and both he and Anton Rubinstein (1829) le. instead of the exception, for the stant advance as a result. It was fully a generation Presser I owe whatever success I may have had as a and ignore or deny the influence of the other arts on tone poets appears, with whose advent the piano gains will ever stand as the two highest exponents of piano to take some harmony instruction; playing. Anton Rubinstein at the piano was a lion; ago when Dr. Eben Tourjce was fighting the good writer. I hope that I may have helped, in a small music? Is it rash to presume that because these arts the unique and universal position it occupies to-day. mally gets, at least elementary infor- light with his New England Conservatory. He was a measure, the readers of The Etude as much as my an onrushing whirlwind of fury and passion that no todulation and phras- reached a height of sublime perfection, the genius of man exactly fitted for the epoch. He was not too far fellow writers have helped me. barriers of technical difficulties could stay; the breadth > In Musi Johann Sebastian Bach and of Handel (both born in ahead of his public. A man with greater technical As a boy in a small country town, one of my first | and sweep of his playing were appalling and thrilling, _Jitig harmony in their 1685) was stirred the more to accomplish their for¬ knowledge would have failed at the time that Dr. teachers was a lady who, to her duties as a minister's yet the lion’s paw could caress the keys with a touch tatory course, and alt of our midable task, nobly executed, of raising the art of Tourjec succeeded. But he was always trying to put wife and housekeeper, added that of a piano teacher. I like velvet, and what a tone he drew from the piano! iahed courses in music theory music to the level of the others! some uplift into the rather soggy mass of musical Where she picked up her slight knowledge of music, Liszt, on the other hand, was the magician evoking all F the study is found uninterest- We now reach the eighteenth century, which brings knowledge (or lack of it) which he had to deal with I. know not, but I do know that she was responsible the splendor of the East; its hot, surging voluptuous¬ o he laid nowadays at the door a rapid development of pianistic technic. Domenico at that time. He had founded a great conservatory, for many bad habits which it took me years to eradi-f ness, the dazzling brilliancy of gorgeously set gems. •r than attributed to the study Scarlatti and Muzio Clementi, 1746, inaugurate the and worthy choruses. One day he thought that he cate later on. It was quite the usual thing for her to | But he could also let loose all the lightning and thun¬ era of the virtuoso proper. Scarlatti’s piano works would lead the amateurs towards orchestral playing. carry on her household work while giving a lesson.' der of a torrential temperament, and his playing, in ne thing is noticeable in Euro- are intended, almost without exception, for the display the palmy days of his virtuosity, is said to have exer¬ not by any means to the same One evening, in the conservatory, he said to his choris¬ She would often bring her cake bowl into the parlor, of technic; it is still scales, arpeggios and passage cised over his hearers the same witchery that was af the water. Nowhere in the ters and other students: "We ought to try to build and, while vigorously .stirring a cake, at intervals beat work; double notes and passages in chords appear sel¬ attributed to Paganini. of educational attitude within up an orchestra. Will each one who plays an instru¬ time on the bowl with her spoon. A mistake in my Saint-Saens, himself one of the greatest of French wen s«> marked as in our coun- ment meet me to-morrow night bringing the instru¬ playing was rewarded with a cuff on the ear or a rap j dom, but he exploited considerably the crossing of pianists, and whose piano compositions, especially his to many a thoughtful prophet ment along, and we will see what can be done.” on the knuckles, accompanied by very intemperate lan-, hands in skips, taken at a rapid tempo, which, trivial concertos, have enlarged not a little the brilliant and ing pri e of The next night came. The amateurs also came. guage for a minister’s wife. Doubtless I justified it! as the innovation may seem, gave great brilliancy to effective repertoire of the modern pianist, says in his tncncan school of artistic production* There were twenty-one of them. There were two I mention this incident as an example, and by no means the playing and a new outlet to technical proficiency. Portraits et Souvenirs: “One would hardly believe pired the hopes and impelled the gar- violins and nineteen flutes! The orchestra was not an exceptional one, of the teaching of those days. I Towards the end of his life he' grew so fat that he with what radiance, what magic prestige the name of tbose who long for the advent, and founded. This town to-day supports some excellent teachers,; could not cross his hands any more on the keyboard Liszt appeared to the young musicians during the early (he composer of American music. In the same conservatory at present Mr. Chadwick who, it may be said, are all subscribers to The Etude. and could not play his own pieces. “Served him right,” has formed an orchestra of full symphonic size, made days of the Imperial period; a name so strange for HENRY T F1NCK. will undoubtedly be the expression of the young lady almost wholly from conservatory forces, students and us Frenchmen, sharp arid cutting like a blade of steel, with her hair down her back, who strives to hit more faculty, which has given all of Beethoven’s symphonies traversed by its Slavic Z as if by the flash of lightning. iwmtwr of IJ00 concert* in or* season than two accurate notes in his lovely, joyous Sonata except the ninth, and has played many programs of As an artist and as a man he seemed to belong the ts of Wr have enough of them, huw- in A major. the most advanced orchestral character. But probably etude jubilee greetings received the legendary world. t necessary for me. during the opera nolu of them know about Dr. Tourjee’s orchestral TOO LATE TO BE INCLUDED IN dementi’s aim was further to develop technic. His “The majority of the pieces which he had published ny sometimes two or three assistants, attempt of almost thirty years ago. passage work requires more strength of fingers and seemed impossible of execution to anybody but him, ieve in the Berlin plan of having one THE REGULAR COLUMNS. wrists; he gives attention to the playing of thirds, al¬ and they were so indeed according to the precepts of ral concerts on one evening, which is though sixths and fourths do not yet appear to any the old method which prescribed immobility, the elbows he performer ami the critic. EDWARD B.VXTER PERRY. To MY OLD AND VALUED FRIEND, The ETUDE:— extent. His Gradus ad Parnassian marks the begin¬ immovable, near tile body, with a limited action left ted an invitation .Zllen,Jhe*ne,r>> nt TrTB Etude Jubilee first fi~~ - ie New York „.C'’r.d,al Gr<*‘,inss and Best Wishes for its Thirtieth to.„ e j!tera^V showered with the most cordial conortfit ning of modern piano playing; it is a work of lasting to the fingers and to the forearms.The influ¬ "T? sentiments from Etude friends everywhere. It w* ence of Liszt on the destiny of the piano has been ■ Error was , Birthday Anniversary; with congratulations on its past occurred to vs that it would be a fine plan to publish mam value. Contemporaneous with Clementi were Haydn, days there was so little to do f< success and earnest hopes for its continued and in¬ o/ Hiese. Some arrived too late to be included in the ref- 1732, Mozart, 1756, and Beethoven, 1770. immense; I see nothing to be compared to it except creasing prosperity and usefulness. hereCOllmnS reserKc^ for this purpose. We present then There is no need to tell the reader what these three the revolution brought about by Victor Hugo in the mechanism of the French language. It is more pow¬ ditonai work I even Tted 5" erry to go names mean for music. From a pianistic standpoint in mnnlcrioT wT? ‘"p Ht,Ie.eersonal reminiscences Congratulations and best wishes for your good work. erful than the influence of Paganini in the world of ■mments are now in connection w,th The Etude in the past? Beethoven’s Sonatas and Concertos represent a new rred by the M May The Etude continue to prosper. the violin.” newspapers as wc aPex in musical literature. The facile, none too strong r.uropc and settled in Boston, I inquired among all Xaver Scharwenka, ^ fingers and wrists, that play with charming grace the LISZT’S ACHIEVEMENTS. wd concert* were few and far between, Eminent composer, pianist and teacher (Berlin). I productions of all the older writers, and even the fluent season was short and easily disposed of. This is true, but not only as a virtuoso has Liszt Accept my best congratulations. The Etude has n? Sonatas of Haydn and of Mozart, fail here entirely. best wishes for the continuation of the good work achieved a revolution in the manner of playing the . « ***""* *n which vividly Conceived by a mighty mind, depicting the entire differtnce Iwtween then and now. or many, many years to come and my best thanks, a-' piano. In every direction has the powerful influence range of human emotions, with the orchestra ever ate lias escapcsTtny memory, but it was a small unit in the mass of beneficiaries, for the noble of this remarkable man been felt He transformed, work done. present in their wealth of color, and in their disregard A FAMOUS QUARTET OF PIANO POETS. ennobled the transcription for the piano of songs, wrs art^ One of the early attempts to of technical difficulties, the piano works of Beethoven organ pieces and orchestral pieces, so that they have i- ■ Dr. W. W. Gilchrist, Mendelssohn (1803), Chopin, Schumann (both bom advancement of "musical'an* 1^"°" ** compelled a new manner of piano playing. Virile, become an accepted part of the higher piano litera¬ Eminent composer, conductor and teacher (Philadelphia)■( in 1810), Liszt (1811) wrote mostly for the piano and t ™r*c* ,n m'd«tream. give up hands ,0 The Etude. I found it I L , 6? °n a11 nigged strength allied to feminine (not effeminate)- ture, instead of being, as they were before him, endowed it with a literature so vast and varied as to fan hack on Italan opera Great was lication. with a limited circulation P"b' Hearty congratulations and best wishes for the con, grace; strong, yet supple fingers, wrists and arms; musical atrocities. He invented new, better ways of unued success of The Etude. create for our instrument again a new era, the richest ft/' tmcnnvrrtcd critics over the great forcefulness of accent and delicacy of touch, all musical annotation; he taught; and his pupils, through and most brilliant it has known. ■^srsi'Sss b . Dr. H. J. Stewart, ; these are needed when playing Beethoven; but more their own well-earned fame, have proclaimed the peda¬ !.> nr l>**e rwn,t: "W»«ner Eminent composer and teacher (San Francisco). As creators of a new style of piano playing, Chopin than that: one must have lived—for the canvas on gogic genius of their master. He created the sym¬ generation of pianists owes much, but he was himself to sway and subjugate our willing selves. Beethoven daring innovations. He also made known to us the WI3 ,0h.,'C^hin^.qi"li' were most taken and most 'Cal Publications vraittc mat the hest tn- ^Press my appreciation of The Etude. 1 ‘he teacher of Liszt. wrote vast problems and struggles of mankind against Beethoven of the last Sonatas. He gave to Wagner pabie of drawinf 'ha. among teachers sSnSd ^ 1 ,earn^ such help of friendship, money, artistic support in pro¬ forth the child’s The Ftt ^°Ubt l.,lat 1 owe my success as a teacher We are now- in the nineteenth century, and the piano fate, and his joys and sorrows are so big as to be fvelop ten copies of The Etude at |eJ?*Jni*«w«rs aS we,!- ducing his operas, such untiring efforts in his behalf de and its founder. Hearty congratulations. °r which Bach, Handel, Haydn, Mozart wrote the meant for the entire human race, and therefore we, that no small thanks are due him for the final success Mrs. U. B. White, greater part of their works becomes more and more single individuals, sometimes fail to understand him. “ °” “k «' ■» wiMiaisj of Wagner’s genius. He gave to the virtuoso, by his Teacher (Rangoon, India) e favorite medium of expression. Schubert (1797), Chopin wrote for the heart of man and woman. All the ETUDE THE ETUDE 23 22 as well as a solid basis in the past. So Herbart argued POSITIVE VS. NEGATIVE TEACHING. nun example. the tump of the man of the world, cul¬ that equal prominence should be given to "absorption” tured. refined, eagerly accepted in the highest circles. and "reflection.” By “absorption” he meant the yield¬ BY EDWIN HALL PIERCE. With Schumann piano technic grows more massive. With the World’s Great ing of the mind of the pupil to acquisition of facts and Ic*.« scales, arpeggios and passage work, but a more ideas. By “reflection,” the assimilation of those ideas In attempting to be perfectly conscientious in cor¬ orchestral style in which double note* and chords Etude Jubilee Greetings Educators and facts. Such reflection would preserve individuality, recting all of a pupil’s careless errors, did you ever a)»'tind. The same holds good of Itrahms, whose By DR. E. E. AYRES because in such deliberate reflection the objects em¬ meet suddenly with this discouraging outcome—a l«itger. more difficult works require a technic for World-wide Congratulations from Etude Friends phasized always depend on individual choice. Reflec¬ melancholy timidity, coupled with a marked loss of which the Etudes of Chopin are no sufficient prepara- tion, therefore, involves rejection of such ideas as the technical power, movements of the pupil’s hands becom¬ (Continued in alphabetical order from page 8) pupil’s mind cannot adapt to its own ends. All this ing like those of a fly caught on sticky fly-paper? The Krom the time of Liszt and Rubinstein to ours a would apply to music teaching. How to give the pupil worst thing about it is, that such a misfortune seldom h»*t of famous virtuosos, of all nationalities, has To have influenced thousands of students for a gen (ireat artists create waves of enthusiasm that follow the advantage of traditional interpretations and meth¬ overtakes the careless and incompetent teacher, but sprung up. and i* were idle to quote names known eration is a life work allotted to but few men. Accent in their wake, as the tides of the sea follow the moon; ods without making him conventional, how on the other rather the extremely faithful teacher who is well the world over In thr same time a love among the my hearty congratulations and best wishes. ^ but solid musical culture reaches higher permanent hand to develop his individuality without making- him equipped in every respect save in the highly important general public for piano playing and an understanding R. Huntington Woodman. levels and wider hounds mainly through the activity ert crude, unpolished, barbarous is our problem. The matter of tact. for and cultivation of the master works written for Eminent Organist and Composer (New Yorh) teachers anil students. In view of the democratic The secret of avoiding this unfortunate state of the piano have grown in a wonderful manner. This “conventional” musician is like all other musicians and manner in which The Etude addresses itself to all has no message for the world. The “strictly original” affairs is two-fold—first, all directions should be given high level of musical culture and appreciation I have Best wishes for the Jubilee of The Etude. Vivat! “The Father of Educational Psychology.” concerned with music, spreading broadcast the best musician repeats too many of the wretched blunders in a positive, not a negative form; second, the teacher been aide to observe throughout my numerous ex¬ Crescat! Floreat! thoughts of the greatest musicians and at the same time of the past without knowing it, or without caring. should never allow himself to feel the least inward tended concert tours in all countries of Europe and all giving careful attention to the simplest wants of begin¬ Luiza Tetrazzini. Pestalozzi was a re¬ Either extreme is a failure. The one is of no ad¬ doubt of the pupil’s ultimate success. To illustrate the ners. I regard The'Etude as the most widely influen¬ Eminent Singer (Milan). former rather than a nrn pianists entered the field as vantage to society, contributes nothing, counts for noth¬ first point, I will give a few examples of good and Only lately tial educator of our time. , psychologist; but he was with what brilliant success the Albert Ross Parsons. well aware of the fact, ing; the other is not likely to gain the ear of society, bad methods in correcting common errors: I congratulate you most heartily upon the thirty year reflo, Kssipoff. Sophie Menter, Eminent Teacher (Xew York). that any valid science of whatever his original message may be. And much of jubilee of your highly valuable monthly journal. Yom •POSITIVE TEACHING. NEGATIVE TEACHING. r de Miclos, Gotilde Klccherg, education must be based his vaunted originality will prove to be of little worth. work has proved of great educational benefit to pupili STRONG AND GOOD. WEAK AND BAD. urntly show. Congratulations upon The Etude’s Thirtieth Anni¬ on psychology. He was as well as teachers. The Etude is an encouraging “There, look out, you versary. May it live and prosper many another thirty a careful observer of the SPECIAL FEATURES OF HERBART’S METHOD. “Remember that the example of progress in musical journalism. are playing that F sharp THE FUTURE OP PIANtSM years. , mental processes of his 1. The teacher must help the pupil to understand his sharp found earlier in the Maud Powell. Emil Sauer. as F natural again, just pupils and adapted his present stage of development. He must assist him to measure still holds good. Eminent Violinist (New York). Eminent Pianist (Dresden). as I knew you would. mg of this essay, the question methods of instruction distinguish the ideas already in his possession. What will this note be You always will forget t future firing us’ to these processes as he 2. New material must be presented clearly. The Cordial congratulations upon your jubilee. The To The Etude upon the occasion of its Thirty Year then? F sharp—yes, if your unmarked accident¬ music will have to follow the understood them. . His good teacher must know how to distinguish things that Eti hi is one of the most interesting and useful of Jubilee, good luck and all best wishes. you please, you will al¬ als. Be careful. Be mankind towards a less artistic true successor is found differ. musical journals, and 1 am certain that you have con¬ Ernestine Schumann-Heink. ' ways play it F sharp, careful now! i. The mechanical piano will lie in Herbart, the philoso¬ 3. The teacher should help his pupil to group his tributed to the raising of the standard of musical art Eminent Opera and Concert Singer observing now how much “Look out how you e •'performer," by manipulating pher, psychologist, and work around some central subject. Ideas must be in America. (Caldwell, N. ].). run those notes together. hands and feet, will lie able to pedagogical expert. made to support each other in accordance with the better it sounds.” I. Philipp. What do you suppose Kich, accentuation and color to Herbart, the son of a Law of Association. This Law of Association, or “The effect desired in Professor of Pianoforte. Paris Conservatoire (Paris). The number of young minds whose awakening Herbart those little dots are for— he pianist does now. and the re- lawyer , and Apperception, the followers of Herbart have tried to this passage is that of a curiosities in matters artistic have been stirred and just printed there to see r, hut with greater effects, with Put me down as a friend, past, present and future statesman, was well trained in the home before he entered apply in various ways. Some have proposed history crisp, distinct staccato. satisfied by The Etude must be incalculable. I con¬ how funny they will look? « and rapidity of enunciation of of The Etude. I have always read it with greatest' the schools, and had during the entire period of his' life as the central study. All other studies would then be gratulate you most heartily on the brilliant success ol Listen while I show you, After three years of in¬ The device, until now sought interest. With best wishes. the most favorable surroundings, for his intellectual grouped around history and become phases of that sub¬ these thirty years of musical pioneering, during which and observe the finger- struction. don’t you know ribrato" can be imparted to any James H. Rogers. growth. His mother studied the Greek language in ject. Others have urged science, others geography, action by which I obtain the difference between Eminent Composer (Cleveland, Ohio.). you have spread valuable information, stimulated others economics, others social life. Many music kr the vibrato a violinist brings order to help her son in his studies. He received his staccato and legato? thought and fostered enthusiasm, the alpha and omegi teachers have found the historical method most this result. You may not I. the tone will lie sustained, in- doctor’s degree from the University of Gottingen in Don’t creep clingingly I always take advantage of occasion to recommend of all human achievement and particularly art. fruitful. be able to do this at once, d at will, as produced now by 1802. He had previously studied also at the University from one key to another, I'm: Etude as a musical magazine to those interested Sigismund Stojowski, 4. Herbart put great emphasis upon the importance but keep in mind the ef¬ i»f wind instruments. More than of Jena. Before his graduation he had acted as tutor as you mignt in cantabile in music. Hearty congratulations. Eminent Pianist (New York). of interest as the only emotion that really assists ob¬ fect you wish, and in the of the orchestra will lie played for several boys, and his interest in pedagogical meth¬ passages. Don’t forget Clara Kathleen Rogers. servation and reason without in any way hindering will lie possible for one person ods had caused him to visit Pestalozzi. He had made course of a week’s prac¬ that each finger must en¬ Eminent Singer, Teacher, Writer (Boston). With best wishes for the continued prosperity ol them. By exciting the interest of the pupil, indifference ten of them, or possibly all. so written reports on his own methods and observations, tice you will surely get it. tirely leave the key. Don’t The Etude. and stupidity must be overcome. In a large measure nan-potator" will "play" alone In congratulating The Etude heartily upon the far- Remember that almost be so careless as not to Marcella Sembrich. and had written an essay on Pestalozzi. From 1802 to the good teacher is able to control the interest of the I violin, quartets fur piano and reaching and extraordinarily thorough work which the the whole effect of this notice every sign on the Eminent Singer (Berlin). 1809 he lectured on pedagogy at Gottingen. During this pupil. The last word of pedagogy is, “Make your chestra journal has done for real musical education. I feel that passage depends on it.” printed page.” period he published his book on The Chief Function of instruction interesting, and do so by making it clear, ■possible, say you ? W ild fancies and dreams the musical world owes a debt to The Etude for its Education. In 1809 he became the successor of Kant and by showing its connection with the whole of life.” <‘*d *peu. Hie whole musical world will participate in and never so good as just now. ties on education in America are nearly all Herbartians. “We know that when writing his songs he always admonitions to give, be sure to voice them in positive * *w* ”vr forever, in defiance of time, of mankind =™,,l,„nB „ h, «, « Lr "Ert’,'; Charles E. Watt. conjured up before his mind’s eye a realistic picture itself. Xor do I believe that the love for music study, form, that is, as encouragement to do some particular Editor of “Music News” (Chicago), HERBART’S VIEWS. of the scene; he told Kauffmann, for example, that in nor the occupation of the teacher will be lessened in thing, to imitate, to attain, in general, to act, rather Eduard Schutt. the case of Weylas Gcsang he imagined ‘the protecting the least. Rousseau had exalted the '‘natural methods” of ob¬ than to avoid, to abstain from, to be careful not to, Eminent Composer (Vienna). The Etude has a clear title to jubilate over the g0** spirit of the island of Orplid sitting on a rocky ledge servation and experience in his violent protest against or in general to cease from Action. work it has done to all engaged in the musical world the excessive traditionalism of his day. He made little in the moonlight, holding her harp in her hands;’ in Nowadays thirty is considered the prime of hums* of instruction, and everything of natural development. the second Cophtisches Died he pictured ‘a banquet, of wise men from every land, singing a jocund, high- When a boy says “he cannot see any tune in his |.r,i„pm„ ”',h PJWM hfe, but there is no age limit to The Etude ever Locke and others had made too much of systematic, tal bard of Stratford oo-Avon. should it reach that of Methuselah. Hoping that ' spirited song and draining their bumpers at each mention the most potent factors 1 ,asked ty formal instruction, and exalted the intellectual au¬ piece,” he means that he does not understand the i glows in those tone poems, will and that its prosperity will increase with ever thority of the teacher. Herbart criticized both refrain,’ and so on. , . rhythm. Now rhythm is of all parts of piano teaching left to us as a priceless legacy year. “He neglected nothing, in fact, that could help him extremes. He argued that the "natural” man would the most difficult, perhaps because it is the most obvious. George P. Upton. to concentrate his whole faculties upon the little picture The Etude as heading the list aL \ c ',ame find himself unfitted for social life, and the strictly Boys generally learn “the tune of the piece” by having Eminent Critic (Chicagp- to be painted or the drama to be acted, so that his congratulations. ' Aceept ra>’ heartiest it played over to them; and they pick it up this way conventional man would be so nearly like other men hypnotic possession by it might be complete. He would easily enough. But if their natural sense of rhythm Eminent r 'Yilson’ G. Smith. that he could be of little use to society. The strictly read the poem one day and reflect upon it until it had wee upon a Accept my warmest greetings on your thirty )’<* Eminent Composer (Cleveland. Ohio.). natural” man would go on repeating the blunders of fail, and they cannot understand it in that way, it is jubilee. It is a matter for congratulation that so c entered into every nerve cell of his system, but think ayW?T ma".brTO*hl hi* ,n,Pcf,Kin an origi- past, learning nothing from other men’s experience. most difficult to develop the missing faculty artificially, composition. Cxnng carefully over the manuscript Thirty years is a long time Them a j ournal has made such a great success. Such a J° very little or not at all of how he would set it. He The “conventional” man would be so completely under would go to sleep, and in the morning the song .would and the attempt I fancy is rarely made. The result he pointed to passage after passage where traditional .'ears’ war. I know that you have 3 ,hir,-v na ’ Soing into homes of musical people all over of this system of teaching “time” is that boys find the precept* were disregarded Eor each ami every one l" a,e The F.tvde deserves it anH ? * years of country is bound to do a great deal of good, especia' the influence of the teachers of to-day, and would de¬ be already made by some mysterious alchemy so fully upon its success. "* and 1 congratulate it formed that in noting it down his pen could hardly t e young composer produced a parallel from the works in the smaller towns where advantages are few pend so little on his own personal experience and greatest difficulty “making out any tune” for them¬ keep pace with his brain, while scarcely a note or a oa great composer. At the end the master passed . John Philip Sousa tar between. May you live long .and prosper. observation that he would simply prolong the errors selves. Even comparatively good players fail to read rest of it required to be altered afterwards The "^t ^a"dmastcr (Everywhere). Fannie Bloomfield Zeisler. °f his own generation. True education must avoid at sight, because they are so accustomed to have every¬ WMh ,h* w”rd5: “Yo” havc al1 both poems literally set themselves. Wolf was only the ex¬ be fauhs of a.1 the composers. -Home* A. Norris. Eminent Pianist (Chicago)- extremes; it must respect tradition sufficiently to thing played over to them first that they cannot under¬ pressive medium through which all the deeper eep one from repeating the blunders of the past, and stand the time from the notes.”—E. D. Rendall, in significances that were latent in the poem were made ave individuality enough to make some real advance Hints on Teaching. Possible. There must be some promise for the future visible and audible.” 25 THE ETUDE the etude 24 M. Jourdain. Act I has a serenade, a pastoral duo The prc-classieal period, he notes. wa. ?£ minuet with the dancing master, a tailors' dapee 7! to thV fifth overtone, and relied on triad so on. Act II brings the Ariadne entertainmeffi!^ romantic school brought in the s.xth of tbe ^nes, by M. Jourdain. The thirty-five players ha?e hard making seventh chords usual; whtle the mod*™* " > work, but the score seems interesting. If the Rosen Musical Thought and Action on perceptions of ninths and even more advanced kavalier is a labored echo of Figaros llochzeit, the" chords. While this is true, it is hardly fair for Mar- The Etude Master Study Page in the Old World Ariadne may be a fantastic reflection of Die Master nold to consider it a final justification of certain com Hy ARTHUR ELSON singer. But D’lndy was wise in saying that Straus- posers. Because a new chord grows familiar. it does is a follower of Berlioz rather than of Wagner- not signify that the old effects are superseded. They Richard the Lesser does certainly “cipher with-notes.1’ should lie merely amplified; composers should use t e He is now said^to be writing a ballet on a biblical full range of possibilities, and not limit themselves to NEW IDEA* UPON MUSICAL PSYCHOLOGY. subject connected with Joseph. a mere revel in what is new and comparatively strange. New operas include De Lore’s Trnis Masques, Grel- Ami a period of deep thought on the psychology In this respect a Debussy and a Schdnberg show them¬ finds the subject not wholly finger’s Hans in Schnockeloch, and Giordano’s Madame selves extremists, where a Wagner or a Liszt was chord development along the Sans-Gcne. Puccini’s next is to be called “Gayety of broad enough to blend the old effects into the new, University (1877), but accepted that of Ph.D month, suggested a search as Heart,” while two of Mascagni’s are Cleopatra and BRAHMS’ PERIOD. and build on a solid foundation. from Breslau University (1881.) In 1886 he was lo bon or why w< music; and here goes, The recognition of relation of effects, then, lies at The Rose of Cyprus. Madrid will hear operas by The Germany of to-day is a strong fed¬ Knighted by Prussia (Order of Merit). He was A large part, c e. is due to association. We the basis of musical perception, unless we are going Breton, Del Campo, and Arregui. Madrid orchestral eration of German states under the imperial the polar antithesis of Richard Wagner, to whom rrcagnuc a man ralt*. a minuet, etc., by the to create a new system of music. Thus we have grown composers include Cales, Villar, and De La Vina. dominion of the Kaiser. One hundred years tranquility was a welcome hut an unattainable rhythmic structure, which have already learned to to a point where a unison melody will imply its own Reger’s new Romantic Suite will be given at Dresden e0 Germany was no more or less than that attribute. The difference between Brahms and ih the action implied. Other factors enter, harmony in large degree. The reverse is true, that Berlin heard Van der Pals’ violin concerto and Bauss! section of Europe tenanted by people of the Wagner was the difference between the silent of course. In grnetal. high pitch is brilliant and cheer¬ harmonics may imply a melody, as in the Gounod-Bach nern’s third symphony, while the fourth of Sibelius German race, divided into small kingdoms and majesty of peace and the glorious clamor of war. Yet ful white low pitch is not; and one wonld trace this Air Marin. The mind naturally takes the simplest proved rather a puzzle to London. D’Jndy’s Jour principalities, of which Austria was always considered Wagner unquestionably placed himself and his music directly to the fact that an increased vibration-note d’Hf.dans la Montague was much liked in Paris. a part It had suffered from the ternhc blows that causes an increase in the number of tiny sensations course first; but it is for the composer to give us in more definite contact with the human needs of his A Richter story' seems of interest. Richter was a Naooleon delivered to his enemies and was staggering received in the brain. The low lone is louder, and something more ambitious. When we hear the music time than did the ascetic Brahms, working in art prin¬ great horn-player before conducting; and when Wag¬ along under the influence of the reactionary Austrian carries farther in boat whistles, but the high note of the masters, we sec that it is better than what we ciples often far to complicated for those of more frail ner submitted to him a hard passage from the Meister- minister Metternich, who was so suspicious that he even causes more of the vibration sensation that is the basis could have written. The secret is, to some extent, intellects to comprehend. singers, he proved it practicable by playing it. Later prevented musical festivals with the fear that they of cerebral attention and pleasure. This may indicate variety. The mind cannot focus itself on one object BRAHMS’ PERSONALITY AND APPEARANCE. for any time, without having a “mind-stream” of other at a Munich rehearsal led by him, the horp-player might be revolutionary gatherings. The political why, after we learn the major scale, the minor mode Brahms’ appearance was impressive despite the fact things suggesting themselves. So in music we note a balked and called the passage too difficult. Richter at renaissance of Germany really began with ,the entrance seems gloomy, if we learned the minor first, the major that his head was abnormally large and his body small scries of changes in vibration relations. These changes once seized the instrument, played the phrase, and of that master of diplomacy, Otto von Bismarck. would »e«n more than ever brilliant. Hut folk-songs and stocky. His complexion was ruddy, his eyes blue themselves should have variety without continued shamed the man into his duty. Oddly enough, the When Brahms was born Bismarck was at the begin¬ and popular music teach us major effects even before and penetrating, and his hair slightly gray in his ad¬ abruptness. In fact, this variety and contrast, this con¬ recalcitrant one was the father of Richard "Strauss ning of his iron career. Under the great Chancellor, we bey us to study. They arc. in fact, based on the vanced years. The fact that his name appeared on stant solving of relation puzzles, applies also to rhythm who now makes the players work harder than ever! Prussia became the force which resulted in the German •ivertooe icric*. the "chord of nature.” ' several church registers and that similar names of Similarly, in rhythm, rapid notes seem more brilliant I and all other factors in music. Empire in 1871. All these things occurred during the other branches of the same family have been found in than slow ones, and loud notes more striking than It is another matter lo say why certain of these THE INCOMPARABLE BRAIN-TRAINING life of Brahms, and it is not difficult to believe that records of different churches apparently contradicts softer ones. The bright schcrtot of the Reethoven relation puzzles should cause certain emotions when the VALUE OF MUSIC. much of the great power which marks his works came the assertion that he was of Jewish ancestry. symphonic* are often as fast as the swiftest galop. If car solves them. One would be pleased to have expert from the dynamic political atmosphere of his time, an Brahms was inordinately fond of walking, particu¬ in marches the tempo is less rapid, we find a new psychologists attack this problem. In general, one may BY ALBERT J. SILVER. . J atmosphere also capable of influencing a totally dif¬ 1833—The Real Brahms—1897 larly walking in the country, after the manner of Bee¬ factor to attract attention—a noticeable regularity of suppose that a -progress from simple to complex ferent type of composer such as Brahms’ great contem¬ thoven. He rarely missed a day without a stroll of pace and accent. This, with the usual loudness of a changes, if not too abrupt to be followed, would (The following from the well-known teacher of some length. Mountain climbing was another of his march, is sufficient to give it a cheerful character as heighten interest, while a return from complex to sim¬ music and writer in England is worthy of serious atten¬ porary, Richard Wagner. well as martial associations. Some new factor, like ple (in its briefest form a cadence) would give the tion.—Ebitor of The Etude.) favorite pastimes. As he grow more fleshy in his later BRAHMS’ ANCESTRY. years he found climbing difficult and would often stop the minor mode, k needed if a march is lo be made satisfaction of a solved problem. Chords that suggest The union of directors of music in secondary schools “Blessed is he, who without hate shuts Himself from Brahms’ family name appears in some forms as Brahmst his friend to see some remarkable view when he was gloomy Constant softness will also modify the effect solutions arc particularly expressive; and among these in the United Kingdom, with the cooperation of head the world.”—Goethe. At least it may be so found upon the program of a concert really “out of breath” and unable to go further. He somewhat; not an expected sofiness. like Rolf’s picture lirst place goes to those that suggest the tonic—i. e„ masters of the great Public and Preparatory Schools, given in 1840. The master’s father was an able but tittle known musician, Johann Brahms. He played the v o• a, was so fond of the open air that he always made it a ol the departing army in l.rnore, but an unexpected the dominant, the dominant seventh, the sub-dominant, are making an organized effort to train boys of the but stipulating that he should also take two lessons a softness without a; parent reason. Anything that wo violin, ’cello, flute, horn and contra-bass Hcre and theie point to dine in the garden when the weather permitted. and the sub-dominant triad with the third below, or upper classes in reading music at sight. he managed to pick up nn odd job in addition to his regular week from Marxsen’s former pupil Cossel. Finally hear aftrr actually («cing led to expect it would heighten Marxsen took the boy under his care, teaching him Brahms was somewhat careless in his dress, and for seventh chord of the second degree. The major sev¬ There is no doubt that the recent musical awakening work as a performer on the doable bass at the theatre and the interest and cheer fulness In the Philharmonic concerts, and as a member of the town this reason avoided any form of society where he enth. as found on the fourth degree of the scale, is in Great Britain has revealed the existence of a love without compensation. The world owes a great debt This expectation factor gives the charm to the military band. Despite bis versatility and ab.lity, Brahms to Cossel since it was only through his magnificent might be obliged to abandon his free attire, often noticeably strong in effect. That on the first degree is of music, together with a power of appreciation which, father was so poor that he was not above “passing the hat higher forma of counterpoint. Wc know what to cx- self-sacrifice that this was brought about, and through accented by a picturesque loose flannel shirt without a less pronounced, being nearer the tonic. An example after the neglect of nearly four centuries, is 'a very when he played in summer gardens. Brahms’ mother was pect—themes and figures that will play their part over of strong chord expression may be found in the theme delicate, ordinary, and it is said walked with a conspicuous his persistence that the parents of the boy were pre¬ tie of any kind and a broad brimmed soft hat, which again in the different voices. Wc may listen to the sinking phenomenon. In no part of the country, and limp. She was seventeen years older than her husband. he wore in his hand rather than upon his head. In¬ in the second part of Chopin’s 12th Nocturne- History records little of her other than that she was affec¬ vented from sending him upon a tour as a prodigy, freedom of an invention or the stricter form of the in no section of society, has the attempt to foster good deed, he is said to have avoided a trip to England musical taste and good chorus singing been a failure, tionate, blue-eyed, pious and entitled to that greatest which might have proved ruinous. fugue; hot if the composer uses hi* themes with skill, Herman distinction of feminine virtue, tuchtige hausefrau Marxsen was a thorough musician who had had an to accept the proffered degree of Doctor of Music ut more than this: in some of the most unpromising wr are constantly attracted through the mental process (tidy housewife). excellent training in Vienna. He took an unusual in¬ from Cambridge University, because he feared he would istricts of rural England it has been found that class of rrewgnhion of the expected. The same is true in terest in the boy and saw to it that his general educa¬ be obliged to wear a dress suit. Indeed, he was one eac tng of sight reading has done much for the general BRAHMS’ BIRTHPLACE. large degree of symphonic development, and to some tion in the regular school work was not neglected. He of the most striking figures of the Vienna of his day. extent of all musical form. quic ening of brain activity among children apparently As you look upon the ramshackle building in which Brahms was born, it should he remembered that, like so obliged him to transpose long pieces of music at sight. He would often appear with a somewhat dingy, But psychology is now going deeper. In the review inaccessible to all other forms of intellectual stimulus; many other German edifices of the kind, it was a Wohnung At the age of fourteen Brahms gave his first concert, brownish-gray shawl thrown over his shoulders and ol Friedrich Ikiscnberg’s work, in Pie Musik. several The last five chords give the pronounced major sev- and, indeed, no estimate of the value of this effort is or a tenement. The Brahms family occupied only n few playing the following program: clasped in front with an ordinary pin. Brahms was ideas appear A tw»-noted interval, for instance, is "‘b’ h* '"'-'rsion of the seventh on the second degree, worth anything which does not include the fact that rooms, and their home was very close indeed to abject poverty. This “home" was located a dismal”-’ little lane naturally retiring and was fond of quoting Goethe’s regarded as a psychological unit, the notes at each end WO sub-dominant forms, and the tonic; while the first « is distinctly a form of brain training. /iwuyiuAdagio unwand ..Rondo. Rosenhain in the city of Hamburg. Brahms v is born tbere Tuesday, .. Dohler line, “Blessed is he who without hate, shuts himself serving to show a certain scale-distance, just as it May 7th, 1883. His mother was then forty-four years Fantasie on William Tell. * ^ 8es “f chord were brought about by the move- is affirmed that the intellectual training of any j .Marxsen from the world.” takes two marks to show an Inch space on a ruler. old. Ills father twenty-seven. Serenade for left hand.... kter cLl S,ng C n',U' 1,hr0"gh one def>ree- and the two young boy, no matter how quick or how slow his facul- .Herz Although Brahms avoided notoriety he had many This, ol course, plays its part if the notes occur suc¬ later changes were almost equally simple. It seems Etude ... ro S,™ay. Je’,wdl benefit by a continuous course of,sight BRAHMS’ EARLY TRAINING. friends and enjoyed a controversy above all things. In cessively. as in melody. Some give each pitch its special Fugue. . .J. S. Bach h,'*ifS ' thc*ccrct of expression would lie in reading in class, through the years from 9 to 14. More- his youth he had a tendency to be brusque and sar¬ character, kit it is far more important to differentiate Brahms’ first teacher was a pianist named Cossel, Variations on a Volkslied..Johannesj. Brahms unexpectedly great harmonic changes, produced by sim 77’m } £ case 7 tlle lowest boys, it is found'to be castic, but with later years this irrascability was soft¬ between the degrees of any given scale. There is also pie means, and proceeding from complex to simnle who gave the boy his first lessons when he was seven In 1853 Brahms went upon a tour with the Hungarian T?ne u ijT6 a response is never withheld. ened by good humor. Brahms was a man of wide a monistic and a duahstre theory of intervals, the for- formations. But that may he only on?of m;„v3* years old. At ten he was so advanced that he played rmi thatt is a mistake to imagine that for a violinist, Eduard Remenyi, a great relief from Ins interests. He was keenly alive to the great innovations mer apparently chiming that any interval when possi¬ a study by Herz at a Charity concert. During the . rfb e nuiT>ber of boys the study of music would | previous years of musical hackdom, teaching at the of the nineteenth century, the telephone, the telegraph ble take its plac m the chord of nature; K and G. Plan* “ir,would rprove '* attractive. i1™ « Meanwhile onel would ,t same year his self-sacrificing teacher, realizing what oe a useless expenditure of time. The present tendency rate of twenty-five cents a lesson and playing in and the phonograph. Brahms was kindly to his servants for instance suggesting the t..nic triad of C rather splendid talent the boy had. took him to the nearby lokals (cafes). Remenyi introduced Brahms to than that of E minor. tram' encouraSe all-round as distinct from specialized I and such a lover of children that he often permitted FCZSZT*amhorities *ake .52 city of Altona to Marx- Joachim, who recognized his great talent. Joachim in voun» f an »*'tnething ehe-«nhcr the does tra! .tram'ng ,s likely to prevent, uniting; as it ried. He disliked cere¬ the piano; but one may doubMhl? 'nf P°SSib‘lities of sel. However, his father’s Lippe-Detmold. In 1862 Brahms went to \ tenna to be mony of any kind and es¬ ’i**"?*- ,>r ,hw of » k*r to which wc have Dower* °* Sense Perception and of reasoning present writer once knew T it l The friends were not satis¬ near his friend, Theodor Kirchner. In the Austrian modulated. When we hear the following chord we The pWI .a” .aPPeal to the natural emotions, caped it whenever pos¬ words of her own for CJ- «£ *rl *h° Rented fied and a concert was musical capital he was honored with the post of Direc¬ compare it with what went before, and notice in what its rW ha ,mP°rtance of the sense of rhythm and sible. of a child's vocabulary It jJ a and °‘her terms given in the Bier Halle tor of the Sing Akademie. and later with that conduc¬ way the relationship to the keynote is changed—what has nAf C0nn,ectl01? w‘lb a feeling for law and order : BRAHMS AS A PIANIST. ‘hese up in later life!’ But the^ol^ ^ She gave “Zum Alten Rabe" the tor of the Gesellschaft der Musikfreunde From 1864 choru* •ee-' °St s7bt °i > also the moral discipline of A casual examination second chord differs from the firsth so ,hc much choH that- ,fa new«be renounce hi, peculiar idioms, for “n mu' "eve.r proceeds of which were to 1869 he spent part of his time in Hamburg, Zurich, insisting1”81”8!. Wh,cb encourages self-expression whjle of Brahms’ pianoforte 7" ****** he teady to worship what " °"e ' Baden-Baden and other cities, but Vienna became hts keynote is implied, we do not at once supply it but It subordination. to be applied to the edu¬ compositions reveals at strange. Schdnberg’s trick nf" IS new and ultimate home. He made numerous tours as a pianist, ««t for the third chord I he latter usually determines cation of the young mu¬ once that he employed Press noiselessly on octaves aboJe'th'1wC .right hand be leno+L rm7 tbat tbere is no need for the lessons to but his playing was for the most part too serious m the key m connection with its predecessor, just two sician. With the req¬ chords that ofttimes seem intersecting lines determine a point “• l« the strings Sh f lheuIeft hand notes, tween £ U j* is imP°rtan‘ ‘hat the intervals be- character to win him the great enthusiasm that the uisite funds in hand so remote from the con- This bring, agam Mamold's theory that musi¬ overtones, mav be effective but mpatl,-v with certain Th T sbould be short. virtuoso expects from the public. His life was marked Marxsen whs approached __ ventional chord masses cal appreciation has developed along the overtones. '"War Au^rseemt o tn°?reatValue- between 'l 0nl- some scheme of cooperation by his natural distaste for notoriety and the turmoil again and consented to utilized by the average overture shows humorously the "dL The can be set o U !'C ^cbools an^ ‘be Preparatory Schools of the world. He ignored the degree of Doctor of accept the boy as a pupil BRAHMS WHEN A child. composer that the piano y tne non-musiCianship 0f quickening nfni°0t’ the result wiH be an intellectual BRAHMS AND JOACHIM AT Music when it was offered to him by Cambridge S the social life of the upper classes. THEIR FIRST MEETING. for one lesson a week, THE ETUDE 2/ 26 THE ETUDE admiration for Ernest TO THEE—A. O. T. ASTENIUS. part of each lesson was generally devoted «o Bach to von Wildenbruch, the This is a tuneful drawing-room piece, suitable for a the H ill Tempered Clavier or the English Suit, s, a Austrian playwright third grade student. The three themes are all good and as mv mechanism improved Brahms gradually increased whose works were es¬ well contrasted. This composer has been represented Well Known Composers the amount and scope of my work, and gave more pecially stimulating t0 and more time to the spirit of the music I studied. llil successfully in The Etude on several previous occa¬ of To-day Ilis phrasing as he taught it to me, was. it ne - sions. His pieces are all melodious and lie well under be said, of the broadest, while he was rigorous in exact¬ THE BRAHMS-WAG- the hands. “To Thee” will make a good home or re¬ ing attention to the smallest details. These he some- NER CONTROVERSY. cital number. 3k b- imies treated as delicate embroidery that tilled up and It was natural that decorated the broad outline of the phrase, with a large those who found NIGHT FALL—DANIEL ROWE. .weep of which nothing was ever allowed to interfere. Wagner's modern barcarolle in e minor—x. scharwenka. This is a very easy teaching piece which has met with Light and shade were also so managed as to help to ideas incompatible It will be interesting to compare this smaller barca¬ much favor. It can be played successfully by pupils bring out its continuity. Be it, however, most emphati¬ with their ovvp should rolle with the larger one by Rubinstein, also in this but little past the first grade work. It is so tuneful and cally declared that he never theorized on these points: seek a champion whom issue, which Mr. Stojowski has analyzed in such a lies so comfortably under the hands that young students lent tmd* new and ui’irn very complicated ar- he merely tried his utmost to make me understand and they might put for¬ masterly manner Xavier Scharwenka (1850—), whose are sure to enjoy it. ettnt-nt o! (he key*, demanding significant exten- play mv pieces as he himself understood and felt them. ward as an opponent "Polish Dance” is so famous, is an accomplished pian¬ * of hi* techno It wa» known that Brahma de- He would make mo repeat over and over again, ten or of Wagner. As a IN MILITARY ARRAY—C. W. KERN. twelve times if necessary, part of a movement of matter of fact, the ist and teacher and prolific writer. His ‘‘Barcarolle” lion* vote tit a characteristic and distinctly different is No. 4 in an "Album of Twelve Short Pieces,” Op. 62. This is an entertaining little teaching piece, all the Bach, till he had satisfied himself that I was beginning entire controversy.was uaphrrr. Tin*, perhap*. give* u* a better insight to treble clef. It should go well in an elementary recital, to realize his wish for particular effects of tone or fought out upon jour¬ This piece is of but moderate difficulty, but it is a gem WHEN A YOUNG MAN. played by a young first grade pupil. The drum effect is phrasing or feeling. When I could not immediately nalistic lines and was in its class, with many points of artistic merit. It will performance*. In any event llrabms could never do what he wanted he would say, ’But it is so difficult,' never based upon repay careful study. very good and the march movement is catclty. ailed a *iriu->v» in the *en*e that we apply the term or 'It will come.’ tell me to do it again until he found personal animosity. Brahms was a great Lint. Rnbtnttean. Paderewski, or even Chopin, his effect was on its way into being and then leave me PETIT BERCEUSE—V. DOLMETSCH. THE FOUR-HAND NUMBERS. him *aid of hi* playing when I’.ralim* was a very admirer of Wagner and rarely missed a first perform¬ to complete it.” ance of his works when given in Vienna. Wagner, This is a beautiful modern example of the idealized E. Ohlsen’s “Hungarian March” is a brilliant duet "Brahms, recognized no sueh thing as what is some¬ cradle-song. ■ The two principal sections are contrasted number with the true Magyar snap and swing. It ane>. *o free. so lire*. that' it held me enthralled.“ however, often acid and impetuous, was not wont to times called ‘neat playing' of the compositions of Baeh. regard any competitor in a class with himself. strongly: the first is made up of double-note passages, should be played in orchestral style, with verve ; nd en¬ Scarlatti and Mozart. Neatness and equality of finger over a pedal point, or drone bass; in the second a thusiasm. wore imperatively demanded by him and in their utmost BRAHMS’ COMPOSITIONS. soprano melody sings out cheerfully above a rippling “Under the Mistletoe” is one of Mr. Engelmann’s . when Hrahm* wa* playing alone at the Scltu- nicety and perfection, but as a preparation not as an An English writer (Edwin Evans, Sr.) has recently pub¬ arpeggiated accompaniment. While the harmonic struc¬ best waltzes. It has appeared in Tin, Etude previously end. Varying and sensitive expression was to him as lished the tirst ot a series of three large volumes, giving ture of this piece is modern and slightly dissonant, it in solo form, but the four-hand arrangement is even >o are ilo we people in there playing duet*!"' the breath of life, necessary to the true interpretation a bist du -Heine Kinigen, Mar/elone-Leider, form of Sir Arthur Sullivan’s famous processional stitions for the piano. The best known of these are the BRAHMS' FRIENDS. Botscluift Yicr Emste Oesange, Eeldcinsamkeit, In H'aJ- interest to know that the composer of this piece has “ Rrmembering what Fr hymn. It is woven together in a masterly manner and waltzes: “Eros,” “Little Lovers,” “Sweet Sovenir,” rhumann had said of his Despite Rrahms' natural modesty and constant en¬ deinsamkeit, Die Mainacht, Von Ewige I Ache. WiegenUetl. seen twenty-seven years of service as a bandsman in told h before without douht Brahms’ best known compositions are his should prove popular in festal or general use. It is ‘•‘Pittoresque,” and the airs dc ballet: “La Ballerina,” deavors to escape the "lime-light” he had many friends. Hungarian Dances. These appeared in 1807 as piano duets, the United States Navy. adapted to organs of any size. “Coquetterie,” “Wood Nymphs,” also “To a Portrait” lical difficul- I lie best known of these were Remenyi, Joachim, and were later arranged for orchestra by tbe composer. and asked him to help me. He answered, 'Yes. The melodics were for the most part not original with (song without words), “Felicitations March,” and the Liszt and Clara Schumann, all of whom are well 'WAY DOWN SOUTH—R. S. MORRISON. nast come l>r«.’ and after hearing me play through Brahms, and the original edition frankly states that they THE VOCAL NUMBERS. known. Theodor Bilroth. one of Brahms’ most inti¬ were “arranged by Brahms.” thus making the frequent ac- This is a clever characteristic piece into which a song, “One Day I Gathered Roses.” dy from dementi’s Cnidus ad I’amassum, he im- cu*atl°ns o't plagiarism unnecessary. Brahm’s “Little Dustman” is arranged from an old mate companions, was an enthusiastic musician and number of the good old ante-bellum melodies are tlely set to work to loosen and cqualire my fin- The grandeur which characterizes Brahms’ orchestral folk-song. It has proven one of the most popular of WHY MUST I PRACTICE SLOWLY? writer who accompanied Brahms on many of his walks works is not absent from his piano pieces. There is, how¬ woven in a manner entertaining and effective. In the Beginning that very «h> be gradually put me ever a peculiar quality about his compositions for the most all his songs, and is a splendid example of artistic sim¬ and who was favored with an extensive correspondence. opening portion the player should endeavor to imitate popular instrument, that have kept them apart from the plicity in treatment. It should be sung in an unaffected BY REIN HOLD' E. BECKER. y v Widmann was another whose friendship Brahms noi ice. Many music-lovers seemingly have to develop a taste the strumming of a banjo. This piece should be played sw I should best work for the attainment of my foi them, as one does for rare tropical fruits and scents, cultivated. Brahms’ great journalistic champion was at a moderate rate of speed and with much expression. manner and with feeling. I scales, arpeggi. trills, double notes, and octaves. in some pieces one has the feeling that Brahms lias taken E. Hildach (1849—) is a fine baritone singer. He “Well, I don’t see why I need practice it slowly: the renowned \ lennese critic. Dr. Eduard Hanslick, A'ertlwart .So,,lumann as expressed in that -master's : »»« part of is also a successful composer, his songs being much I can play it much better faster.” This was the aston¬ bile h whose defence of his friend was as strong as his at¬ ht,vlZand„ Fanf«sia in C and carried it to very COURTLY DANCE—G. D. MARTIN. e *at watching my lingers, telling °£ comP|exit?-. Again, as in the second trio used. “My Sweetheart is a Weaver” is an excellent ishing answer I received from a pupil whom I had tacks upon Wagner were bitter. Brahms had a high f f'c. Scl, knuckle*, which were then with just enough of the sycopated rhythm to give it ays to the tired brain, “Stop! or you will run to ruin! trate all your thoughts and will power upon the mas¬ A BRAHMS’ PROGRAM. zest. This piece should be played briskly, in a well- Jnc of our most precious gifts is this very memory tery of the matter at hand. Unless you concentrate, Duet, Hungarian Dance, No. 2.Grade 4 marked manner, with crisp, clean touch. The composer [pon which all education must depend, although it you may as well practice at a fast tempo for all the ahit of turning a difficult passao- Song, Sapphic Ode. Grade 4 's a successful American writer and teacher* iccomes only a part of the higher scheme of mental good it will do you. Before proceeding to execute a Piano Solo. Vaises. Opus 39 (No. 2 and 4).. Grade 4 .dvancement. movement, you must experience a feeling of certainty song. Wxe bist du meine Konigin. GradeS FLIRTATION—PIERRE RENARD. Time and time again there have been instances where which tells you that what you are about to do will lie •food the difficult!* horus The Little Dustman (Female Voices) Grade 3 This is a vivacious and original waltz movement, nusicians have failed to recognize the danger signal done correctly, just as you desire it. Of course, in Piano Duet. First Movement C Minor Sym- which bids fair to rival in success the same composer’s mcl have prodded their tired brains until collapse has order to do this, you must have in mind a positive and phony. No. 1..... Grade 8 well-known “Iris.” It is similar in form to “Iris.” but clear idea of the manner in which a movement or a the subject matter is handled differently. This piece esulted. The pianist Prudent, one of the most sue- AN0 So,°' Hungarian Dance, No. 7. Grade S series of movements are to be executed. J* must be played in a manner to carry out its title. The essful Parisian teachers of his day, was playing in a P,i„ c „ (Ananged by Philipp.) Every intelligent pianoforte student will realize to abrupt pauses and sudden changes .of movement all •oncert in 1852 and, in fact, was performing one of o b0L0' Andante from the First Sonata.. Grade 6 how great an extent the sub-conscious action of the se|we to heighten the effect of alternate coquetry and tis own concertos with orchestra. His memory failed W , ,< Arrangcd by Mathews.) mind enters into pianoforte playing, especially when a ‘p0N - 1“ IValdeinsamkeit. . Grade 5 cajolery. tint and the whole work became a jumble of noises, erics’ .composition is to be memorized. Here especially, slow iano Solo, Cappriccio (Opus 76,' No! 2).’.’! “He *ely . Grade 7 rhereafter he was never able to play from memory practicing is all important. An intricate figure or MY LADY’S PORTRAIT—T. LIEURANCE. taking me rely cm all my fingers as equal!* a* no,*;.' P avo nLa BaJ,adc’ 0pus No. 1. . Grade 6 md was always obliged to play from notes. Dr. Leon- passage, which is to be played in a fast tempo, must Piano Duet. Opus 39 (No. 13 and No. 10). In this interesting caprice the composer endeavors to . Grade 4 >rd Corning in the medical record has shown that first be practiced very slowly many times over, until suggest musically the thoughts inspired by a contem¬ BOOKS UPON BRAHMS. here is good reason for believing that the musical the fingers are able to strike the correct notes in the V * Z '\(‘rad,u‘ hf objected to some of plation of his lady’s portrait. It is a musical study in it lingering and asked me to change it I imme netnorv is quite different from the memory for other eorrfet manner without the player’s volition. This volume^ loha"nes Brahms, by Florence May, two moods. There are Three distinct and well-contrasted hings, and that people who are able to remember sort of preparation insures certainty and finish in play¬ r'rwlr- wiH ,hv *h#Johannes Brahms, ones easily often have difficulty in remembering facts, and would not allow me to adopt his own. A good *n wa^tz t'me, and the slow and contemplative practices in this manner will not say to the teacher. Fuller u er,m;"!n IJleters- Johannes Brahms, bv J. A. lames and faces. It may be deducted from this that BRAHMS’ BIRTHPLACE. * in ■section, with its impassioned climax. The piece “1 could play it all right at home,” or, “I can’t play Ed v n F a,U,'e The of Johannes Brahms, by he musical memory may be cultivated as a special , make an excellent study in style and expression. it slowly.” Ed",n Evans’ Sr. (three volumes, i 11 should go well in recitals. Faculty. THE ETUDE THE ETUDE 2ft BARCAROLLE Lessons on Famous Masterpieces by Distinguished Virtuoso-Teachers. Edited by S.Stojowski A.RUBINSTEIN, Op. 30, No.l Rubinstein’s Barcarole in F Minor Analytical Lesson by the Noted Pianist-Composer SIGISMUND STOJOWSKI.
I# time Thu Etude lins burn arranging to present a Mr. Stojowski nwds.no Introduction to Etude readers. In 188!) he won the first m-i.. . it known piano pl<'cv«. Throe Icowok will lie prepared pianoforte and composition at the Paris Conservatoire. I.ater lie became a nunii IK dor* not pretend that n printed lesson Is eompnrn- exponent of Paderewski, establishing a large reputation In Europe as a pianist and •v':r- enn Is- no douht Hint the student who In 1KW> he came to America. He has since been engaged in teaching iu foremost Xeti —„ .... ^,_ , ' Vf' «*>«lon of the piece found upon the opposite Institutions and in concert playing. Mr. Stojowski is an exceptional linguist ThbibS V „ "!• },Wrr ■" ,■ '«»t,ly more effective mnnner. It will not he possible hows to present additional lessons from him later. Both the student and the teaeh.’ii ih. m in 1 '.1K .' M! U*1 dlmcullle* In the wily of presenting profit Immensely from this series. We shall be glad in learn from our readers whether 2?1,1 iHo ,' '"“ff"1-' However, we shall present are pleased with the main idea of this new Etupe feature.] aether they . •• iw«* arraoicerarntN or tu* virtuoso7 tt'iichcni preparing them permit. GENERAL CHARACTERISTICS: RUBINSTEIN S SPONTANEOUS NATURE MELODIC suggestive of individual emotion and northern skies, whereas the second—that _ OIFT AND P1AN0-STYLE. the middle section—takes us right to Italy, with its sunshine, blue waters and ° | W w I sit at my disk, my eyes fixed upon this doliers, seems to voice collective feelings, susceptible as it would be of t^°nT Barcarole, trying to collect my humble wits for the setting. Contrasted are their keys and rhythms; the somber F minor in ' purpose of helping the readers of The Etude towards 3/4 (9/8) time and serene F major in more vivid 6/8. It is the latter that briZ^ a more intimate acquaintance with it—the vision the conventional cadence of the gs arises of the Master s leonine mask, so similar to that No | barcarole, in which a stronger, of Beethoven: it seems I sec him frown, hear his -^ sustained beat alternates with a No. 2. Kroan of discontent. In his life-time enthusiastic ■Y*. frgl | ii weaker and shorter one, after * misses would drive him wild by their eagerness to IE} r * J . II the metric scheme — ^ - Ffe ■ p i— ft p a> h barcaroles, while the world refused rccogni- * L ~ corresponding to 6/8 time. The hw f * - cniu!|0 n,°re ambitioUS achicvcments of his creative other rhythm—9/8 rather than 3/4, the quarter notes of this being almost constantly divided into three eiuhthc Posterity, carried away by the ever-swelling stream of novel production, also serving other gods s* the cadencetdownfa11 (Ex- n°- d ins® as in Ex. No. 2-khe boat rolls up quicker than it descends from the top of the than were his. did nothing to make up what was re¬ sented as an injustice. Performers shun his larger THE FORM: ANALYSIS OF ITS ELEMENTS. works doctors decree his workmanship careless, his The structure of the piece proceeds from the so-called form of the minuet cm,cal sense deficient. Vet The Demon on the stage, which a trio or middle section separates the first part from its repetition =t ’til! JJ te f cran-symfhony. the f) minor piano-concerto on extend ^ ^ d° subdivide after the scheme of the dance-form Twi ttieir right to existence. And young ladies still play extended song-periods are juxtaposed and linked together each of then-, ,ha* ,r,bute of«he vox t'°t‘uli to » certain , ’^n,“''cous. ardent, exuberant, passionate. “cZ/SrS' /'rc'nr'T rerais 7“* Hermann Wolff tells us that every thought hail to find rhytl.m „re intense and f, vehe- Li! the piece—that its bass moves but^ttl^ ~e, .notlce—m this section and throughout for the rnally; his Nn q ' 1 h's^ conveys a sense of space and depth. >crsonalitv, whos the diatonic steps in measure 13 (2) I the end he grew can be brought out somewhat by sus- couthful works ii that spirit, unfor- aming and decreasing, which brings an e enient of interest into the homophonio called a c’s habit of a.ldrcssing and texture of the whole. a certain striving for effect. Back we are in F minor, and*Sec- It derives its effectiveness us„°n B starts by repeating the initial a wonderfully rich tone— as in m"erand which becomes adorn a1"-!11easures for which we can now ■ •sc which pianists revel in. in wh nfb°',KT inS‘anccs’ the Pr«eni t;"ed tUrns a"d grace-notes. (In this. n\or; a high hut dangerous 'Wised one) UttCrance secnls more simple spontlneou01'0^'"/ the °riginal edi,ti0n' but the very greatest ones arity? 1" measure 5-from B_ ’ ^ “S a"d frCC than in the later "* ""«« »» CHARACTER. B sofriSU^°m'nanbV‘h°n,Tthr^)ug}1tAW pl'raSe begins- rises Passion‘ His fi (4) should be taken <■ ft y to conctude on the tnnfh ^ key of G flat «ets back t0 ars the title Undine, sustained note f It ' • r°m tbe Previous measure C' .^lme ^or the grace-notes (3X i he w ri k..:_, note following. The-• measure, so that ibe Knee- : . -- ■ ...ot, the ‘"’Caroles for piano. They>require with the iK>atman—aiul pri- quent note y nger and accented also • ecstatlc expressioft. the second one eoursc. substitutes <*«*h the w The new member ’ rlS°rously connected with the subse- ■■"s t enehanuehes Cod !>■ W ’ CmotiHn* There e immense tnne-noem , / a. rc|ncnibrancc of S L™>r“y meure, M. dominant, until it ates. ln measures with th Pa/,slon- ln which-the altered chord l.„ ,h'> *'« *wfc Bttle threefold reS,L V3'!*8 in' suspensc ‘n t larmon>’ of the
»*** *«.»»-lin*.. SSTS5- H ‘(SS! No'4£ rrent of melancholy and pathos. d-- —- 161 mm 7. Capital letters and numerals in parentheses refer to Mr. Stojowski’s lesson on the preceding page. CoPyright 1912 by Theo. Presser Co. THE ETUDE 31 THE ETUDE
YjL } l i^L f» i JJU i r?i)i ?.r jLij; L-7- •!k> 5 s 5
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MILITARY ARRAY I A- MARCH 1 ^ 3 J ^ ^
MbfflT / (sounds of drum) See the soldiers! Hear the drum! (sounds of drum) Look!oh,lookhow fast they come, (sounds of drum) ) £ *?/ f /[ il* J k 1 >_
• 3 -1 i. •) ♦ 3- ♦ 1 3 3 3 3 3 J f - 3 ♦ ♦♦♦ i ’ — —
sempre dim e ealando mr
Breast to breast they march a4ong, Man-v men they marchto-geth-er Yet,theyseemas one. (drum,drum) %!»,» L...
^ ... 2^"— ^ .... ^-- j ^ ^ ^ ^ ^
* W//* 1 / (sounds of drum) See how straight each sol-dier stands sounds of drum) Present arms,aim, fire,fire,fire! (sounds of drum)
tTyy 3 3 3 -"-" # r * *** ■ 2 f * fff
TT>yl 1x^2 % r\
Forward, for-ward march! mfimark rhythm) p PP morendo I /T\
! \ ! I 5 CoPyright 1912 by Theo.Presser Co. British Copyright secured the etude 33 COURTLY DANCE Moderato m. m. J = ios
Copyright 1912 by Theo. Presser Co. British CoPyriSht Secured the etude
VENETIAN BOAT SONG Andante m. m. J = so MANDOLINO DAVID SCHOOLER
^OT"
Fine
m a tempo rit
Copyright 1911 by David S?hro|'er
T* 3 Secur^ International Copyrig^ THE ETUDE 37 HUNGARIAN MARCH
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British Copyright THE ETUDE 40 THE ETUDE 41 PETITE BERCEUSE -X2£lmetsch, op.:
NIGHT-FALL
Andante = 152 NOCTURNE . DANIEL ROWE THE ETUDE the etude 43 FLIRTATION INTRO. H 51 VALSE INTERMEZZO A IL 8 4 Andante comodo a„.;™eke»«. ii 3j ± Tj^Tj/rTT SnL±dJ-\ jS: 1»-L= pp pp vhr=zp L-L-t' 0—T -1-—■ lr '''' 1 II 9 S’. —■ Pi r —. r~— | j si ATa, T -i ,,-Q ffi. ,
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MY LADY’S PORTRAIT
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Largo conamore m.m.J = 69
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41 British Copj'right secured
British Copyright secured ^!,Pyright 1912 by Theo. Presser Co. THE ETUDE 45 THE ETIIDE 47
i
British Copyright Secured CoPyright 1912 hy Theo. Presser Co. THE ETUDE the etudf. 49 MY SWEETHEART IS A WEAVER brWYATT-SMITH . MEIN LIEBSTER 1ST EIN WEBER Allegro cpn grazia v EUGEN HILDACH
1. My sweetheart is a weav-er, He,weaves so bus-i - ly, A 2. The thread I oft-en spun out thro’all the live long night, For
p sempre stacc.
largemente
piece of lawn the fin - est,He’s weav-ing it for me. The warp and woof to - geth - er Weave love and faith com - hap - py thoughtshave kept me At work till morn-ing light. When off the loom ’tis ta - ken Bleach’d in the sun ’twill in ^ - I J»-J» i i * & * ,
"•12 Tempo I
bin’d; For love with trust must e-ver Be firm-ly in-ter-twin’d. be, Be-cause next year,_in sum-mer,
poco a poco lento piu lento
my love will mar - ry me. Mean-while I sit pre - par - ing The dress for that fair day, And dream of you, love,
m . /*T*\ p lento molto -— . piu
ev - er, To pass the time a - way. The rib-bons are of sat - in, the robe of fin - est lawn, For
i * - r f~ T.* j5^ '§11=== 25 _ o o o 1 Tempo I
next year in the sum-mer, For next year in the sum-mer, Oi lr wed-ding day will dawn. J *, • Tempo I
^=== A THE ETUDE
/CS 1 dectso
HOMER TOUfyEE Bleep lone anddeep.For thelovethatl seek,Is the sweetheart of all my dreams. sweetheart of all my dreams. -
1. Each night when all the world’s at rest— And sleep hathcloswT-^ 2. How quick-ly doth the night drift past—Whene’er I am wi™aic
THE LITTLE DUSTMAN Andante SANDMANNCHEN JOH. BRAHMS
1. The flow - rets all sleep sound ly Be¬ neath the moon’s bright ray, They nod theirheads to - Birds that sang so sweet ly When noon-day sun rose high, With - in theirnests are See, the lit - tie dust man At the win-dow shows his head, And looks for all good Ere the lit - tie dust man Is man -y steps a - way, Thy pret - ty eyes, my
/tty*
motto !P «? dot ’c e urii % cor da
geth er And dream the night a way. 'he bud - ding trees wave to and fro, And sleep ing, Now night is draw-ing nigh. The crick - et as it moves a - long A - chil dren Who ought to be in bed. And as each wea - ry pet he spies Throws dar ling, Close fast un - til next day. But they shall ope at morn - ingfe light And
sleep on, my lit - tie one 1 THE ETUDE THE ETUDE
Vivaceyy V V V V HUNGARIAN DANCE N? 5 /r /r-rr4 LLIV £2 2=2 J^eLb?ahms /S/Nut Allegro Vivace K K ’ K
/%* Tmente Allegro ■ A.
PIANO< / gy gy gy gy gy gy gy gy gy gy
pocorit. leggiero
P l*Kg*ero
p poco rit a tempo poco rit. leggiero
U *y -*y *y *“mp° bmjqM r* - nRRR gQfl Ag
p poco rit. ; a tempo poco rit. ft a tempo
leggiero
a tempo ¥ D.C. p poco rit. pa tempo poco rit. a tempo' I ONmRlf CHRISTIAN ^SOLDIERS" RS;ri'jMSw!X‘ureand POSTLU.DE GEO. E, WHJTINC (Ped. Full ^Allegro deciso M.M. J = 106
Manuals rrTTrrr
pedal /■ Jr-J Ji-iJ UJJJ di -V--—
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rj.- IK —1-? 1 7irrf V
■e ; tjo ■©■ ■e^ -o- -e- A H—^A A r\ ^A"- _i •'“Pyright 1909 by Theo. Presser Co. 4 Melody by Arthur Sullivan THE ETUDE 55
THE ETUDE ROLE OF HONOR fRlENDS who helped mainlM i The Etude during its struggle years lo the great beyond, among them Karl Mere. It L Lang, Dr. William Mason. W. S. desene to be remembered first of all i i our Thirty-Year Jubilee. ■ T l>. Mathews, William Slierwoad and many nth, s whose support was highly valued months,«j we have lbeen announcing that we would be pleased to publish the t ,he founder. The letter at tlic head of the dl of honor, “IJozv The Etude has Hfthose who were among the first subscribers or those who took the journal benefited one selected from if excellent letters, all of which z m"“, ’toiSgo. A great many friends have written to us but we are well aware that should be glad to publish had we space t > do so. Many of the following friends ^V°following lists represent only a few of those who took The Etude at the start hare written us that they commenced to take The Etude when they were children \'e, ;,1(V it regularly note. Nevertheless we shall not be able to print an addi- and have never missed a copy. Several proudly boast of a first copy of The Etuhe. Pnal list in future issues. Many of the best friends of the early years have passed
m FRIENDS OF THE ETUDE’S 0 STRUGGLE YEARS
HOW THE ETUDE HAS Several names unfortunately arrived too late to be included HELPED ME Pcrley Dunn Aldrich. E. E. Ayres. Arthur .Tudson. Mrs. M. O. Aubolee. Miss Clara Baur. E. R. ICroeger. Daniel Hatchellor. Mrs. 11. Kot/.schmar. Robert Braino. Edgar Stillman Kelley. A letter selected from numerous simi¬ Mrs. II. II. A. Beach. Clara A. Korn. Thomas il Becket. F. S. Law. lar letters describing tlie practical G. L. Becker. H. M. K. Bell. service of Etude Emilee Francis Bailor. Mauritz Leefson. David Bispham. Sarah L. Brobst. To the Editor of The Etude: Airs. F. L. Brackett. P. Joseph Leyondocker. E. M. Bowman. Florence Leonard. Upon my music shelves there stands a row of books Albert \Y. Borst. Eugene Marks. Miss H. M. Brower. II. C. MacDougall. neatly and substantially bound in black pebble cloth Dr. W. L. Blumenschein. A. L. Manchester. with red morocco trimmings. Each book contains The Katharine Burrowes. Helena Maguire. Miss Marie L. Benedict. Frederick Maxson. Etude for one year, and there is a book for each year Mrs. A. Parry Bundy. from 1892 to 1912, for I have been a constant subscriber William Benbow. Ern con Musse Gilmore C. Bryant. Aim.. _.. Miller. and reader of your very valuable magazine for over .1. M. Blase. Mrs. W. 1 twenty years.' Dr. H. A. Clarke. Sirs. E. E. aieegcr. Geo. A. Chadwick. Sirs. A. Woodward Sloore. Both as a student and as a teacher The Etude has Calvin B. Cady. Aliss SI. Susan Alorrts. been of inestimable value to me and I feel that I can Rebecca Crawford. Sirs. W. II. Nonvo. h. B. Campbell. Sirs. H. A. Norris. give it credit for at least one-half of my musical edu¬ Dr. William C. Carl. John Orth. cation. When I was a student I made it a rule to read II. D. Chclius. Sirs. Fairchild Plume. D. A. Clippinger. Albert Ross Parsons. carefully everything in The Etude “from cover to Rossiter G. Cole. Waldo S. Pratt. cover” each month. I considered this as important as Mrs. llattie L. Colburn. Silas G. Pratt. N. J. Corey. Aland Powell. my practicing. The knowledge thus gained in a few Mrs. E. Fletcber-Copp. Smith N. Pen Held. years was surprising. From knowing almost nothing Gilbert Raynolds Combs. A. J,. Pike. Chittenden W. H. Pontius. of music from a literary and scientific standpoint I Aliss Fay s vis. Mine. A. Pupin. soon found myself well read and able to converse in¬ II. Detweilor. E. J. Decevoe. telligently upon most all musical subjects. Many of II. P. Dibble. the pieces published in The Etude I studied, others I Nicholas Doutj. W. Dressier. used for sight reading and entertainment. All im¬ Mrs. C. Louise Dunning. portant articles I marked and made notes of the main Edw. Dickinson. Mrs. Parkman Duer. facts so that I could easily refer to the articles again. Louis C. Elson. IL SI.' Rudesill. Arthur Elson. Louis Arthur Russ' The Etude has always been a broad magazine, giv¬ Isabel W. Russell. ing many-sided views of important questions; in fact, C. J. Eddy. Albert A. Stan' F. L. Eyor. ill 5 ildt. I have often noticed one article quite contradict an¬ Hans Engelmann. O. R. Skinner. other upon the same subject, showing that the editor H. T. Flnck. W. F. Sudds. Miss Amy Fay. Wilson ,G. Smith. has no hobbies, but pursues the policy of giving the II. K. Fleiscli. Aliss Fanny SI. St reader different opinions from the pens of representa¬ Mary C. Fairchild. Theodore Stearns. Charles Fisher. Sumner Salter. tive authorities and permits the reader to form his C. H. Fullwood. N. Coe Stewart. own opinions. A, M. Foerster. Sirs. H. St. John. Carl Faelton. Alvah Glover Salin When I began to teach fifteen years ago The Etude Arthur Foote. F. H. Shepherd. was my greatest help. It furnished appropriate pieces Mrs. H. K. Flelsh. Adam Geibel. for my pupils, pieces I would never have known about A. W. Gale. but for The Etude; the question and answer depart¬ W. F. Gates. Thomas Tapper. C. W. Grimm. James Trnee.v. ment and the innumerable timely articles on teaching A. J. 'Goodrich. F. H. Tubbs. and practicing were invaluable aids to myself and to Dr. W. W. Gilchrist. E. E. Truette. J. C. Griggs. Aliss F. E. Tbomn my pupils. In the bound volumes I have a convenient XI. W. Greene. Sirs. F. P. Truism teaching library from which I can select pieces as 1 Philip H. Goepp. A. T. Gantvoort. it. L. Ttltz.fi. need them. At present I am looking up pieces for a Dr. Henry G. Hanchott. Carlos Trover. Christmas recital and find many just such as I need in W. T. Henderson. back issues of The Etude. I use the books for refer¬ Sarah Hadley. ence, ordering pieces as I need them from the dealer. C. P. Ilawlev. Louis G. Heinze. The Etude has been my faithful friend and helper for twenty years, and 1 fully intend to keep up my sub¬ R. Huntington Woodman. scription for at least eighty years more, then, perhaps, Aliss Jo-Shipiey Watson. I shall want to take a musical magazine devoted mainly to harp playing.
Very sincerely yours, Henry M. Rudesill, Miss Octavia Hudson. Hutcheson, Kansas. . Carl Hofmann. THE ETUDE 57 the etude NORDICA ON INTELLIGENT 56 body would be a fine singer, and May Flowers, Oesten; Christmas Bells. KotscW Caruso would be glad to sing for ten STUDY. • Evening Bell, Kullak; Little Trumpeter, Spindler- dollars a night, in place of his present No American singer is better qualified ■ ■■■■■■a First Violets, Rohde; Spring Flowers, Biedermann ’ fee. to tell us how to study than Mme. Nor- 5. If you are using Kohler as an instruction book dica, whose real name was Lillian Norton FOCUSING THE TONE. you must teach the bass notes whenever they are intro- Department for Singers She enjoys the distinction of having been f The Teachers’ Round Table The focus of the tone in the reso¬ the first American singer ever engaged to duced in the course .of the lessons. Only those wh Conducted by Eminent Vocal Teachers sing at Bayreuth, and that at a time when Conducted by N. J. COREY teach independently of ins.ruction books can use choice nance chambers of the head, so that it was a greater distinction than it is to¬ m in this matter. the voice is “well placed," means that the interaction of the breath and throat is per¬ day. Since then she has won a world¬ BEGINNING LATE. fectly normal, just as nature intended. wide reputation. Speaking a few years The Aim of the Teachers’ Round Table. ty-two years of There are a number of young singers who ago on the subject of “Women in mean to place the tones in the head, and Music,” she made the following remarks. M r,,or.ilr thin MarMttM artiii<-nt hWMM hor'It'v 'for t'ip upon 1m- nn3 P'«ytniifh ' **V? ' reed organ firstt » sc- One of the daily problems of the „ . I,..,, . .,,»r, 1.. lira «.. ».nir r< liable an.t expcrlencd f n a tho rl t vfo r n n y „wh((t think that they are doing so, who have While they apply primarily to women and SOLVING THE DAILY PROBLEM. teacher .is the tremolo. Alas for those never felt the sensation, so have no kind to singers, yet the fundamental truths 1, If the hands have never been used on the keys admirers who call it “Larmes dans la JE?' .B^SttoSS* wTSn^-»2«l« gjtare unaccoin. of notion as to what it really is. When apply to all: I .._ ... it... ..mi. r Thin flrnirtmrnt lit onen to all frailer* without charge of a . and one makes the very first beginning after the age voix" (Tears in the Voice). This fault such conditions of ease and elasticity have “Learn How to study. This overwork of twenty-two, a very considerable amount of progress By MME. KARL FORMES. Is very difficult to - overcome. It is due been established as permits this focus and overstrain in all branches of art is a DirriCULT PINCERS lexicographer, once remarked that any man has a right to faulty .breath control or to strain, is problematical. By that time the muscles have be¬ of the tone in the head, at first they serious handicap to our sex in final to express an opinion, and any other man has a right especially in singing very high or very come mature, and the ligaments hard and unyielding not only cannot recognize it. but the achievement. This is often a vital reason low tones. Sing for aw*hile only in the at third to knock him down for it. and it is more difficult to make them flexible. I have tone they make is so new and strange why women are outshone by men. To i pUjrlnf Anything except exact motions of finger, hand or arm i«™» sr«T.h.c.. middle register and also pianissimo. Do never known a person after that age to acquire a •IIS “i “W. N*" to them, that they simply refuse at tell intelligent young singers that they lead* to all sorts of complications, especially in the not attempt any crescendos or long sus¬ brilliant, virtuoso technique, although I have known first to sing it. This is the problem study without intelligence would seem a physical mechanism itsslf. An effect might be pro¬ tained tones. Sing a tone of four beats, them to become very excellent players. Meanwhile, if which confronts the teacher from strange paradox, and yet such things hap¬ i with one of the duced in a certain manner, but result in strain, fatigue and sing it time and again until it is per* eping the end of you have been in the habit of playing a good deal, cfk&rs'AAlns? “ morning till night in the practical work pen. The intelligence with which they and lack of endurance in the hand, and sometimes per¬ teacher of large experience.] fectly steady and smooth. Your own ear r palm Use the although making no effort to advance, so that your of the studio. He is dealing with may be so fully gifted is not utilized, that manent disablement. The careful study of right and and your own persistence are the best grrs holding the muscles and ligaments have remained supple, you will Every day the teacher meets certain pupils who have honestly intended to is all. We must know the meaning of wrong motions does not have altogether in view the remedies. j Apply it to all the ngcra and it will be able to increase your technique extensively. problems that perplex the most experi¬ focus the tones in the head, but who what we are doing. That is the first step immediate production of an effect, but also future possi¬ n them Us* it < pecially with the 2. If you have been playing the reed organ with enced. The young teacher and the Stu¬ owing to interference somewhere in toward doing it rightly. bilities in the development of the hand and arm. “Many learn long operatic arias, and .1 the left hand for ic following ques- correct finger action it will interfere in no sense with dent may profit from the treatment I have the mechanism have prevented this ic given. In the VOICE PLACING. from taking place. When once this have not the remotest idea what the INSTRUCTION BOOKS. the piano touch. On the contrary it will have improved found valuable in certain cases. p up a* far as it obstacle has been removed, so that the words mean or what it is all about. They it, for you should have learned what true legato Let us consider first the pupil who urth linger is ita- **l am using Kohler's Practical Method for begln- tone comes freely and begins to con¬ sing loud or soft, according to the direc¬ kit** fh#r hnvo Mulshed the three books playing is. by karleton 'hackett. osition will he all ... \lnuiin'u Hvsteii does not possess a good musical ear. centrate in the head, the pupil cannot tions of the teacher, and there the matter ary ami the fifth ADVANCED WORK. When a person calls upon me and sings understand this new tone, does not ends. Each singer should know for her¬ impassed without “1. What shall I use after finishing Cramer, •page after page off the key, yet in per¬ This term, borrowed from the old self what the words mean. She should Mason's system is not an instruction book to be prac- Bo- k I, and Bach's Inventions t like it, and many times will not do Italian masters, means a great deal to he able to put herself in the place of the ticed through from beginning to end. It is a system 2. What would ytfu suggest as a good history? fect complaisance, I naturally hesitate it The teacher can perhaps make him 3. What pieces should one use in the second those who understand it, but apparently one uttering the words. Then only is it of technique, and compendium of exercises, with ex¬ about taking him as a pupil. Not that do it, so long as he has him right under to the majority of voice students it possible to lay claim to interpretation. planations for their proper understanding. Its use 4. How would you teach history in the second 'with laborious exercise and training such his eye in the studio, but the moment he grade?” R. M. represents a complete mystery. The gets home and begins to practice, then he And here, again, the quick comprehension depends upon the judgment of the teacher. You would students may not develop a better mu¬ reason for most of this is because of and delicate insight of the woman com¬ have to study it most carefully and critically before 1. After books 2, 3, and 4 of Cramer, dementi's sical ear,” but that so much better mate¬ does not do it. an unfortunate confusion of cause with .The placing oi the tone in the head, bine to make a powerful aid in this mat¬ you would be able to teach it. It should be in the Gradus may be taken up, and Moscheles Op. 70. rial is always at hand. However, when result. The old Italians found out, as so that there shall be freedom in the ter of interpretation, of giving the mean¬ hands of every teacher. Until you thoroughly under¬ ihe applicant makes a few mistakes in 2. You cannot do better than make a study of Stand¬ a matter of practical experience, that throat and the sensation of vibration ing of the words which make the spirit of meil of full length under the stand it you would better not try to apply its ideas with pitch and shows that she is conscious:- of ard History of Music, by James Francis Cooke. thev only succeeded in getting a saGs‘ in the bones of the front of the face, the song.” your pupils. You will find the Standard Graded Course 3. In addition to those already named in article them then there is some hope for her. This with the foregoing factory tone from their pupils when is not a question of theory, but of most excellent to follow your Kohler, and might start headed Progress, the following: Haymaker’s March, Indeed, I once encountered a pupil who they established such conditions of positive physical fact. If the play of THE IDEAL MUSICIAN. with the third or fourth book, according to the bright¬ Zimmerman; The March of FingdU’s Men, Reinhold; was insanely' anxious to be able to sing, freedom and elasticity in the interac¬ the breath through the throat be free ness of your pupil. Sunset Nocturne, E. M. Read; A May Day. Rathbun; but who simply could not produce any¬ tion between the breathing apparatus enough so that the column of air can Theo. Thomas, the late famous orches¬ thing resembling a singing tone. The tra director and musician, said in his TABLE EXERCISES. Standard Graded Compositions, Vol. II. and the tone producing mechanism in concentrate in the resonance -chambers, teacher must not confuse ambition with memoirs: “A musician must keep his "I would like some table exercises, something that 4. Use First Studies in Music Biography and Pic¬ the throat, that the column of air flowed the sensation of its doing so is just heart pure and his mind clean if he STACCATO will do away with flve-Huger practice at the piano. tures from the Lives of the Great Composers, both the right qualifications which every vpcal freely through and concentrated in the as definite as any other sensation, as Any Information will be gratefully received.”—J. N. wishes to elevate instead of debasing Ins by Tapper. student should possess before commencing resonance chambers in the head. u the feeling of ice on the finger, but art. And here we have the difference be¬ Any and all five-finger exercises that you find in the serious study of singing. However, their secret was just here, they did the young singer can have no notion RUNS. tween the classic and the modern school Plaidy or any other system of technic may be practiced the pupil who could not make a sound not seek to concentrate the tone in of what it is until he has actually ex¬ “In runs of 6, 7, 8 or more notes to the count of composers. Those old giants said on the table, especially for preliminary training on them. should any perceptible accent occur in the run. eventually developed a very pretty voice the head, but to get the play of the perienced it. When first he does get Or Should it lie taken as a whole? For example, breath on the vocal chords to be per¬ the sensation, because the conditions their prayers when they wished to write You can also practice many running exercises in same the left hand runs in binding's Rustle of Spring. by dint of great patience and care. _,...... oven have been established which make it an immortal work. The modern com¬ manner Hand Gymnastics by W. F. Gates will also It-- seems a natural tendent.,. ^to groupr the— even- . Straining in singing is often the cause fectly free, for they found, as a mat¬ note runs in the mind, but the odd cannot he ter of fact, that if they* could once possible, then tlje chances are that he poser takes a drink.” provide you with much useful material for practice grouped, and that seems inconsistent to me. of the flatting of tones which many pu¬ establish this condition of freedom in will not recognize it, nor like it, which away from the piano. pils are afflicted with. Rest is the only the throat the concentration in the is'the reason why people must study. cure. The time of rest can only be de¬ Iay.*l hr qalrkly r*l»- ADDRESS WANTED. In all running passage work there should be no ac¬ head took place automatically. termined by the extent of the injury. cent aside from that demanded by the measure, unless To ■ •>. •*10*11} in If K. B„ whose letter on “Tiny Pupils” was con- After a long rest the practice should be They did not know at that time the MAIN THINGS. specially indicated by the composer. Neither is it HtefSSwni ug pirn- ’idcrcd *n ,hc Ju,y ««. will send her address To the commenced again with pianissimo ex¬ pnysical reasons why this ^s so, but Sing IB light c*.ni« Roi nd Table she will be put in communication with always necessary • to accent every group. The group ercises on all the tones in easy range. they knew the fact at least as well BY LOUIS ARTHUR RUSSELL. Z noISTVith? Xk ,WO who have bad a similar experience and of notes you mention are to be played so rapidly that as we do to-day. It used to be the In teaching the tenor voice I have Well they simply represent a rush of sound, all the notes boast that “Italian singers had no The first things for the consideration WSSTS!: W°Uld Hk* ,0 Ulk h °Ver With her- The address has found that most tenors have difficulty in you must have perfect •a’to teg* t„ i. ihrn- been lost. being grouped together. It should always be the same, throats," meaning that the throat action of the student of “Bel Canto” are con¬ whether there are eight notes or twenty. Often times locating the tower tones easily and prop¬ was so free that neither the singer nor freedom in breathing. erly at the start. For ihstance, they trol of the body and the vocal organs, Undue constriction at "r b.ad IT riSr-ft'll1** it is necessary to divide a series of notes irregularly his audience had any consciousness es relief from undue tension and the attain¬ any point lessens tone aoteh *vcraKp pnp" t0 while practicing slowly, which, however, is eliminated would have trouble in singing: the throat in the tones that came from - «h.i tM..k should lie glv.n next’’ ment of perfect ease in the simpler phases volume and impedes at the end of a passage such ■ the artist. Good singing is free from when the passage is played up to time. There is 110 of speech and song. the development of wt?h!5hrj?#i!,.!;?up" ■tlv,n Utl1* *«■ to study Mo. I. anv suggestion of throat strain, and / 7 reason why an odd number of notes cannot be con¬ He must learn the sensation (the feel¬ the voice. .ad sESS? grade”' * ,ht of »«* !*«• for first ceived in the mind as a single group, particularly when oniy-when thire is perfect elastic,ty m ing] which accompanies “freedom. He a. When Should the Nss notes be taught?” played rapidly. You will find innumerable examples the throat will there be must then study the sources of power THE D. C. among the standard compositions for the piano as >°n of the tone in the resonance ch?mb"s and the true centers of vocal energy. GOODWIN 1. Practicing two hours a day. with careful att of the head, or, as the saying is, that He must also learn to know us habits progress in your work, and increase your knowledge They would almost invariably strike this ion to an details, the book may be finished in i the' voice Ts “well placed.” of interferences, that he may relieve him- CORSET of the literature of the instrument. lone first, no matter how loud I might But this simple fact is misunder¬ se« of them and allow the correct proc¬ . __ cannot restrict respira- «7n'aoe KT mC S* * dcfi"ed' ^ ^ V have played the lower do upon the piano. PEDAL IN HYMNS. stood by most young students. They esses to assert themselves. Model J tion. It permits abso¬ St hour ThC mai°rily of PM* can “When playing hymns on a piano how Mo. 2, do not realize that free tone is no Alongside of this purely physical part lute freedom for every bodily movement; dmi^hlr a,fay pract,ci' on acco«nt of sch the pedal be used? Should the foot press i merely an act of will, but th.at it must aids in voice control: produces comfort and dut.es hence will require a much longer time. at the beginning of each measure, and " Tat of his vocal pActice he must cultivate the end?” E. M. conform to strict laws. They know the keenest of musical discrimination. beauty to the point of luxury. Prices, $5, $6 and up. Glub rates to Teachers and that they mean to place the tone in He must know at once by the sound of a students of music Write for new spl<-- The function of the pedal is to sustain the sounds, the head, so they take it for panted n t! i.1* '* ,alwa>'s W«' pleasure i fom the upper note, thus, they sooni get say, when 'shooting at a mark that n sheet form, than they would in the „■ assist in securing legato. In hymn playing it shou He must learn the art of watching, «n the instruction hook. Same pl never be held through a measure if the chord chang * ,0Wer note placed in their minds. because he meant to hit the bull s-eye that he may see and feel all that is going It should be changed each time there is a new chor that he actually did hit it. The world on within him as he sings; and he must No. 3. i= not governed in this easy fashion. 373 Fifth Ayenue, N. Y. This means chords in which the notes are new m <*£ learn to listen closely and to hear posi¬ If all that were necessary t0 enable one. If the same notes are repeated, whether m tively so that he may know absolutely the student to produce a good tone teas H*,; same position or not, the chord does not change, an what his results are as he practices. were to tell him to do so then every¬ Please mention THE ETUDE when addressing the pedal may be continued. our advertisers. the etude THE ETUDE 59
whose work is never truly satisfactory; BALANCE. and this sort of philosophy has pushed New Books for Music Lovers BV Lotus arthur Russell. itself forward to the detriment of 'e IffO VIOLINS AND PIANO MUSIC MATERIAL - , . . sinKer’s art here and elsewhere because For Kindergarten Teachers Title Page Designer Smokers The habit of personal criticism, founded ^ ra, jgnorance of the public in A selected list of imported music Education. A first book. By Edward The Color Bird Scale; Color Note cale; Small Composer - Arranger oil rational principles of practice method, ^ matters ancj the ease with which a for the above combination of instru¬ L. Thorndike. The Macmillan Company. Color Scale; Music Staff Peg Board; Music Staff Hortford'i Acid Phosphate releives Folding Board, etc. Send for catalog. with experience and tends to make may bc madc to do the simple ments, including the most used stand- 292 pages. Bound in cloth. Price, $1.25 depression, nervousness, wakefulness grow* DANIEL BATCHELLOR & SONS G. F. HOLL1NGTON of ihe practice hour a spell of work ap- of vQeal practice and the quick- •rd and classical compositions. Sent net. ami other ill effects caused by exces¬ on sale and subject to the usual large Germantown, Philadelphia, Penna. 101 Pearl Street E. BROCKVILLE, CAN. sive smoking, or indulgence in alco¬ proacliinu the importance of a lesson _ ^ o{ reSults seemingly correct. discount given on our own sheet music In these days when the music teacher holic stimulants. ; find this 1" systemscvofpme usingusir one publications. is realizing more and more the desirability he many-sided art-science of singing vowel as a “voice builder,” systems lead¬ Aubrey. Sympathy ...... • • *<>.90 of making a study of the general princi¬ icnts a great variety of problems for ing the singer into changes of lip-shape Baebmann. Sorrento MaxuiKa- i.lj ples a work so entertaining, so direct and lion by the student, and if he be wise BoUfflt Prelut,e. so individual as this cannot fail to be for various vowels, systems which insist Xionre . ..l ~ I THE PHILADELPHIA ORCHESTRA ROWN’fJ wisely led by his instructor he will on "a wider open mouth the higher the Canon . t’J most helpful. Although devoted largely BBronchial m i learn that no one-sided process of ^ ^ ” etc., e • :::::::::::::: to general day school problems, the musi¬ TROCHEVJ V will accomplish his Pun*»<-’; . Superficial items are easily explained Serenade . cal reader should not have much diffi¬ EIGHTY-FIVE MUSICIANS THIRTEENTH SEASON Oondoliera .iJ culty in making applications that will 1 For the Voice e may prai ice up< n a p p easily learned, while deeper things Invention .1“ cement tor years and finally mxomr ^ ^ 0£.course, the-majority Alla Marcia ..>■> have the advantage of original thinking. Many singer* and public aprakrr* prefer In Sonata style .Jo | 1912—October 11 :: April 12—1913 | cue Troche* to any other remedy.XI) . Theyl ney '__ “ ” l^risfuction. _, butjut itif nehe uashas take: , kindly to a “method" which can sum Intermezzo . e effective aa well as nt and per- w» Rondo Finale . -To The Moonlight Sonata, by John Nord- 'T'HE Thirteenth Season of The Philadelphia Orchestra inarks the engagement of the distinguished Conductor, teamed tile relationn of "focus” to ltsclf,tsclf UP ln a few words; a few items ot Chopin. Funeral March . 1.41J ling. 308 pages. Finely illustrated. 1 LEOPOLD STOKOWSKI, as the new leader of thi s virtuoso organization. Supported by a superbly bal- .not be a good singer, Practice:ract,ce- a simple, easily accomplished Hobmann. Canzonetta .d anced Orchestra Mr. Stokowski has mapped out a series of twenty-five programs of unsurpassed interest, KJerulf, Cradle Song .«o Bound in cloth. Published by Sturgis The soloist list includes Mme. Schumann-Heink, Louis Pcrs inger, Florence Hinkle, Rudolph Ganz, Mme. Namara- JOH* I. IIHOVV N a MIX portant as is - placement,"acenient,” it is butlmt Process- ea«■f»"*1>>' ana,a,la‘>'y“zfu’ ’ butIJUL }/ '- Moret. Op. 42, Last Rose of Sum- Toye, Leopold Godowsky, Thaddeus Rich. Elena Gerhardt, - reader, beautiful singing, artistic and Walton. Mmc. Gcrville-Reachc, Eugene Ysaye, Herman Sandby, tern among a complex series of re’Apr hpa,rf,f”' ou arc to be a master of the ar,t >ou Schneider, Ariette . mitted a wide scope the picture of the and all-sufficient item has brought many "'ust know a“ of the.ltems mcludcd in Schubert, Op. 5J, No. 1. Prospectus on application to Business Office, 1314 Pennsylvania Building March . master presented is a very interesting a promising singer to. final disaster, for. llle art a"d ‘he-r relations to, each other. Tourneur. Vnladolld . Trew, Alla Marcia . m IN fir neliib controlled 1I,v,nS “> cach lts Pr0Per significance and Tschalkowski. Op. 2. No with the result of brilliancy and carrying importance, and allowing to each its Without Words . |- ■ > > _ proper service in the operation, thus find¬ Weiss. Op. 38, ltk. 1. llai Handel, By Mrs. Julian Marshall. go to BERMUDA ...» .».»», it alone may bring a -, - Flowers . ^-WURLllZER-, ing a true balance between the various bnt little more artistic quality *n8 a Woklfahrt, Op. 81, No. Published by Charles Scribner’s Sons, •HERMUHAN." ORCHESTRAL HARPiK? than the mice of a newsboy. sources orof energy • giving methe bodyDody nsits CEEAM Trio in G. New York. Price, $1.00. Op. 81, No. 2, Eas-- Trii |||lll||lS/ The Accepted World’s Standard I O her items often dwelt upon work' 8ivin« d“e attention to all the ' Silent Night This is a new edition of Mrs. Handel’s | imparts a delicately clear 5 § Write for beautiful Catalogue. • with undue stress by teachers, they lack i,ems of breath control, freedom of . 0 Sanctissima / contribution to The Great Musicians’ se¬ f Easy payments. We supply the U.S. and refined complexion, and jj Op. 86, Bks. I, II. III. each. Governm’t with Musical Instruments of eomnrchensivenessimprehensiveness and they*hev mouthmout1' and throat,throat,' ■ correct use of lips,lies. (Family Ball Easy Dances.) ries. The fact that a new edition is -1 formation apply to. K. OCTKRBR1IMJE & will make you look your best jj CO., Agents Quebec s. s. Co., d.. «P Broadway, New fThe Rudolph Wurlitzer Co. lead to "artistic balance.” tongue, etc.,1 in the use of words, and needed, taken in consideration with the York,Til08. COOK A SON. ii and 2U8H Broadway, at the social events of k, or any Ticket Agent S72 E.4th, Cincinnati 4G 8.Wabash, Chlcspi thought of “balance” is a most seeking always to dwell in your art work Teachers and schools will be great¬ wealth of biographical material regarding int one for us to consider, and as closely tt> nature and her laws This Winter ly interested in this list of easy and Handel already in existence, is sufficient re have mistered the problems of instructive compositions for recommendation for this excellent work. ships between the various im- The story is long and needs more de¬ This’wonderful beautifier jj items of voice production we tail than my space allows; let us, how¬ protects your skin against j PIANO, VIOLIN AND CELLO Great Opera Stories. By Millicent S. re Income masters of singing, and ever, conclude that the study of voice is all ill effects of cold and | selected because of their adaptability Bender. Published by The Macmillan At the Annual Business Show, New York City, anto” will be the result of our worthy our greatest endeavor; and as windy weather. for children’s and school use; all parts Co., New York. Price, 40 cents. t<> sing. Americans let us strive to so master the are of the same easy degree of diffi¬ The authoress has conceived the charm¬ November 11=16, 1912 line heard it saidaid that a widc-wide- ar* *be legend “Bel Canto” may Gouraud’s Oriental Cream culty. Sent on sale and subject to our ing idea of telling the stories of half a "iiili and v""! enunciation with become to Americans the beautiful the regular sheet music discount allowe d dozen operas in the guise of fairy tales. Plenty breath are the necessary con- PPwerful art of singing, in English’ our is a liquid powder far i Bergmann, Op. 64, Easy Trio in G.$1.50 This is especially commendable when one Op. 65, Easy Trio in G min. 1.25 dtitoiK tor good singing, but a rightly moLohengrin, to in D. 1.25 proper relations between the opening of demonstrate the fitness of our native quently to gain the desired jj Op. 330, No. 2, Easy Trio in G. . 1.25 name three of the half dozen selected, are the front and the track mouth, and a ton««e (so rich in the elements of Op. 352, No. 1, Easy Trio in D. . 1.50 likely to remain life-long friends, whereas effect. It is absolutely free | Op. 352, No. 2, Easy Trio in C. . 1.50 mdr open trout mouth may accompany s,rcnSth and beauty) for all styles of from grease and consequent- | Op. 352, No. 3, Easy Trio in A most fairy tales cease to have any mean¬ a nearly closed or ijuitc closed baci. vocal expression, perfectly adapted to the „ min. 1.50 ing after schooldays begin. The book is Underwood ly does not encourage the jjj Op. 352, No. 4, Easy Trio iD F. . 1.50 mom|, and the result of this is bad smop *2 ••*■<«> made catch- forward thCv would “V® gCt ,he tones Key°’GN0' 4’ Happy Keturn> 1 1(1 music can be culled from the writings of „ r. . ,m,| arc worked to their |imj, pro. hundreds. Some^ fh ^ "P 'nt° the one of t Reinecke, Op/ 159a.' No.' 3,' Easy 110 the great masters of the English lan¬ ... ,n,p'rfw’ “"balanced vocalists, there is any ,2^den-v ‘ba‘ Operated for eight solid hours (continuously) by 8 of the world’s Gouraud’s Oriental EksyTrio ^ guage. The book is divided into nineteen --- different phases of music, “Pan’s Pipes,’ fastest typists, in half-hour relays, one Underwood Typewriter Velvet Sponges i:S “Food of Love,” “Mr. Pepys on Music,” (taken from stock) produced the magnificent total of 55,944 words, The BROOKFIELD SUMMER etc., the last one being entitled “A Dis¬ averaging nearly 10 strokes per second. The crucial test of Stability These .sponges are of SlmSn lCN'’ 2- L'lttlV Trios’ fo Lr ! I Hr. . " T" n'ato them. cord” and consisting of Lamb’s essay, “A was here shown. Nowhere, at any time, has a typewriter turned SCHOOL of SINGING firm, close texture and ab¬ Chapter on Ears.” Shakespeare, Shelley, On 2fi rP' 21- Easy Trio' in c ! U25 out such a tremendous amount of work in the same time. This Brookfield Center. Conn. H.c,n£«,xri,fn:0h'r,°'h solutely free from dust, dirt | On in' Sasy T,io in G. 1.25 Coleridge, Browning, Carlyle. Arthur is a world’s record. and grit. In dust-proof | On an’ ??sy Trio in . 1.25 Symons and many others are well repre¬ HER BIST WILBER GREENE, Director boxes, ready for use, 50c | sented in splendidly chosen numbers. A THE UNDERWOOD TYPEWRITER in the International each by mail. curiously modern note is struck by the junctions to set th» ‘f '1 w,th m- °mln°5’ N°' 2' Li“le Trio' in D ^ ^ visorship. Ea^T^amin^sTght Singlynf* mrPUj,lc Scho°* Super- insertion of an excerpt from one of the Speed and Accuracy Contests won Ten Cents in Stamps will wSSiahrf n°' Little Trio in D and Musical History Prixatr rL./’ .. e M>nduftjng, Harmony . Ill works of H. G. Wells. First Nine places in the World’s Championship. . - rnvatc i^sons at Students’ Option. smile. The Pre« , , Slng where Theyou bring you a book of In q1’ °P- 66, No. 1, Easy Trio First Four places in the World’s Amateur Championship. Open from June 1 to Oct 1 le masque." The mod° ' US * V"2 , rival was Handel. Their styles of organ be put in. If this is done the lowest their notes, or are rhythmically unsound, part can be played on the eight- feet pedal playing being diverse a comparison is im¬ should be branded criminals, and held up It’s an ! modern piano stops, and these can he coupled to any possible, so that the several attempts to to public scorn. On the organ, as in the STEERE ORGANS manual' desired. There is no doubt that in the value of purity bring them together even had they been orchestra, everything should be accurately Educator technics this was the practice of Bach himself. successful would have been unfruitful in realizable; the uniformity of hands and —in the effect of best materials sauSactlon'hi many hundreds1'ufchSch'es thorouS|> 2. I have heard many otherwise ex¬ feet is absolutely necessary, whether you securing an authoritative opinion as to We Invite correspondence. upon comfort and complexions—to cellent performances marred by a long are beginning the note or finishing it. All Department for Organists j which was the better player.) “I suppose use the inexpensive soap, the soap J. W. STEERE & SON ORGAN CO. pause while the organist turns the leaf. sounds placed by the composer .under the if 1 am to play with ‘historical perspec¬ Springfield, Maas. without a blemish It should be unnecessary to state that same perpendicular should begin and end tive’ I must play Bach as Bach played J Editor for January, DR. HERBERT SANDERS I such a procedure is vulgarly inartistic. It together, obeying the baton of the same him. His style must have been defined ■ i— ESTEY CHURCH ORGANS-, should be arranged before performance, leader. We see here and there unfortu¬ by the instrumental limitations of his Estey standard maintained. which can be done by writing any neces¬ nate organists who let their feet drag time, together with a different system of Maximum facilities. Dears’ sary bars at the end or beginning of the upon the pedals, and who forget them fingering from that of to-day which, too, Highest grade of product. Pioneers *nd leaders always. leaf which is turned, or. the passage must' long after the piece has been played. I M S OAP would not be uninfluenced by ecclesiastical Examine stop action and wonderful reetttm Thk is one of the most remarkable be memorized. The practice of one of would like to know what an orchestral - 15c. a Cake for the Unscented , Oboe, Saxophone, Clarinet, etc. «Jks in the entire range of pianoforte association and tradition.” It comprises a complete sys- the greatest living players is to put in all leader would say if, afttg- his last beat, i, THE MODERN METHOD. ESTEY ORGAN CO., Brattieboro, Vermont,U.S.k Lm6 based 0n modern and original the sixteen feet pedal stops, play the low¬ his third trombone dared to hold a note. BACH'S METHOD. fDor the development of an assured L My introduction to the second and more LSd ’finished technic, covering all phases est part with the feet, and turn with the From what savage land did this barbarous £ modern manner of performing Bach hap- Since this time I have concluded that from the beginning, to virtuosity. left hand. custom find its away amongst us? It » jiencd a few years later when as a raw Bach must be performed in the style that tl,Jmoasf'distingu|hed0of alf American 3. Some players have a difficulty in was prevalent some years ago—in fact, a youth I first heard Dr. Peace give the Sir Henry Wood would perform Handel finding a suitable tempo for the fugues; it was really epidemic.” 7 great Fantasia and Fugue in G minor —in' as interesting a manner as possible. some take them too fast, with the result embodies the best results of his long MEANS OF EXPRESSION. ” at the Birmingham Town Hall, England. A survey of the master’s method confirms and active career as student, player that the deep pedal notes haven’t time to. ■I I distinctly remember being anxious to this conclusion. This means the bringing and teacher. The tremendous popular- articulate clearly; others play them te¬ The expressive means at the disposal f get "old Bach" over in order to hear into operation the complete capabilities Uv of this work is a sufficient testi¬ mony of It* worth. Its use by teachers diously slow. It is patent that the mean of an organist are: what I then thought to be the more in¬ of the modem organ, the whole to be and students is constantly on the In- between these extremes is the correct 1. Variety of stop combinations, teresting items on the program—the guided by an informed and disciplined CtThe gem of this work Is the two- tempo, and this will be influenced by the 2. The'Swell Pedal, nch items for instance. When the mind. A contemporary said of Bach’s finger exercise, treated rhythmically. acoustical properties of the building and 3. Touch, SOME OBSERVATIONS ON THE tor began playing I could hardly be- playing: “The benevolence of a gracious This rhythmic treatment pervades the entire work. All the exercises conduce the responsiveness of the tone to the 4. Phrasing. PERFORMANCE OF THE c my ears, for instead of opening in ORGAN WORKS OF sovereign inspired him to attempt all that to equality of finger power and facility, touch. Except in recitative like passages 1 expected he treated was possible in the art of handling the combined with expressive quality of KINETIC ORGAN BLOWER JOHN SEBASTIAN tone. The art of “touch” is exhaustively —as in the G minor Fantasia, and the D STOP-COMBINATION. the r treble pari organ.” Do we, in these days, play Bach ‘ ir book “Modern Organ Blowing” BACH. Ireated. minor Toccata—any deviation of tempo In the direction of securing expression Swell stop of a characteristic with an eye to the full possibilities of the t free, tell* about organs ani' should he almost imperceptible. Any at¬ by means of variety of stop combination, . „an blowing and shows the ver; timbre with the accompaniment on the organ? Spitta, too, in referring to imple. method of installation. EIGHT MEASURE STUDIES tempts at rubato. which came into use I think all organists (myself included) Choir. Through the whole piece there Bach’s extensive knowledge of organ Kinetic Engineering Company WILSON C. SMITH with the Romantic composers, shows a tend to become stereotyped. Now that were such contrasts of tone color, touch building, says: “This quality applied to 57th & Baltimore Ave., Philadelphia Op. 60. Two Books, Grades 3 and 4. 'sad lack of true “historical perspective.” organs have combination pistons and com¬ and tempo that the old bones put on new his compositions for the organ gave rise Each, SI.00 i Room 824, 41 Perk Row, New York 4. In the time of Handel and Bach bination pedals which are fixed by the Room 5, 12 Pearl St., Boston « flesh, the red blood of youth miraculously to one element of essential consequence The present set of technical studies 1452 Monadnock Block, Chicago is designed, by the author, to follow his double dots for the purpose of lengthen¬ builder, we confine ourselves so exclu¬ pulsed through the newly formed veins as regards the full effect, which element Special Exercises in Scale Playing. Op. ing notes were not in use. Nor did they sively to these (probably from habit be¬ and antique Bach stood before me as a has not, unfortunately, been handed down •V), anHnl nnrnose of composer and performer of the later develop write triplet notes with the first longer cause they are the easiest to obtain), to to us in its original form, namely a very fingers. than the second as we* do now when the utter neglect of other legitimate com¬ nineteenth century more modern than the characteristic and ingenious use of the FREDERICK MAXSON moderns. What, however, astonished me Ihs,___I binations which are obtainable by a little stops. Bach’s judgment was equally emi¬ s an accompaniment, thus adding _ still more was the fact that after the only two notes are required as J experiment. Even those who have or¬ nent in the combination of harmonies and musical Interest, designed to- somewhat ^ Organist First Baptist Church performance the whole audience cheered, modify the monotony of constant prac¬ gans, the pistons of which are inter¬ qualities of tone, and as in the former tice. A course of practice is suggested clapped, and stamped for an encore, They were- simply indicated thus J changeable, readily and often uncon¬ Instruction in Piano, Organ, Theory his eye had detected paths which no one by the author to obtain the best re¬ fancy encoring Bach!! I can hear now sults. sciously, slip into the habit of ringing 1003 South 47th Street. Philadelphia. Pa. had previously dreamed of, so in the mix¬ The second hook is somewhat more The context will usually make clear when some of the organists present say as they the, changes on a few orthodox combina- ture of musical tones he was inexhausti¬ difficult, and both hands are given equal this form of the triplet is implied. left the venerable building, “A magnifi¬ work, thus insuring equal development. ble in his devices, peculiar sometimes to cent performance of the G minor, but still The young organist in doing this is in the verge of strangene?-. but never THE COMPREHENSIVE SCALE THE ORGAN AS AN EXPRESSIVE GEO. KILGEN & SON pedantic or devoid of style. This art the right, and he is well advised if he INSTRUMENT. moves in steps which are easy and cer¬ which was allied to the orchestration of AND ARPEGGIO MANUAL Pipe Organ Builders WALTER MacFARREN tain. The more experienced organist, A OREAT CONDUCTOR AND THE IN- later composers he displayed especially ST. LOU IS. MO. Price, SI.50 BY DR. HERBERT SANDERS. however, should not rest content until TERPRSTATION OF HANDEL. when a powerful instrument, fully sup¬ This work is the most complete and he -has made himself conversant with plied with stops, came under his hand.” exhaustive ever published of all the For some time my youthful mind oscil¬ scales and arpeggios. While the organ is^often described as every mechanical and tonal resource at This edition is finely engraved and “The King of Instruments,and is not his disposal and in his performance em¬ lated in coming to a decision as to which BACH THE FOUNDER OF MODERN printed from very large plate, contain¬ infrequently likened to an«orchestra, there ploys them whenever they are compatible THE BENNEH ORGAN COMPANY of the two styles of my acquaintance was ORGAN PLAYING. ing no abbreviations, completely fingered the correct one until an unexpected light and has a brief set of rules for is one element lacking which places it be¬ with the genius of the instrument and practice. ORGAN BUILDERS was thrown on the matter by a great con- This authoritative quotation is enough In brief. It meets every possible re¬ hind all other musical instruments—ex¬ the dictates of refined taste. ROCK ISLAND • - ILLINOIS duc‘or'. ,hat "me I was playing the to show that the methods of Bach and quirement of teacher or pupil in search pressiveness. The piano voice, or violin, A former master of mine—Mr. C. W. of a complete set of scales and arpeg¬ The organs we build are as near perfection TWO METHODS OF PLAYING BACH. Molin in some of the Midland orchestras, the concert-organist of the best type are gios. ran startle with their quickness of speech, Perkins—told me that notwithstanding and as a rehearsal of the Messiah was alike, in that both treat the organ orches- telling accents and biting tone. These the many years he has been organist of about to begin at Wolverhampton the traUy. The organ, of course, is not an EXERCISES IN EXTENSION qualities the organ cannot feebly imitate. the Birmingham Town Hall, he was fre¬ new conductor, Mr. Henry Wood (now orchestra, nor can it hope at this stage For the Fingers At the outset it can he confidently as¬ quently finding some new and surprising Sir Henry), addressed the orchestra in of its evolution even to copy it. As, how¬ ISIDOR PHILIPP serted that anyone attempting to produce stop combination, and certainly the tonal Kimball Pipe Organs terms like these: “Gentlemen! Your ever^ an orchestral conductor or composer Price, 75 ^Cents the accents of the piano, violin, or voice, variety he obtains in performance is a band parts are marked with everv detail by his continual association with an or¬ .Mr. Philipp, perhaps better than any HONORED Austin Organs other teacher, understands the require¬ on the organ (will aim at the impossible, prominent and telling characteristic of his of bowing and expression which I re¬ chestra forms the habit of thinking his ments of the modern pianist, and has and but mar what practical effectiveness By the Highest Award at the World’s rolum- quire to be rigidly observed. There seems musical- thoughts in what is essentially written a unique set of stud.es, the playing. biari Exposition in 1893, the greatest in history; systematic practice of which will he may already possess by his misplaced In America the numerous couplers with and the same honor bestowed by the Inter¬ to be a common notion abroad that Han¬ orchestral idiom, so the organist must strengthen and stretch the hand, and endeavor. Yet, even with this limitation, national Jury of Awards of the A. Y. P. Expo¬ bring under the control of the player which the larger organs are endowed are sition, Seattle, 1909. del must be played in an uninteresting acquire the same mental habit which we the organ is rightly called the “King of many passages apparently impossible capable of greater results than are manner if played traditionally. This, gen¬ have seen originated with Bach and tnod- ot ready execution. The author has Instruments,” for it exceeds all instru¬ W. W. KIMBALL COMPANY tlemen. I do not believe to be the case, pren many valuable hints in his usually obtained. After all, why go to PIPE ORGAN BUILDERS THE SO-CALLED "TRADITIONAL' A Record- introduction to this work for the prac- ments or combination of instruments), in or Handel was an Italian operatic com¬ genJeniufi us of ‘Ii?the1 organ.lt 13 ' n Itkeeping is this with method the the expense of having them if they are METHOD Three large Austins opened i™.. these studies. As their name its abundant possession of the kingly at¬ poser and his htc was largely spent of thought which brings about that va¬ “Plies- they aim to increase the span tribute—majesty. But to secure this >nal refer- among operatic singers and players and in different places in one jnd flexibility of the fingers and hands riety of tone-color which nowadays (with c»Hthe PFPbse of facilitating the exe- majesty, means must be employed which fead Announcement of THIRTY YEAR JUBILEE OFFER on page 69 Bach al- no breathed the operatic atmosphere. He an improved organ) is at the disposal of day—Sunday, November 3. cutlon of passages requiring agility ana extension. are in keeping with the natural dignity pr., need «•>« continually before the public and e organist who is sufficiently searching nt incapa- hnrw its likes and dislikes. Further to and grandeur of the instrument. >n h s endeavor to discover new effects If Increased output the THE little pischna ORGAN RECITAL TOUR and is desirous of following in the foot- WIDOR AND EXPRESSION. 'HJr*0* ra-C ,w.p~tpk and wr',e the best best test of excellence. Our (der kleine pischna) ohl.grd to music nothing but interesting music would Widor contends that the expressive KRAFT Addr reputation still grows. BERNHARD WOLFF JT*'* *• .vC* ■taiwiel. gentlemen, wrote inter- nsChhe firstgreat means of an organ should be confined to Great, the f*»*9 music, and it is our duty to render 0,lh's work contains about sixty exer- what he calls lines, i. e.. the passing from wnpanyins 11 ,n an **terrs ting manner.” "^•Pbt being at all small, as its name ~| |— | | \/ 1 1 n 1 s w o 1 m Pittsburgh; SOME HINTS ON PERFORMANCE. f A handsome new cata¬ «««»««*«. being so named to dls- piano to forte on-an imperceptible incline, 1,500 moller pipe organs ssr,N usf tn k .from Plschna'a larger school. B2 In New York; 47 ir1 a_uiBaltimore;1 411 Inin Philadelphia;PhiinHelnhia : 36 Inin CincinnatisCincinnati; 1 8 in Washington;W grraMfVe* < Purely. I thought afterwards, if this log, fully illustrated and by a constant progression without stops ducaSi 11 may be u8ed as an lntr°- il In Hagerstown. For Catalogues address M. P. MOLLER. HAGERSTOWN, MD. ire played 'LL '5?*c_wJh Handel '* must lie the complete in information, or jolts. The sudden closing of the swell peat value of this set lies in who nri.U ** with Bach. Though Bach was not can be had on application. 0,1.1 Act that the various exercises are box during a pause or rest or between a 7“" «< Bach’, „rgm workThTi boll!.™, tltrougb all the keys, nothing knowledge .?mpo$cr he something ' > ."“1 "far. however briefly ! forte and piano he strongly condemns In odignantlv W d havc beCT impossible had he andgnabi)rvevlatcd- b«t fully written out, this regard he says: “Every illogical al¬ f™ po,m, which rail l„, comn,'S “ a ?cntlon ‘^tb, hands cre *>ven e(lual at' Guilmant Organ School av and is wh? " un,n*"«t.«ig player (like some 2 a°
Intending put are extremely careless in this, and they left unwed? Many organists are quite mucift^’ac- a strictly first-class THE comcnt to use the Swell to Great, and ***, fidne shades 0f rising, fall- should not faU to ... do not even see to it that the hair of the ROOT VIOLINS amine the merits of bow is always straight across the strings. U*The ^ btidding ' organist will naturally ing, sforzando, station, ^0w can They also fail to overcome the little TEACHING ask. "But how am I to tell whether my it ex.st on the organ, and^ on the whole sound of roughhess or scratchiness when stop combination, are correct?" To this tribe of mechamcal .'nstr“ts- w"'f the down movement of the bow changes I would answer, "The car is the only are incapable of placing st s on md - to the up movement. They fail to secure VALUE safe guide.” By this, of course. I mean vidual notes? For no one will deny tha, the even, smooth tone, the lovely flow of of th« music contained in the volumes the trained car. If the effect is pleasing rhythm can exist on these instruments, in sound which always distinguishes the well of SUMMY EDITION is becoming trained violinist from the careless one.” rapidly and widely recognized. It is 00 r a. whatever anybody of thls ,,m,tat,on- a growing factor in the line of teaching may say to the contrary-why it should In this matter there comes to our aid “Perhaps some students do not hold material, especially those volumes not' !>c used one of the most subtle and mysterious up a high enough ideal in their imagina¬ suited to the earlier grades. The parts of our nature, namely, the faculty' tions. Everything they play should first E. T. ROOT & SONS character of the music Is representa¬ be sung, if not audibly, then in the mind. THE SWELL PEDAL. for imagining that we hear or feel a PROGRESSIVE work in violin monies seem to go naturally with certain 1530 E. 55th Street CHICAGO, ILL. tive of the best type of musical com¬ In fact, I frequently find it a splendid The late Sir .John Stainer often in- thing which!.un doesUUC5 not11UI CAIM,exist, anuand whichmitui diavtNG THAT LEADS tunes. Yet the violin student should in¬ position. Tunefuincis is not lacking — plan to sing over a passage within the in fact the charm of that feature of .cighcd against the constant “pumping” weif a wishwich tnto pvistexist. ThpThe or^anorgan and the variably have the knowledge of piano and range of my own voice, and I have no¬ the music is made all the more attrac¬ harmony that will enable him to study the of the swell box. To add to the force machine-made music have the same ticed that several famous performers AUGUST flEMUN&FR & SONS tive because of t)u> finish and skill THE WORLD RENOWNED composition as a whole, and not devote evidenced in the writing. These are of his argument he told the story of an means of making their phrases intelligible By the Extremely Successful American whom I have met have done the same 42 East 23rd St. New York all his attention to the frail thread of Makers of the Famous results which come only from ripe ex¬ organist who worked very hard with his by harmonic structure, and by Caesuras Violin Virtuoso, thing. It gives one the right conception melody which defines the upper margin of perience or from the guidance of go tbe organ punishes any defects of gest that there is no more valuable ex¬ for the artist to admit success is to com¬ ercise than the slow scale in every key. Guaranteed Used accent will probably occur in the middle, time and note va'ue more than does any Clayton F. Summy Co., Publishers mence a process of stagnation which will This is particularly the case in* the second instead of at the beginning of the chord. ?tber instrument. On other instruments, Shaft Drive M E. Van Burtn St. Chicago, III. le?d to failure.” if the time is accidentally lost, the position where it is somewhat rarely used. “The great thing is to keep working, WIDOR'S HINT ON TOUCH. rhythm can easily be recovered by mark- Devote half an hour a day for two or j^One Piece Of ^ working, year in and year out, always three weeks to practicing the slow scale Of “touch,” as we understand it ac- ru the aCC.ents,: on th<: or“an cannot, claiming an advance as the reward for in all the keys, letting each tone sink into » Lustrous Silver^* cording to pianoforte-playing the organ I!!? °Tn-'f ,knows that il rhy thmless THE TUNE-A-PHONE IN USE the day’s labor. If you have spent sev¬ your musical soul, playing only wheu has nothing in common p 8',i 8 and undec,tlcd manner of playing pro- Ton can now learn this delightful profession with eral hours sawing away at Kreutzer and you can listen with the greatest intensity, .be Z ^ZTan dUCeS ^Portable weariness in the or without a knowledge of music hy our simplified method of teaching the art hy correspondence. Sc • I Kode and do not detect the least advance imagining all the time that you are hear¬ vu*. *po»l» u othctwuc bcauUfa*cthcl!** ployed* iT Srn ovee?lJL JVe!.y ^ ,isteners' who are a‘ «* mercy in this entifle Piano Tuning is based upon calculations of vi¬ brations or beats and does not depend upon apprnia- hy all means do your best to find out ing the ideal tones of some great vir¬ Here is an opportunity tion of musical pitch or sound as many suppose. Our •wonderful Invention, the Tune-A-Fhone, will pro¬ why, but keep on working. I once heard tuoso you have heard in concerts, taking to secure a Used Locomo¬ duce the exact number of beats that should occur In a young woman in Berlin say, ‘I have the test intervals. Through the beat amplifier tn« nothing for granted, hut seeing that every sensation and rapidity of boats is carried to the ear been working on the Symphonic Etudes little technical detail of tone, bowing and bile— at a reasonable you mat- t„„ ut ■ , . i . saw ln Gefmany during a through rubber tubes. By the aid of this lnstrameni, ELECTRO the student knows what the resultof his Equal Tem¬ of Schumann for years, but it will take position has been carefully considered, price; the Best Built Car yotir shoulder, on ,WC'ght °f fihythm,css Performance of some very perament should he. Hecantesthis sixths and thin,, at least another year for me to get so that , * / ,bc .yboard' >'ou wil' finn the organ “a double- .-':s by means of the interesting meeW» ■asr work.— Like the building Oi a ai Many a line solo has been spoiled by an “Over ambition has ruined many a fine repainted, and guaran¬ It tout touching any mechanism, and r.ass !S sometimes used with it in the .....orrienc^lnstruriion^allorded hy * ' stantial building, everything must t; accompanist who was so pleased with his violinist. Why do you seek to play the with all the stops open, you may obtain F/ench churches. Wind instruments ourse In this School. We loan free o own playing that he could not lend him¬ teed to give the same harge all the necessary tools. It is 8 “ i tlme- A bolt out here and there n Mendelssohn Concerto when you have a crescendo by the mere increase of dura- S '3re tc! a certain extent the want of lorable fact that the average pianist [bean collapse later on. Hurry in stu< self to the violinist’s way of thinking.” rtingale from a wlppen \ only the ability to play a few of the sim¬ satisfaction as when new. lion given progressively, to chords or .T?' ’ - ’nce one sometimes sees a dou- 1 of the instrument he lor« •fig the work of either right or left ha ple pieces of Dancla? It is far better to o him h AVOID CRAMP. detached notes. Playing the organ reallv ’;'^S an Rnglisb military band, for I myet< . The b( fi»)’ mean that you will have to pay develop some very simple piece to the means playing with chronometrical qua,,- "ifUmCnts Sive more accent and .'“Ur haste of hours, in months of “Slow work bobs - up again when the utmost of your technical and artistic Where else can you pos¬ "lies- tnan any others.”)—From The — ErSSSi j bonous penance. If you want to progr student is studying position work. If capacity than to strive after some great Why? Because such knowledge is essential to cm property m vi0iin piayjng go so s]ox you feel the slightest tendency to strain sibly get “so much auto¬ Much might he said on the subject of WiSTms^ M°dCn‘ Music’ by Abdy plete Musical Education. The time is at hand wnjj work far beyond your reach. Fritz organ-phrasing, but it must suffice to re AMS' _ , eacb Brought, each movement a or the slightest cramp in either hand you Kreisler, master that he is, does not hesi¬ mobile for the money”? mark that without it all music is unintel- x j™ hablt- 's securely lodged in its pla may be sure that your position b wrong. tate to play very simple pieces—but, BUT hgible. The organ requires more careful n T"E fact ,bat th« emotional and tem- i"S. .as tbe foundation of a big buildi After you are sure that the position of —how does he play them? Anyone who phrasmg than any other instrument: i, quabties of Russians are much .....„Bytakiigou___ *n ^act- we might carry out the left hand is right ask yourself, ‘Do Think it over. Personal Correspondence Course .»---- os, has heard him play the Dvorak Humor¬ get, the leas, Like the singer, the or- ,n e'lde"ee, and influence ?h2 and the allied branches. No one who owns or u gure a little further and say that my hand, arm and fingers feel free and Plano can afford to be without this instruction, esque must realize that he has spent hours gan must breathe, and the playing 0f ,he ff°"S raore readily than western races teachW 1 lii Te so 'd one makes the foundation natural, or do they feel stiff and awk¬ pays for itself. Many years of successfu and hours in perfecting it. Each tone is by correspondence, attest the merits of °u‘ _v. ~ ■ er ma-v be the structure of the ward ?’ Good violin playing is almost al¬ rgamst who mentally sings the organ ?J?haV* such thinf?s more under control Mrs. En-n-id La Foi.t.kte of Fresno, Cal., .fj perfect. This then should he the goal of 1910 “30” Touring $1600.00 writes: “Since completing your course m tunings l>srs career.” ways marked by grace of movement, and parts and makes the melody respire at f.and f6"1 SUperb subiects for literature every student, and the one who is so 1911 “30” Touring 2000.C0 »me places as would an artistic vo- £kss for For s'on.^A^'r S S'AtaX wS !&Sd I mai?n- great mistabe that violin stude one could almost tell the ability of the as outside tuner by a large music house. I a® short-sighted that he can not see it. must 191 I “30” Limousine 2400.00 splendid success.'^ m, 1 viol;6 15 *° conbne their attention to violinist by seeing him play without hear¬ realize that he is traveling down the hill ,1." "Tf Mr. H, N. STAkMSH, 1205 W. North st-’c™n“„ce i ! a,. n part °f the composition alone. I ing him play.” 1911 “48” Touring 2600.00 *shedBy°ur ^ave made as high as Wt0° ** “Grace enters into the bow technic of and not up to Parnassus.” ,o,inr‘part the n°tes piayed by 1912 “48” Touring 3300.00 ness is not the only cause of the reproach and ™p,ed v,vac,t>' and with an abandon Mb. K. Weller Daniels. 222 N. 8th 8t.,Ai-k“g“^ die n ...are not more than a mere me the violinist more than the average player Kansas, writes: -1 certainly feel grateful to| Bryant School of Piano Tuning for the in»OTC^# l true 1 me °f lbe composition. This will admit. A graceful movement is a Do your work, do it the best you ^Vn^’h! ’,,haS *uff,ercd: l,'c organist makes the^chara"t°f- S.df'restrai"t which havci-eceived from It. The very first week ls»r *Ven ln Pieces like the Bach C. free, confident movement, never an angu¬ know how. Love it, live with it. fhe Locomobile Co. ,o, bing ,he repr°acb °f the- >^0 . For8 particulars 'and FREE lUustrated booB'1 Played ‘ts cbords for the viol lar, stiff movement. The neglect of the sweat with it. Have no ear for the pes¬ nto general notice. It should be his airr therefore q? y P tent' And their work Address: . . diffiri.n Wltho“t an accompaniment, it right wrist and bow arm is a great fail¬ simist; there is no more good in the old of America, ing among students. Some violinists, The Niles Bryant School of Piano Tuniis bavin? -t0 /b’n.k of the work with: world than there is had. Find your work, Art Institute, Battle Creek. Michigan, U-S^ whose finger technic has bee- somewhat accon?„ tbe imagination an unwriti then work your find; work it with all the 2314-2322 Market Street, limited, have made reputatic -. .pon the In "Tm' yet one none the less r< power of the body, mind and soul that JURN TO PAGE 69 wonderful efficacy of their bow arms. Philadelphia, Pa. soon , of counterpoint the stud: you possess. That way lies success; and read announcement o> Bowing is the ‘breathing’ of violin p dy¬ their l!?at certain melodies sugg nothing can stop you from arriving.— ^THIRTY-YEAR JUBILEE treat*™ Tharmpntc and contrapun ing. It is the basis of the art of phrasing Anonymous. OFFER OF THE ETUPE^ • In plain speaking, certain h and the art of expression. Some students —L1TLSTlr advertisers.dis"“ Please mention THE ETUDE when addressing our advertisers. THE ETUDE 65 the etude 64
THE VIOLINIST’S ATTITUDE. IMPORTING OLD VIOLINS. High-Grade Violins A CQMBMOMWMT write* to THE Etude to learn what custom duties-arc The Music Lover's Digest required in the ease of importing genuine Ir the violin student with a faulty and The Best in Musical Literature from Everywhere old violins into the United States. Un¬ ungainly attitude were to consider that on 30 Days’ Free Trial The Etdde’s monthly scrapbook of paragraj der the new tariff, new violins must pay chance, from yesterday’s mail, from thee c._,continent, the. latest book, or from people arc as much influenced by what le old and rare tome, as the case- mayr be, giving 01our readers the cream of 45 per cent, ad valorem, but violins more they see, as by what they hear, he would reading from contemporary journals in all languages, and from the most than IUU years old may be imported free Your choice from a large, carefully stimulating books. give more of his attention to the devel¬ of duty under paragraph 717 of the pres¬ opment of a correct and graceful posi¬ graded stock of representative instruments ent tariff law. as '‘artistic antiquities." In tion. The correct posture of the body for from the best of the foreign violin makers. Violins order to take advantage of the free entry the violinist is carefully explained in The of violins more than IUO years old. the Music, the Food of Emotions the composer’s supervision—Mrs. Lina Ila- Technic of the Violin, by Richard Scholtz. ^ their violins are honestly made and honestly sold. mann tells us that, presumably in 1844, party importing them must make an af¬ Music is the natural food for - - BlKall„leu and in Technics of Violin-ploying, by Ifeinc attempted to draw on Liszt for several fidavit. stating that he ha* investigated tions, for the cultivation of enthusiasm, thousand francs■* 'at Liszt had refused, “not the origin of the violins and believes that Karl Courvoisier, and will not be dis¬ lognltion ou the market.' they have been in existence for more cussed here, but it must be remembered Violin Book FreeSS.%: gwffjaavj-jws «x&*«?wLr.ssr.. than ICO years prior to their importation. that the real work comes when one tries m"™B ’Cellos, etc. Don’t think if”i7\~a‘ .5.* “ *3 3, to stamp out the traces of awkwardness, Music begins where definite speech ends, and Ljgzt ® He must also procure a declaration of of buying . Violin. Viola ’Cdlo or violin b? it™ ZnuZtSlEZ there are depths in our being which it alone Although in this ease the nrnnf Is strong the foreign seller or shipper, certified by and the task is not finished until every you thoroug ‘lywf^'nJ-iU,SUI^u o^fnTtrial' Write now for this book. Don't pay enormous suggestion of clumsiness is eradicated. prufits^o jobbers, broker, and dealers. Every one of these gets part of your money when you buy a the United States consul at the place of violin in the regular way. One has only to watch the bodily expres¬ shipment, stating the name of the pro¬ We MAKE and IMPORT All Our Own Instruments and SELL DI. practical kind, manifesting itself in actual sion of any great violinist, whose instru¬ results. All propositions for the solution of e'1r rf u ducer of the violins, and the date and international disagreements, for the abolish- a1°*afUt0„^rap^tJ?.aa place of production, and also stating the ment has grown to be a part of him, to RECT, giving you the benefit of the regular middleman’s discounts inpnt nf thp intone a fpolinc nf pnmitv he- consists of seven letteis of Heine to Meyer- name and residence of the person from see how he lives the meaning of the word tween labor and capital and between the dlf- b®*-1'- and of ?“eth°£ 'Iey^rbeerr T0.s-?e'"/: Our instruments are all fine, handmade, tone, violins for keen tonic a ferent orders in the body politic, stop Just lowing not only that the case of Liszt was "attitude.” whom he obtained them, and the date professional use, sold at exceptionally low prices for the value given. Some styles o protect your short of the climax, and so, up to date, not an f cfPtlo.n; but a1,80 tbat. “ ‘ ,Cn°“P°a^S when such seller or shipper acquired the To the Italian, alliludine means two are wonderful copies of cciebrited old violins belonging to the greatest artiste. They are far have been largely ineffective. The chief fac- w,®fe n°t, like him, avelse to skin from chap and same. If. however, the shipper or seller things; namely, attitude and aptitude, or .uperiorquality and^power V^tone to^he.average^d violin otfour ^ ^ tor in the solution is sympathy; once let ' ° 8 ' toughness, to keep us acquire a lively power of taking the I11 TVte Musical Times (London). it not in possession of all such facts, he in other words, posture and fitness. other man’s point of view and everything Our book tells you all about them, and why we can certainly please you Gives you full informa¬ it refined and lovely may state in lieu thereof such other facts Therefore, it is not enough that the vio¬ tion as to just why and how we can allow from'10 to 30 days’ trial of any violin without its Will adjust itself. There is no doubt that Music at the Mikado’s Funeral, costing you a cent if you are not satisfied. Violins of our own Chicago make sold so rapidly apply jus( a touch of capital will look out for itself, anu so will a* may lie in his possession tending to linist's body shall be properly poised, it this past season that we fell far behind in orders. Try one and see for yourself why this statement labor. In the detailed accounts of the Mikado’s show that the violins have been in exist¬ must be supple, yielding easily and grace¬ ELCAYA before being What Is needed is for each of the contest- funeral nothing is more impressive than the ence for more than 10U years. fully to the peculiar demands made upon exposed to harsh winds and weather, jj ants to see the bearing of the question from references to the use of music made by the DorPt buy Any kind the point of view of the other, that is, to Japanese to emphasize the mournfulness of The collector of customs then trans¬ it and trained until it acquires elegance 10 to 30 Days' Trial display warm-hearted human sympathy, in the occasion. “The eerie sounds of the nn- mits all certificates hearing on the age and freedom of motion. tell anything from a^printed descrijj- this respect, also, education has been de- tlve funeral music, to which especially the CREME plorabty one-sided, far too muon attention small flutc-llke bamboo hiehikirl, with its of the violins, to the appraising officer The violinist who hopes to be success¬ ELCAYA iy the express charges both Vavs < "Makes ihe Skin like Velvet having been paid to purely intellectual de- inconceivably plaintive and penetrating notes, for hi* guidance. The latter then makes ful must have poise—poise of two kinds; velopment and hardly any to emotional long- gftve a weir(3 offect not unUke that of the a careful examination to ascertain tags and ideals, which often seem non-exist- high notes of tlle Scottish bagpipes, heralded i. t., mental and physical, and we rarely keeps it soft, clear, inviting and shields ent, - utterly atrophied through lack of the . 111. eortitao to the waiting whether the violins were in fact produced speak of physical poise without thinking of cs'er baying a violin you neetf this book. Wr the complexion from the trying effects of ■on Own 100 yean ago. it will thus of power or control, coupled with grace¬ v« tm m v—■ v m ^ m m Tr. 225 So* Wabash Ave. winter. ELCAYA is the time-tried f US HS K? • z be seen that the government is obliged to fulness and pliancy. In the study of WM. F. LEWIS & SONS, Chicago, ill. toilet cream—it does whatever is claimed ^ share with his fellow-men the emotional and and fall of the sighing, walling notes1 of tin A College have expert judges of violins at its prin¬ spiritual experiences which have meant so native instruments the rhythmic movein nt poise the student need not look far for Makers and Importers Established (1869) lor it—even more. Well-groomed ’ much to him. in music the strongest note of the soldiers, and the slow tread of hun- cipal ports of entry, since many clever examples: nature is ever ready to furnish American women regard it as the best is that of love, not merely in its sexual as- dreds of men upon the pebble-covered imitations are offered for free entry as Violin Makers—We make-a specialty of Imported Woods, Varnishes and Tools. Write us today. beauty aid that money can buy. Let peefc but ta the sense that music is the roads, . . the whole moving through perfect models. Poise is that balance universally understood medium for the — literal sea of human beings, \ being over. IU0 years old. which are in j ELCAYA be your choice, too—a lovely f which manifests power; we see it in the iiression of feelings of human fellowship— sound but the music and an occasional hys¬ Favorite fact comparatively new violins. It is up complexion is as important to you as to any • a real social cement.—1‘kof. Waltkii II, terical sob, offered a scene wonderful for its pose of figures in the masterpieces of Spaulding, ta the Harvard Musical He view to the appraising officer to detect these other dainty woman. Ask for ELCAY A, intense Impressiveness. The great city was painting and sculpture. Where can we (Boston). almost as silent as the grave itself." imitation old violins and force them lo the “beauty-aid” of purity and quality. Peter’s Milk Choco¬ find a more thrilling illustration of this Before you read a word ol A weirdly Oriental detail was the tw’o- pay 45 per cent. duty. Has_„ My Child_—I Musical, Talent? wheeled vehicle on which the coffin was late is in a class by. balancing of all the parts than is por¬ this advertisement read MUSIC LOVERS One very important (auction of the ideal P^ed WHAT VIOLINISTS OAIN BY THK NEW trayed in "Raphael’s Transfiguration;” itself. A delightful CONDITIONS. we see it even in the minor figures (if touchedSc.ivi TO YOUIUU runFOR ONLYONL" —”TEN CENTS———- A• ~"“'CUPJ. . sugar combined by for they can now secure old violins at We are publishing an edition of the world’s most famous Piano Solos in a beautiful without saying that ln^o^er jt^carry^ujtato 5.^ «£ r. royal in prove his bodily deportment will probably £TnP™JdiU°%AB^LUTELY GUARANTEED TO BE THE EQUAL OF ANY EXIST- the “Peter Process.” European prices, which are much less INCfifcplpON EDITION regardless of price, which we selftosell to you for TEN CENTS A*COPY.A COPY. Every than have prevailed in this country. The begin watching himself by means of a intically the same in style, size and artistic appearance as music which is < American student or tourist returning to mirror, and will think that because his SPECIA,Iii?p?vVcc0rvTiJktte ‘option of the fact thaV the “CENTURY EDITION 1» undisturbed work of each student. cation. Its variety of tonal shades is ex SPEC ^^?lD.^J™^GHLY MODERNIZED IN EVERY RESPECT. X have often been asked by parents for Rustless. Its scale ranges from the pro- Peter s for the particular. this country can bring with him a fine movements arc naturally angular, and that advire concerning the musical education of foundest bass to the acutest treble. Its dy old instrument, or the resident American flexibility and suppleness arc gifts of their children. The parents love music and namIe power modulates from the faintest want their children to love it and to be able wj,(gner of a pianissimo to the thunderous have an old violin shipped to him free heaven, he can spend his time to greater ta perform. It is often difficult to say a fortisslmo. It sings, ltjaughs. it of duty by a European violin dealer. profit, perfecting his tone and interpreta¬ whether they have talent or not, but the weep„ it W00S( it storms, it hymns, it medi- The law also saves concert violinists tion. winning in the end by an appeal to onH’ wav to determine this is to make a be- u at the command of the composer ginning.' It Is at this point where most mls- kaowg how to use its powers.--W .T. Peter’s much bother, since they can now bring the ear and intelligence rather than to the takes are made. The usual method is to en- gENm,,RS0Nj in, “Modern Musical Drift. 10c EACH j0C PI,iN„0 S0L0S their old violins into this country with¬ eye. Here is where he partly fails, for 10c eachIOc pfasl Pri» I?fer thePnove0ltyehaCs'oS .VSndtoS (Permission of Longmans, Green & Co.) out duty, whereas formerly they were his playing is not likely to have the quality Milk Chocolate euher obliged to pay duty, or else go which appeals to the car of a cultured interest. op)nl(jn the love of music should Debussy’s Archaic Modernity reley, Op. 2. through a lot of red tape in giving a listener unless it is the product of a <1mj minor Night’* Dronin, be developed in earlv childhood by smglng to ancient scales of which there gnon PolonaS*, Op. 188... the child and having the child sing in un arJ etaht In number, has given an lndescrlba- bond that their violins would be taken out strong, flexible body, yielding to the work conseious imitation This trains.the ear and "e Debussy’s music, and has on- of the country at the conclusion of their at hand with motions which fascinate and ry ftS .rb^™ue' voice and awakens his inte™sfl ls with a quaint, archaic grace. In concert tours, and not sold or left in this Clt; ;.!";* <3’I'F.Kotning Instrumental training should grow out ol tar^nenine bars of La Demoiselle elue, ta charm, like all other forms of the beau¬ » I * d - TrnnscriPt»«>».Kuhc .. country. tiful. .*. .* Wn finer-Lang*- The new tariff law is also a great ad¬ While gracefulness seems to be a gift, Onhrtct from “KlfoleU ■ ::rz. * vantage to American violin dealers since undoubtedly its development is possible IbiMlc «f Spring, Op. 32 &SSfroamtyon 0tadUeV''s7urce Weven“ Gregorianjasas torenadt. Op. 27. chant, carrying .back to ^ly Chrtattan they can now import old violins free. The success of an undertaking depends They are thus m position to offer old vio¬ hvmnologv, which ta its turn was taxon cuner upon the energy and depth of mind put Did Heine Blackmail Liszt ? from the Hebrew temple service lins to their customers at practically Eu¬ r«"*«rn#| 'Mron. Op. 10. into ,t. and while beauty is desirable we (Wade. Op. 87...._ That Heine attempted to blackmail IJszt Greeks looJt asknnce at this composer’ ropean prices. The American violin are told by Emerson that grace is more Waltz**, Modjeslia.. .thA following letter. pu» inose +hAv aBoosa to oa maker is still protected by the 45 per beautiful than beauty, therefore, if the mz Liszt (I.eipsic. 189, .... little aware of the half- cent, ad twbrew duty. rn mev uu». I will venture to say that violin student who is stiff in his attitude “X will await j our visit, dearest friend, truth they The effect of the law has been greatly ’c and three. 1 ear-nest and prolonged and awkward in his motions will only Century Music Publishing Co.,1173 Broadway,N to-morrow between to lower the prices of old violins in the Please send FREE of charge your caia have just written Hunk flexibility into every hour of his 10 CENTS EACH *nd P,ano’ lold for wish sena oeror^ United States, so that the American vio¬ Name_____ ta ?^T2£ES S practice, he will. i„ time, develop a grace linist has now a better chance than ever which may not be absolutely demanded before of scctsring a fine old instrument , CityT by an audience, but is sure to be appre¬ Century Music Publishing Co. State at a reasonable price. ciated if present 117? Bro„4w... si_.= ’ Your friend. n. nr.,NE.” acthm Uf*onnCthe realistic, finmbuyruit._afivijii- (1844) lead to satisfactory tltlous ^tbods^of certM*^ ^ “talk” Please mention THE ETUDE when addressing 01 aSlS ffl'S IZ^o^l^nie Dehussy. THE ETUDE 67 the etude 66 floors in the new building are given over given by the members of “the Presser Mine. Lilli Lehmann, Maurice Moszkow- rest and recreation room facilities have 1 the Theodore Presser Company. In family.” ski, Otto Neitzel, Mme. Maud Powell, been provided for both women and men. 1 two basement floors are additional E. Poldini, Dr. Hermann Ritter, Xaver Only three deaths have occurred in the _JL-U-i-=-^-—- A SIGNIFICANT ADVANCE. orage rooms for the ever increasing Scharwenka, Eduard Scliiitt, A. Szumow- force during the past thirty years. k of books and music. On the ground The Theodore Presser Company was ska. S. Stojowski, L. Tetrazzini, S. Cole- A Savings Fund is conducted by the Thirty-Year Jubilee of THE ETUDE floor are the shipping, billing and check- incorporated, October, 1908, for tiie pur¬ ridge-Taylor, Fannie Bloomfield-Zeisler firm with the view of fostering thrift. three decades of progress departments. On the next floor above pose of placing the business upon a more and others equally famous. During the Employees of the Presser Company have ga splendidly lighted room may be enduring basis. Opportunities are given same time there have appeared educa¬ deposited in this fund during the past Imd the treasurer’s office, the bookkeep- the employees to purchase stock. An ex¬ tional conferences with some thirty of year $4,000. • ‘ department, the advertising depart¬ tremely liberal bonus, regulated by the the foremost pianists, singers and com¬ Of the 194 employees now engaged by ment the circulation department, the length of service in the company, is given posers of the time. About one thousand the firm, 116 have been witl\ the firm of The Etude underwent in order to demand. Completeness, accessibility ami subscription department, a large fireproof to those becoming stock holders. pieces have appeared in The Etude dur¬ from one year to five years, 36 have been up-to-dateness characterize this immense enrolled five years or more, 23 have been All mAuckIc •» dramatic, all triumph same, and these are the substantial edu- issue the journal. vault for the preservation of valuable pa¬ During the last five years, the business ing the last five years. Many have been stock in a manner that surprises all visi¬ poctic. and in the obvious success of Thk rational purpose and the prompt, just, In appreciation of the earnest support pers and the apparatus for addressing has advanced from a fiscal standpoint 40 new works from some of the most re¬ enrolled ten years or more, 9 have been tors. Ivruu* and the business which has devcl- business methods which have character- of music teachers in the early days of {hirty thousand Etude wrappers, etc., a per cent. nowned composers of the present day. enrolled fifteen years or more, 10 have Ascending one flight to a commodious been enrolled twenty years or more._ oped side by sole with it. one may read ized the work from the start. Tm- Etude, when “a friend in need was day In this department we learn that In the same period the Presser Catalog The actual floor space occupied by the U.th »irui«ic and triumph as well as a From the very beginning. Mr. Presser mezzanine floor in the rear of the store, In 1910 “The Presser Choral Society” a friend indeed,” Mr. Presser founded in The Etude goes monthly to hundreds ot has j’ umped from 7.000 to over 10,000 Presser Company is 50 per cent, greater • unite realized the necessity lor trained work- one comes directly to the office of the was organized. Several interesting con¬ 1906 the "Home for Retired Music subscribers in foreign lands-South numbers. The Presser Collection (a high than it was five years ago. as interestinK as may he found in many ets carefully instructed in his personal General Manager of the Presser Com¬ Africa China, India, Australia, Europe, certs have been given by the members. Teachers,” now located in Germantown, grade edition of standard masterpieces) The number of employees has increased works of fiction. We are confident that business ideals and educational purposes, pany, located in the heart of the busiest There are forty members, all employees Philadelphia. This home is described in etc-in fact, no country seems to be lias jumped 80 per cent. The octavo col¬ 50 per cent. those who honor u* with their patronage A large part of his time has been spent another part of this issue. This is the part of the establishment without its coterie of Etude admirers. of the firm. will lie glad to have us interrupt our edi- in developing his material until each lection has increased 70 per cent. The hill for postage alone during the first time that Mr. Presser has permitted On the next floor above may be found An orchestra composed of employees torial policy long enough to present them branch of the work is now under the MAIL ORDER DEPARTMENT. The circulation of The Etude during last year exceeded $75,000. Indeed, a his connection with the home to be re¬ the private offices of Mr. Presser, the of the firm has recently been organized with a lew of the very interesting facts supervision of expert specialists so capa- five years advanced sixty per cent. In¬ large new branch U. S. Post Office has lated in The Etude. The institution is On the same floor is located the mail office of The Editor of The Etude, the and played at the last concert given last aUnit their journal and the ThcoJore ble that the institution has taken on a numerable ideas new in musical journal¬ been erected in the vicinity of the Presser incorporated and its future absolutely order department. A special force of Auditor, the Publicity department, and year. Presser Company. character that will unquestionably remain ism have been introduced in The Etude Building, principally because of the vast guaranteed from the financial standpoint. trained clerks, some of whom have been the Musical Critic, where all incoming Singing classes and theory classes for _ the same for an indefinite increase in the Presser business. The qualifications for entrance are given with the firm over two decades, insures musical manuscripts are read and pre¬ work. Among the famous musicians who the employees are being inaugurated. period in the future. In¬ the greatest possible accuracy and prompt¬ have become contributors to The Etude Outings are given during the year, in THEQ. PRESSER MUSIC PUBLISHER deed, the work is so com¬ in the preceding pages. The home now pared for the engraver. On this floor ness in filling orders. No orders are left in the same period are Eugen d’Albert, SOCIAL FEATURES. which all connected with the firm take an plex that many years are accommodates its full capacity and there there is also a hall seating about three over for the next day. Every effort is C. Chaminade, Frederick Corder, Claude The welfare of all connected with the enthusiastic interest. required to accustom a is a short waiting list. The entire insti¬ hundred people. This is used as a rest made to reduce the time between the Debussy, A von Fielitz, Katharine Good- Presser business has been a matter of A system of pensions for long service worker to the needs of the tution is a personal benefaction of Mr. room for the women employed in the actual receipt of the letter’ containing the and old age is now being instituted. special nature of the Presser Presser. vstablishment and for social gatherings son, George Henschel, Alberto Jonas, deep concern with the founder. Ample order to the moment of shipping the sup¬ business. Attention is es¬ Eight months after the founding of plies desired. pecially called to the long The Etude in Lynchburg, the office was Side by side with the “Mail Order Do terms of service, indicated moved to a little third-story back room partment” is the “selection” or “On Sale” Padgett, Edith E. in the list appended to this at 1004 Walnut Street, Philadelphia. In¬ Pickenhahn, Walter Cummings, Frances Keyser, Helen department, which has proved of such im¬ THEODORE PRESSER COMPANY Peckstein, George article. creased expenses made the struggle more Sheridan, Rose Dempsey, Katharine Killian, May portance in the educational work of thou¬ Plews, Harry W. After extensive experi¬ intense, but did not daunt the publisher. DIRECTORS. DEPARTMENT HEADS. Sherman, Jane Dilks, A. M. Kirk, Chas. W. sands of teachers so situated that they Theodore Presser ...Pres,ident f B. MacCoy...... Wholes^ Plews. Ralph ence in the music business Shortly there came a demand for music IHEUUUBH nusssmi.• ' r, ---_ Smith, Robert Dobbyn, George Kirk, . Miss E. L. William E. Hetzell.Secretary J- i- Blaetz Koerner, Rudolph Powell, Phail M. and in music teaching. Mr. and music supplies, and the music pub¬ are unable to go directly to the music :;:: -.Treasurer ------founts States. Jennie Dobbyn, John T. stores and inspect a large stock. On the '•■■■■ .. U - Taylor, Louise ' Douglass, Marion L. Koerner, Theodore Rawlinson, James Presser decided to prepare lishing business of Theodore Presser was L. M. Cox. F. Zinsle.Publicity same floor is the cashier’s department and J. Cutler Fuller. Waack, J. H. Drain, John Laemmel, Louis Reyes, Lulu M. himself for a broader field, established. Next the publication offices H. R. Barimorb.Cashier Rhettenbock, Miss the mail reading department, where all THE ETUDE H. B. Bennett.Subscription Ward, M. Alice Dunn, Alice Lambert, Mary K. and accordingly studied at were removed to 1704 Chestnut Street— M. B. T .. tlUUli. henry Hessel .Engraving Wiltshire, Harvey Durand, Mark L. Landenberger, John the New England Conser¬ then 1708 Chestnut Street, and finally to incoming mail is sorted and given in .Tames Francis Cooke. Editor Robbbt McKinley .Charging Ripka, Chas. charge of the proper individual to attjnd Arthur Selwyn Garbett.Assistant MlTCH?LL Hammond.Shipping Wood, Milton Duval, Lewis Langston, Marie vatory with men of the high the present location, 1712-1714 Chestnut Leis, Mrs. M. Robinson, F. L. to it most effectively. MUSICAL CRITIC. ADVERTISING. Ebner Chas. F. rank of Stephen Emery, Street the first real home of The Etude Lerman, J. W. Robinson, James Preston Ware Orem. E. H. Belding.Veto York Under Five Years. Ernes, George Ruleff, Clara F. George E. Whiting, J. C. and the Presser business. As necessity II. D. Hewitt.Assistant E. B. Guild.Boston Ewing, Mary Lloyd, Mabel Banks, Kath. S. Sangston, Chas. S. C. D. Parker and B. J. Lang, demanded, these quarters were extended Farley, Miss A. McBride, Wm., Jr. etc. In 1878 he went abroad by additions until the original space bad Baremore, H. R. Searles, W. CONNECTED WITH THE THEO. PRESSER CO. Fisler, Christina E. MacLellan, Royal P. Schaefer, Edward to study at the Leipzig Con¬ quadrupled. Balug, Sophie McMichael, Alice 20 Years and Over. Lynch, S. Grace Orem, P. W. Garbett, Arthur Gallagher, Mary Schirra, Eliz. servatory with Jadassohn. Bandyk, Michael McMichaelMissH.C. Beck, Fred W. Mattern, Lillian Rheiner, Florence Gilmore, Isabel Bayly, Harry T. Gear, Bessie Shaw, Wm. D. Zwintscher and others of A VISIT TO THE HOME OF THE ETUDE. Golze, Matilda Greatrex, Raymond McPherson, James Bennett, Helen B. Overbeck, B. C. Richardson, C H. Bechtold, Mae Sheeler, Grace great renown in the musi¬ Sainson, Rene Hammond, Mitchell Guenther, Erich McWhinney, MissW. Sheets, Annie The Theodore Presser Company occu¬ Cox, L. Minerva Walker, Kenneth D. Belding, E. H. cal pedagogical world. Re¬ Shields, Danl. Harris, Edward Hacker, Ethel L. MacNeill, Mrs. M. Stouch, Ralph pies three buildings, covering ground Doherty, Rebecca Bender, Clias. turning to America in 1880 Skilton, Jos. M. Harris, Harry Harrison, Laura M. Mack, Marie Suplee, Howard space as follows: Groff, Win. 10 Years and Over. Bender, Richard M r. Presser received the ap¬ Thomas, Wm. Hayllor. Edward Harvey, Walter Martyn, Carolyn B. Tait, Katharine The Presser Building (a six-story brick Hetzell. W. E. Barratt, John Benzon, Geo. H. Walsh, Maud Korn, Catharine Hewitt, H. D. Martin, C. Eleanor Tobias, Alma pointment as musical direc¬ double building ninning from Chestnut Howard, W. E. C. Blaetz, John Y. Wilson, Mabel Leek, Hanna R. Biederback, H. A. Heyer, Helen M. Mather. Lizzie Valentine, Helen P. tor at the Hollins Institute Street through 150 feet to Ionic Street). Neher, Louis Bowen, Jas. R. Zimmerman, Laura Lukens, Emily Bossert, Leroy G. Hillyard, Margaret Merz, Frank M. Verner, Sarah in Virginia. In this posi¬ Presser, Edward Bratton, John L. The Presser Annex (a ten-story mod¬ Lutze, Walter Bradley, Florence Hoelzel, Annie Moore, Norman Walker, Ethel tion he repeated the suc¬ White, Emma N. Doherty, Harry ern fireproof edifice d'rectly in the rear MacCoy, H. B. Brehm, Frank R. Hollan, Miss Morris, Carrie M. Walker, Everett J. cesses he had made in sim¬ Gordon, Kath 5 Years and Over. of the Presser Building, and running McKinley, Robert Bush, John C. Jakob, Frank Morris, John Walmsley, A. S. ilar work prior to going to Gotthold, Harry Camenish, Waiter from Ionic Street to Sansom Street). JEER ItM Mora, Nicholas Carn, Samuel Janda, C. F. ‘ Mulford, Matilda B. Watson, Kath. Harner, Howard Cocker, May Europe. But he felt the Engraving Department (occupying a Morgan, Gwendolin Clark, James Kearney. Mary Ness, Esther Whitaker, John Herrmann, S. Cookp, J. F. limitations of his sphere Norton, G. W. Coady, Mary Kehoe, Elizabeth Nichols, Mrs. A. B. Widdis. Mrs. M. small building adjacent to the above). Hessell, Henry Drexel, Bertha and still longed for a life Palmer, Mabel Cogan, Joseph T. Kelley, E. G. Niemann, Rudolph F. Williams, Marion The Presser Business as a whole occu¬ Kane, John J. Fabricant, Rosalie of larger usefulness. lUMtf Parks, John Cook, Mrs. Sara Kelley, Katherine Nolley, Thomas Yost, Miss M. E. pies a floor space of about 40,000 square Lamson, W. E. Foster, Emma Jtc 1712-1714 cmsTjfUT st„ pthla- As the organizer and Crooks, Wm. Kenderdine, Anna Owens, John W. Zinsle, F. feet. The two main buildings are con¬ Ockenlander, Albert Fretz, Chas. Phillips,* Fredk. founder of the Music liraK MUSICAL VISITORS TO PH1LA- nected by an underground tunnel and Teachers' National Associa¬ three bridges. No printing or binding is IP Mil tion (Delaware), Ohio, ity-fifth An- 1876. lie discovered that there was great done in these buildings. This would de¬ * celebrated need for a worthy musical educational mand an establishment as large again. ■h was prr- journal-a journal that should emphasize the Presser Building at 1712- detailed ac- the motto, "He who combines the useful 714 Chestnut Street, we pass between tmsincss. It with the beautiful carries off the prize’’— two handsome show windows to a large details a journal that should stand for the best, double store walled from floor to ceiling rselvcs with that should never sell a line in its reading wdh music shelves, stacked with so many h founding columns to advance private interests, in housands and thousands of compositions t expansion fact a journal that should be so practical. that it » unsafe to hazard a guess at the Gencrallv so necessary and yet so attractive that any number. Here eighteen expert clerks pro- t is pcno,i musician would be at a loss without it. f mi,Inti n7ClS °f thc Patrons who • prr cc™- Accordingly, he resigned a profitable po- 2 tly crow‘> store. It is the only r years, the siti.mi and with a ridiculously small capi¬ complete mus'c house in Philadelphia, and at again as tal ($.30.00) he started Thi. Etude. lit- o? the loerld°remOSt mUSiC eStab,ishments u» years. tlc dreaming that the circulation of the the presser annex 1713-1715 saN- paper would ever exceed five thousand. The entire ground floor of this huild- HOW TH* ETUDE STARTED. STREET. A FINE MODERN TEN s Tnr Enter , That it was destined to out-distance all supplies^wkh °VCr st°ck musical other musical journals of the world from FIRE-PROOF BUILDING DIRECTLY IN Lynchburg. Yir] the ?V* f Sma11 section d^oted to the standpoint of circulation and number the cashiers department. The basement OF THE PRESSER BUILDING. FAC FOR SERVICE TO OUR PATRONS INCRE* of distinguished contributors, never en¬ atunTused fh,S !°0r is of similar size tered his imagination. The struggle to ONE HUNDRED PER CENT. is liklwf d f°r tHe St0rage of stock and tution which is ti secure patronage for the new venture ng Sh 6 Crammed fr°m ce,lar t0 ceil- THE PRESSER ANNEX. may better be imagined than told. Those in size and scope of m«? e"ormouif Quantities of editions _ The Presser Annex is an imP^ nc centperounce,andonmatterin weighing notmorethanfourouncesis icd. Thecountryisdividedintoeight ewes, rangingfromfiftymilestoover •*» mite*,andthepriceforapackage xecss offourouncestherateisby ■ centsforthefirstpound Vithm thedeliverylimitofa t foreachadditionalpound. rhers Thepost-holidayresumption ' SALKPLANoffersadvantagesthat I discounts(toteachersonly},andthe rient service,aswellspecial); untarilv testified.Furthermore,wearc isiictl patronshaveagainand music; ourpositioninthemusictrade L'k. embracingallthatisworthwhile merited bytheresourcesofourgeneral me fromwhichtheteachercanorder rcted listofmusicandkooks •nce, ourcarefullyeditedandwell- icrs oftheworldsamemotivelias dishing department,and ps hadtheprimeconsiderationofour h perfectsecurity;andthisissup- n inoperation;asanaturalconnc- ig togetherofastock< music instructionandstudyhaveal¬ teaching activitybringswithitthe importance issuedbyth of thegreatestconveniencetobusy we makeaspecialtyofprotnpi only abletosupplywhatiswanted, [ot:lJxx~ IK,™ 5?!2dep^d;«*).weSoffS0 useful eventi at thistim< A DepartmentofInformationRegardingNew in; catalogsonrequest. o writetousforfurther ■cels post”willincludeu-hadf*panelcalendars3)4x9.withth,sReaperformhavebeenreprinted in.l largepackagesnotsll,<10and'ntbchomeofeverymusic3•b7Concone. nanv „,rr.Knoumne*‘*l.0cen,seachor?,°P«rdozen}0,ce'’op-15,byMarches!;“Sonatinas season. Teachersare 1 factthatthelong- Publisher’s Notes t ofthiskindfromGallery ' engaged 5l),|p ,,fn|j.1postpaiditcashaccompaniesorder).'0ItbePianoforte,”Op.20byJL No doubtmanvofdomore,han,reatafcwthemost!?bcenth®numbervolumespub- practical branches The needsofthosetivcly;theseventhzone,elevencentsandabove-mentionedreprintedduringthis ... _*...111famousofallpianopieces.bshedinthePresserCollection.During nt tomeetmost>ouarepleasedwiththenewfeature, ' ordersforfull"antyouropinioninthematter.If Educational MusicalWorks arise duringthe,iroP«*apostalrequestingthatitbe .. whohasfwialpolicy.Whenwepresentedthe0ffers an *INSMB•»“»>'•'.!n,NuponitsAA.n, rar, umrO,u;.of,bcscshouldbeineverymusic!*’’ssck;"FifteenEtudesDeStyle,”Op! for music pub-Aspecial"parcelspost"stampiiiiizfbe everything lengthandgirthcombined, lert will the gath-limitofsizeisseventy-twoinchesin including tS"Wsgfaer,Jjgthebesteditionspossiblewithad- o eighti,'J”,a,lonaframedportraitwithP°s*>ble.This*«-—•*•g Within is car-,VU“Ii7ite<1SUpplyofancLwiththestrongestbinding ixth and inpreciselytherightmannerornotFiftyNurserySongsGames;oneof the_celebratedlofj | Reprinting. li" ,°Wo!frT?UrP0St*cardGreatMusicians student ormusiclover.Theyareto,Tbeseeditionsofstandardworksin tF iwandswrotetousaboutit.WecanC°‘ editions, which: publications reprintedduringthelast •u hackwithchoiceofplatinotypepor-17Artistic Haydn, afavoriteofseveralseasonsis,cn*erthanothers. a splendidassonmentofattractivepor- ns possible.N'oattemptwillbemadetop:,st^vey.ears'0ncofthebestincreases tion tothesefacts—that’ it thatwouldbeofrealbenefit.Itdoes shall presentfromtimetotime.WehavetrickReddale;StandardGradedSongs ' ingle,thatis.themethodofpresentingRoot, to itinorderbeablelogettherightTechnicandArtofSinging,byF.W.HourGlasses. done atall.\Vegavemonthsofthoughtthevolumesseriesvocalstudies, had thi of aseriessimilarlessonswhichwe we realizedthat_ on thepackage. Calendars used andthen ten centsrespectively;theeighthzone,periodare:Czerny-Le.bl.ngSelected ski's analyticallessonuponRubinstein’ Real Moment. twelve centsforeachadditionalpound. for 1913. A NewEtude Feature of twelve centsfor.hefirstpoundandStudies;Mathews’StandardGraded 1C importedcalendarwitheaselsupport hopm. Rubinstein.Mendelssohnandfd«cationalpointof viewandwillwear ts. Anyofthesecalendars10cents The limitofweightiselevenpounds; help boththeteacherandpupil. help boththeteacherandnunil.jnTheory,byO.R.Skinner;EarTrain¬ *7 fl.e8h-butnw,ndoadealTheMorrisWritingPrimer;FirstYear 'arolc inFMinor.ThisisthefirstSongsforHighVoice;SchoolSinger, c aimtotaketheplaceofateacherduringabove-mentionedperiodwere 7I.cn'formailing . .I"*'I""*’™°rcompos^ofPortraits . space_ s matterinmindforyears,buttheFirstYear;Singer’sRepertoire,a some threeormoreyear,agoWithdrawnon . butweshallhaveasmany ' “LessonsonFamousPieces” subjects. Handel,Bach. *?■»" ***~-*•"»*«w.11pH„mo„V^Srp«biiSd’mr';,,\:ve”»“" ----- formailingataG-irlCzerny;“TwentyVocalisesHigh ; ofthegentlermustbe it becarriedthrough50-centcollectionofmediumvoicesongs; Just beforet m FamousPie,,.-'lectl0nVo!um«. first musicpage columns, wehave,,,owin&volumes:Mozart’s“Sona- nounccd inthese’'‘r<7itbwithdrawfrom“SpecialOffer” As previouslyan-vrblmcsappearedfromthepress.We this issueyouwillwouldmentionBender’sBusinessManual Owing tolackofoffered^Thela!P'CtU!!esthatweever of attractivepor-J?5”^ixOctaveStudies,”Op.553.by hav<’ reprintedinEveryone f Whattheyare''ke? ml Mr.Stojow-ar.dGuard'sPupil'sLessonBook. the etude ■g itsedi- - Oftheworksintheory,thosereprinted he Ofourlaterworksthosepublishedfor in thefirsttimewithinlastyearwe IS enty-nine volumes. ing byHeacox.Inallwereprintedsev¬ _ .oct-bookforuseinschools,byFred- Class BookbySefton;Palme’sFirst book byCharlesW.Landon;Teacher’s Technic byIsidorPhilipp, Technic, andthecompleteworkon of thevolumesMason’sTouchand Months inPianoforteInstruction;two L, ,i’le.,Sa‘,Sfact0.ryservi«^m the monthjustpassedfourofthose tion Materials,awell-knowninstruction Course ofStudies,fivegrades;Founda¬ volumes havebeenreprinted. above-mentioned periodthirteenofthese th!" fiherC’*'ntheseportra'ts.They^re being addedtoandcontainsatthepres¬ ent timefortyvolumes.Duringthe cent collections;thislistisconstantly hausted. .,rn thirty-seven volumeshavebecomeex¬ the PresserCollection,editionsof of thetotalcatalog171numbersin dons ofstandardpiecesandstudies.Out popularity ofoureditionthesecollec Collection. Thisspeakswellforqthe than thirty-sevenvolumesinthePressor Of thevocalworks,ChurchandHome Well-known worksotherthanthe This housepublishesaseriesof50 , meansthatthevolumes to wonderwhether publication busi- 0 ursubscribers Elsewhere inthis We arebeginning ness duringthe tion madeofthe issue thereismen¬ increase inour •each or75centsfortheset. panding Wallets.agreatimprove-1 the factthatitwasdifficulttogetglasses two sizes—octavoandfullsheetmusicj Paperoid Ex-Thesewalletsare we thoughtthatitwouldbeaconveniencer glasses tomeasuretheirlessontime,and. the countryareusinghourandhalf-hourI quarter inches.Thepriceis15cents1 thing whichhasbeenusedheretoforefor twelve numbersoftheZuniIndianMusic,j half-hour glasses. have invariablygiventhebestofservice, and $2.25respectively,postpaid.The music size,postpaid;bythedozen,$175i for theoctavoand25centssheet size, bothexpandingoneandthree-! made ofsuchdurablematerialastowear fitted withawideflapandtape,are music. Theyarecapacious,convenient,: the protectionandsafe-keepingof by CarlosTroyer,ThisworkhaslatelyI figure. WehaveanimportationcomingJ them andsupplyatareasonableI these walletsforaboutayearandtheyI retail departmentofthishousehassoldI almost likeleather.Theyaremadein place oftheframe. admired. Thereischanceforinventing Album. cialNoticesfor tion. in connectionwiththecompositions.We of compositionsforanIndianevening. a widepublicity.Itismostexcellentset| come intoourpossessionandshouldhavej to ourcustomerssuggesttheuseofI of thiskindandatareasonableprice, a nicedesignorornamenttotakethe the building,andithasbeenverymuch pearance onthesideofwall.We1 narrow coloredtapearoundthemsoas these pictures,andwhentheyrunout child. Theyaresimplebutmusical.( by Dr.Woodforhisownchildren.19 are eightinnumber,andtheyweremadf By D.Wood.forfourhandsby; Musical Zoo.Thisuniquework works toanyofourcustomersonselec¬ shall bepleasedtosendanyofthese published separately,whichcouldberead[ There willbealecturebyCarlosTroyer, By CarlosTroyer.paredtofurnishI Indian Music.Wearenowpre-I for whichwearetakingorders;$2.00I have donethisinoneofourrooms they wouldmakeaveryhandsomean-. to looklikeaframe.Infact,theentire New ParlorUndertheseSp^ to eachofthecompositions,andthisi'1I putting themonthewallandtackingI decoration theycannotbeequaled.The! can beusedforstudiodecorationU they willnotbereproduced.Forstudi set. Thereisbutalimitednumberof we haveadvertiseda“NewFar®| includes postage. are theveryfirstpiecestobegiven| has beenrenamed“Popular Homo■ for thehourglasses-and$1.50I 17 couldbeputupinvariousshapesandI known seriesof 50-centalbums. bum.” Thisvolumecontains jorty‘, this low-pricedoffervolume w.j be oneofthebestsellers of our' every oneofvalue,andthe retail Prl melodious piecesofapopular c'1araj, Album.” Weherewithwithdraw[ but 50cents.Thisworkis dest,ne“iell.I The advancepriceisbut15cents,w*c, Remember thatthepriceisbut5cents additional attraction.TheseP1^ best teachersof ment overany¬ the entiresetofJ The factthatthe' few monthsP*! wGeo E.Whiting,ofBoston,whoranks The Organist. “Charity” byRossini;“Andantefrom Son oforganmusic,whichmaybe character, suchasmightbeusedfor the piecesgoashighthe*fourth,grade go beyondthethirdgrade;.innew 2d centspostpaid. carries withitsomanyvaluabletechnical one ofthebestcollectionsorganmusic by Mr'.’Whiting.Theworkwillrankas in CMinor.”ofSt.Saens;“Minuet,”by ‘ dbothforconcertpurposesand volume hewillpresentanexcellentcol- and LEverything*isexplainedinfull rrades. Thepiecesareofabrilliant m pointofdifficulty,andtheentirework new parlor*album,recentlycompleted. Album for*therathermoread- known toneedanycommentatthistime. qualities. Theworkisalmosttoowell has alwaysothergoodqualities.Octave branch of"technicmorevaluablethan They areinthirdandfourthgrade qualities of.melodyandalsorhythm. with theorder. b« 60cents,whichwillincludepostage order thatisusuallysoldfor$2. of theday.Itwillbeboundupinvery Not Afraid.”-byMendelssohn;Gavotte the m'TEvery'departmentisgiven t|, .workonthevoice - rents,postpaid. entertainments. Theywillbeprinted intermediate recitalworkor,forhome lies chieflyinthethirdandfourth Recital AlbumorDrawingR*oom In thislattervolumethepiecesdonot New RecitalofThisisanewcol- playing* neverstandsalone,becauseit octave’ playing.Agoodoctaveplayer are almoststudypieces.Thereisno These cxtavestudiespossesspleasing usual carefulandpainstakingmanner. Collection andwillbepublishedinour Vogt’s 24OctaveThiseducational when theworkispublishedifcashsent substantial bindingandwillbeof.the Mozart, andanumberoforiginalpieces Symphony No.1,”byBeethoven;“Be By Geo.E.Whiting. in vocal.thosewhoareinterested ticn hS?refldattent'°n:toneproduc- ana jVe.everseen--frgiveslogically peared inpreviousvolumes. are newandoriginal,havenotap- number ofpieceswillbeincluded.All Pianoforte. vancedthanthose Studies, Op.45.workwillbeadded Readers, who"tbe !landsoftheproof- Plates ^es. ^ Watering the "tenth laf"pricedl,ri"gthepresent of thennn°r^S•sbolddava'lthemselves instructor 4iwv.eVenbfUSedasaself" dear th,!1?t0a"yteadler>anditisso of matur.tment'Suchaworkwillbe «ery dena^eSSar>’eXerdseSare jt^ breathing,muscularcontrol,flexibil- Vocal Instructor.Thisisaboutthe Drawing Roomlectionofpieces the specia?0>rtUnityt0orcIertllis1>ookat fiy EdmundJ.Myer.mostpractical fu% todet»^re g0lng overilvervcare- ior Td.etadadtbenecessarymaterial jJPeggios. By ' oneofourleadingorganists.Inthis l hTherewillbesuchpiecesas w developing*asingerfromthevery mm speciallylargeplatesandagenerous Our advancepriceforthisworkisbut Our advancepriceforthisworkwill Th! introductoryprice. he specialintroductorypricewillbe ou cents,postpaid. etect errors.This meansthat cert organmusic We arepublishing to thePresser to befoundinour acting preparation close andthe of thisnewwork The longandex- is drawingtoa foofs ofthe volume ofcon¬ the specialintroductionofferatpractically be foundinno otherbook.Thework paratory aswell asfinishingmaterialto to this,thereisavastamount ofpre¬ of thiskind.Itcontains all thedaily is comprehensiveandexhaustive, andyet about onehundredlargemusic pages.It short time.Theworkwillbeoneof cost pricewiltbewithdrawninavery the workwillbeoutshortlyandthat in themostapprovedform. Inaddition practice materialinscalesand arpeggios is themosteasilyunderstood ofallbooks only one,youhaveputsomefriendor Thousands ofCo-workers’ Etude regularly. way toinduceotherstakeThe of TiieEtudebutweappreciateeven pupil intouchwiththemoststimulatirg sent inmeansmorepowerformusic who inthepasthavegoneoutoftheir magazine bringstothem. The JubileeYearEtude influence inthefieldofmusicalart. their community.Evenifyousend realize thateverynewsubscription more theworkofmanyfriends Philadelphia the largerlifethatmodernmusical found itprofitabletohelpothers will representasimilaradvanceupon where, haseverpresentedsuchanissue npHE remarkablegreetingsinthis vised forthebenefitofreaderswhohave point ofthenumbereminentcontrib¬ utors. TheEtudeforthewholeyear as thisone,consideredfromthestand¬ money makingplanforyou)everde¬ the bestmoneysavingpl'an(thatmeans formation regardingwhatisprobably Jubilee YearOffer”(givingyourfull the abilityoftrainedEtudeworkers, tents. Itspreeminenceisbasedupon could notcompletelydescribeitscon¬ its successfulpast.Columnsoftype Your JubileeGreetings Especially LiberalJubileeYearOffer the best,mostuseful. schooled foryearsin“how”toselect name andaddress)youwillsecurein¬ saying “Pleasesendmeatonceyour A issuefrommusiciansofwidere¬ Literally thousandsofmusicworkers No musicalpaperatanytime,any¬ If youwillwriteusapostalto-day nown areeloquentofthesuccess to TheEtude THE ETUDE The Etude he hasheldwithsomethjjrty ofthe terized byall thepracticalpointsof in numerousdiscussionsand conferences when hewasactivelyengaged inteach¬ at thekeyboardwithpupilsby Mr.Cooke scale atonethousandnotesaminuteand it iscarriedontothepointwherewith starts thescalesothatitmaybetaken world’s foremost pianists.Itischarac¬ ing. Italsocontainsideas broughtup over. Alloftheworkwas “triedout” sufficient practicethepupilmayplay up earlierthanwithanyotherwork,and to continueforaverylittlewhilelonger, Wieck’s FrederickWieck, will proveofdecidedbenefit.Theyare of workisgiventoeitherhand,andeach is socarriedoutthatanequalamount 30 cents. same writer.Advanceofpublicationprice view thatmarkedtheverysuccessful “Standard HistoryofMusic,”bythe and Piano.eraticmelodicsare arranged inprogressiveorderthroughout. all shortandeasytoread.Theyare study hasanumberofvariants.The Melodic PianoforteThisisanexcel- mann, wasoneofthegreatestpiano Piano Studies.thefather-in-law is 15cents,postpaid. studies areinterestingtopracticeand the well-knownPresserCollection. teachers ofhisday,andtheseexercises tions forViolinthefavoriteop- are amongthemostusefultechnical and havesurvivedthetestoftime.They They arestillpopularatthepresentday embody thefruitsofhiswideexperience. Op. 8.intheearlysecond Studies. Bylentgroupof cation willbe20cents. vantage. Thisvolumewillbeaddedto other ornamentation,butthemelodiesare tractive formforviolinorpiano.There Operatic Selec-Inthisvolumeall studies. Theymaybetakenupbyany Herman Vetter,studiestobeused copy, postpaid. the currentmonth. tory. Allthebest-knownoperasarerep¬ parts areeasytoplay,butthegeneral given intact.Boththeviolinandpiano is nothinginthenatureofvariationsor student afterthefirstyeartogoodad¬ of ourbesttechniciansandmostfinished Jas. H.Rogers.studiesby the specialofferwillbecontinuedduring technic. one whohasfinishedDuvernoy,Op.120. writers. Thisworkcanbetakenupby effect isfullandineverywaysatisfac¬ make abettertechnicianinthatparticular not muchofanyonething.Awork that theyknowalittleofeverythingand line. Thetroublewithmostpupilsis specialize, andthisworkisalongthat The tendencyatthepresenttimeisto Velocity. Bypublishasetof Double NoteWewillshortly resented. Asthisworkisnotyetready, years willwelcomethenewsthatthere double notesasadistinctbranchof is anexcellentonetobeginplaying would bebetteroffinthe*end.Thiswork technic isformedalongthatline,players line. Ifdoublenoteswereplayeduntil like DoubleNoteVelocityisboundto much thesameideasthathe hasandwho some intimateworkthathemaytake umns ofTheEtudethroughdifferent Old Fogy.Thethousandsof interest inthe work, haswrittenaspecial vance ofpublicationpriceis 40 cents.Mr. knows howtoexpressthem intypeas confidant, acompanioninspirit, whohas Time andagainthemusicloverlongsfor to hold”inyourmusicroomorhome. is tobeanOldFogybook,“tohaveand Mr. JamesHuneker.Fogymadewhen James Huneker, whotakesasurprising is the“feeling”ofOldFogy. Thead¬ though heweretalkinginperson. That from hisbook-shelvesandfindthereina Introduced byfriendsthatOld The specialadvancepriceforthiswork The specialpriceinadvanceofpubli¬ The introductorypriceis20centsper Our advancepriceisbut25cents. grade. Eachstudy of RobertSchu¬ presented inat¬ Rogers, whoisone he visitedthecol¬ 69 THE ETUDE 71 THE ETUDE 70 in singing,.(The Red, White, REFLECTIONS FOR 1913. Ur. Barker THE QUEST FOR ORIGINALITY. and Blue) when the flag went up. iT never hurts to play the best. ■ of our times in By f. Adalbert redfield. Theodore PresserCfi. (Annie Laurie) saw her dear old It is easier to practice and get through, *°" is wor,hy °f the one thing'which we most desire friend,---(Auld Robin Grey), than to grumble and wait. and vet which seems to be so far beyond PUBLICATIONS ^ulT^ in the crowd and introduced him to me. Do not destroy your teacher’s confi- RECITAL . h ,he reach of all of us, is originality. The He had had an eventful trip, on' the dence, be prompt and dependable. New Gradus Ad t T h, common conception of originality .s, that = JANUARyTi913^ .(Suwanee River). His ac- Just playing notes is not music; try to Pamassum- Right X'1 fecial offeJ it consists of the ability to create some- .°pS 'SEWS, Vaffi * count of meeting,-(Old hear something—imagine—make up—pre- Hand Technic. the special otter ^ j# completelv divorced from. professional discounts. al lar?' Black Joe) was really pathetic; the kind tend—anything but grinding over just MUSIC By Isidor Philipp. *■'" bc con,,nu^ eveiything else in the universe: something Use the number, not the title, in oi • old darkey lived only in the past. He told notes, or one mo that has nothing beneath it, above it, nor PIANO SOLOS. chad when, ------(A’elite Was a The metronome is a reliable little con- ,|c special attention is 0730 Georgy I‘orgy. Polka, Op i bo upon any side of it. That such an idea 200. No. 1. C. >V. Kent. .. “ Lady) and crooned over and over-- ductor; he has a brain of iron, an un- hand. The studies is ridiculous needs not to be proven. 1 he 1*731 Jerry Hall, Walt/., Op. 269, STEPHEN FOSTER a MAKER OF of lips even in his day yet people passed.(Massa’s In De Cold. Cold breakable will, so do your best for Herr Duet*, Trio* »n«i Quartette* irl.v every variety FOLK SONGS. the composer by and his body narrowly Ground). He was much too feeble to Conductor Metronome. work of all great thinkers demonstrates , No. the fact. Bach used as a foundation the •i, o. tv. Kern. 2 escaped the fate that fell to that of leave,-(Home. Sweet Your ‘eachcr often conceals a heart- for Organ, Pipe or Reed i, This volume will prove 9733 Jack Spratl, Marche Fan to- ideas of his contemporaries and predeces¬ About forty-eight years ago Mozart. It is a long, long way from Home) and we missed him at the flag ache under a smile; perhaps you can help t useful of the series. All tique, Op. 269, No. 4 Violin, Piano, ’Cello, Etc. sors. Beethoven improved and elaborated V. TV. Kern.’. (January) Stephen Loiuns 1 s , Foster>s sjmpie songs t0 parsifaf or a raising. her more by doing your best every time, rcviously issued have bc- 9720 Carnival Queen, March, P. the forms of Haydn and Mozart, Wagner Renard .. maker of many ^jJL. hotel Strauss opera, but the .influence of Fos- The surprise of the day was the unex- Did >ou eyer try to Put an cvery-day mlar. finished the task that Gluck began and 9721 Woodland Green, Waltz, P. dies, fell upon t e p ter upon the people of America has been pected arrival of.-{Ben expression into tones. Say ^0°^" introductory price during 'Brahms synthesized the polyphonic and Renard . i„.New York City and died. a more important factor in our musical Bolt).uott,. xxeHe Ssaid,a,u,.morning, - - mnmincr S„Susan.)fian. * “HowHow do *ouyou do.do, sir?sir ? nth will be 20 cents, post- 9722 Nymphs and Sw’ains, Sehot- homophonic schools. They did nothing tlsche, P. Renard . If we have any real American folk growth as a nation than that of any {The Old Folks»at Home) were anxious al’d “Its a glorious day! and see what 9723 Merry Jesters, Polka, P. songs they are Stephen Foster s intimate other composer. for our return so, -.(Annie kind of music you^make. which others in the course of time would Renard ." . not have done; they departed not from 9707 Homage to the Masters. H. and” heartfelt tunes. Foster is doubly Laurte)-(Robinzvvv>» Adair), Don’t ever wonder when you’ll “finish Sacred Trios and This volume U the path which the reSt of humanity was D. Hewitt . American because he was born on the (Ben Bolt) and.myselfleft music” j{ you love it* you never will, if 9689 The Royal Hunt (Jagdzug), - . . - . - irmi D/Ml lmrl lipripf cfntl tTOW Quarters for well advanced in ^ t0 fol|ow and they worked in gen- J. Holder. fourth of July, when the people of Pitts¬ for New York that night and sailed for, you don’t you had better stop now. A pianist who doesn’t read, who knows Women’s Voices. preparation, « cral ajong sjmpie an(l direct lines. They 9656 Dream Valse, V. Motet-. burgh, his native town, were celebrating ...-(Ye Banks and 9655 Festival Polonaise. Op 11. little of the poets, the historians, who uc will coni i took the common ideas, assimilated them C. Moter .. the fiftieth anniversary of America’s in¬ Braes of Bonnie Doone) the next morn¬ during the current ^ thcn wrote ;n the manner which 9666 Forever. Nocturne, p. Renard neglects the other arts, will never be any¬ dependence. He,came into the world to ing.—J. S. Watson. 9705 Hopes and Fears, Reverie, thing but a note-player. Mi,"church services scemed most natural for them' the tune of The Star Spangled Banner, CABINET ORGAN .... .L The only conclusion we can draw from 9757 Over the Waves, Rondolettoi Forget the audience when you attend a M. Loeb-Evans . and his music, never got very far away A LESSON IN OBSERVATION FOR concert, you can see people every day, ' le'from the retro lhis is> that if any man attemPts t0 ex" 9725 Danse Excentrique, R. S. from our starry emblem. His songs have and PIANO Morrison . LITTLE FOLKS. the artist comes but once. in-re are many other Press a common idea in his own way he 9726 Rolling Billows, Polka, R. S. become so much a part of our life that _ Learn from the bad as well as from sacred number, are » ‘° be original. There are no two Morrison .. we think of them as having “just growed” •i tllv those arranged individuals alike, consequently no two can 9683 He and She (Elly et Lul). After we have studied for a few years l>ie good and do not criticize, Valse Lente. H. Parker_ like “Topsy,” and we seldom think of the we find out that we must work for all we P'^ twenty-four measures so that it In this hook will express the same thing in exactly the same 9703 Rose Dreams, Waltz, IV. collection nf various wa>'- The imitator, who deliberately tries Rolfe . man who made them. get, that nothing comes of itself. Not ^ something and people will take no- 9667 Under the Starry Banner f , r • 1 • . c I* tice of you; play ten pages like a machine HiimiKii. Ak»oiltua»n . n.l V.ritnnai or else ,0 copy, always falls below the standard Stephen Foster was musical from the length of time but intensity of application ^ wyph t'h/ rosnlt. Even the untu. (Unter dem Sternenban- and watch the result Even the untu¬ IUj*B Ada«i.>. Op. 77. Xo. K of his model. In spite of his efforts .the ner), March, Op. 1000, A. first. As a little boy of two he would lay is the important thing in study. Sartorio .*. tored, who only know what they like. ■c price of the book rcsuh *s different. He becomes unorigi- 9713 Woodland Fancies, Air de his sister’s guitar on the floor, calling it The pupils of Agassiz, the great natur- can hear and tell the difference, Ujrtack. -bU. and K.ei rposes is 20 cents, na* s'mP'y because he tries to do some¬ Ballet. O. D. Martin. 4 .60 his “littly pizani,” and then pick out the alist, were renowned for their close power How qujckiy we can tell the charlatan; Uhl lat Rraaita V«n«*tana. thing which is unnatural. It is this striv¬ 9736 Love’? Confusion (1m Lieb- esrausch), Valse, A. Nolck. 4% .60 harmonies on its strings. At the age of of observation and perception. in music you can not cheat, nothing is ing after something artificial that robs C653 Scherzo Valse, E. F. Chris- seven he taught himself to play the flute. most of us of our individuality. tiani ....-. 5 .60 The following story of one of his pu- good but your best, Instructive Four- his book is now 9673 Hungarian Dance, No, 6, His first composition to be given in pub¬ pils will help us, for money could not buy Your practice time is “a date to keep,” Hand Album. :ady, and the spe- Brahms-Phtbipp ,. 7 .40 lic was a waltz for four flutes. This he PIANO DUETS. the lesson this young man learned from . so don’t miss the appointment. Melodious Studies cial offer is here- 9749 Comrades in Arms, March played with three companions at the ^gassjz Seize your opportunities, they are in for Teacher and ithdrawn. It Galop, F. C. Hayes. 3% -86 Athens (Pa.) Academy, where he at¬ Stephen Foster. Pupil. Op. 996. c of the most Special Notices TWO PIANOS—8HANDS. When he p,e,en„d h^.eU fo, work fCu!*.*.'! .78 9636 G e r m a n-American Festival tended school. PanslM*. By A. Sartorio. RATES—Professional Want Notices five cents March, J. Engleman.4 1.00 the naturalist took a fish from a jar and _the ^ dance music you can get_piay BaTioa Ai per word. All other notices ten cents per PIANO STUDIES. HIS FIRST SONG. While our appreciation of his service ^ ^ be{ofe ^ young man bade him the line of duett, for a singer who has no accompanist, Sckaaldl nonpareil word, cash with orders. 8694 The New Gradus Ad Parnas- His first song to be published was to American music comes much too ate obserye ;t an(j report what he had no- or teacher and pupil. All those who sum. Double Notes, I. what ne naa no- j £or yQUr famjiy cjrcie. Be a useful CORRESPONDENCE! LESSONS in Har¬ Philipp, .4-8 1.00 Ofen Thy Lattice, Love—this at the age to be of personal benefit, stiff the very left. alone with the Httle citizen now. lay be in need of elementary material - v. ft...,, xr.j fact that we recognize him as an Amen- t.cea. me pupu £s? ur ensemble playing will give this hook mony and Counterpoint. Stanley T. Ueiff VIOLIN AND PIANO. Mus. Bac., Lansdowne, Pa. 9738 Minuet in G, L. van Bee¬ of sixteen. Later came Uncle Ned — ‘-“““-j’ ‘V. Y courage to fishfish.- ItII was much like,lke otherotner fish.nsn' Hene JovJoy is one of the best things you can careful trial.■f Wc»e snailshall hebe pleased ti,o .. Mm. N.w s $5.00 Course thoven .3 composed for his singing club. This with can compose!_m yJ h w®0 is noticed it has scales and fins, a mouth, { fnto your work; use lots of it and 1‘T examination to all who Sight Singing Lessons for $4.50. Good con- PIPE ORGAN. n/i /TTrvctpr some poor struggier at our eioow wnu is 1 . ■ested. dltlon, P. O. Box. 112. Brookshire. Texas. 9735 Adoration, .4 therton,...... 31 trvmsr lu Win UUl agamat uui —* - .... , y bc i 9693 Festival March, R. Higgle... 31 11 1 PROGRESSIVE TEACHERS invited to We do not have to go to Europe for folk certain he had observed all there was to CABINET ORGAN 9647 M a r c li c Triomphale (Ite THOUGHTS AT NEW YEARS. orrespond with Ixiuis Arthur Russell. Car- Missa Rst), R. L. Becker., o music). The gift was a valuable one, . our own American-made be perceived in that particular nsn. FREAKS OF MUSICAL MEMORY. egie Hall, Manhattan, or the publishers, re¬ tlie friend cleared ten thousand dollars sonSs> e us and VIOLIN ading the introduction of the Itussell Svs- SONGS. But the naturalist remained away and New Year is a very good time to sit ‘■ms of Music Study for Pianists. Vocalists from the two songs and established, upon ones* time*roffed on".~ The"youth having nothing down a moment to think, and it’s a very ml 1 henry Class Work. The Russell books re coming into use among earnest musicians Woolcr the strength of their sale, a large and to do became restless and started out to bad time for resolutions, because they hroughoiit the country C u pi d ’ s Conquest, Brace flourishing music publishing business “out WELL-KNOWN SONGS. hunt up the teacher; in vain, he had to re- should . be made fresh every morning; I deal of truth Ml’SIC TEACHER—Send 15c. for Ori- The Ocean's" ’ Pride,' H.' W- West” turn to the fish. Several hours passed and resolutions live by days, thoughts l.ve tcaehers that M.f! *>y composer of “Lullaby" In Warcing ... ■ • ttacncrs mat May Etudii, 1011. Cyrus Mallard, Thom- Foster had a wide range of culture. A Game. he knew as little about the fish as he did bynyear^ lic something bkvIIIc, (.a. _ __ _ When Two Dear Hearts Do Our thoughts usually form themselves Sever (Wcnn Sich Zwei He knew French and German well. He at first. He went out to lunch; when orv of other MUSIC Written to words. Manuscripts Herzen Scheiden), Op. 52, into questions right away. One is this: ' .orrected. Correspondence lessons in hkr- was a great reader and a painter of he returned he felt disgusted and dis- d lhat I R. W Oebhardt. As many who wish may play fhis game. — --- . . , .ipvpr (.ome “If we really had to dig at t Wtptt. I’ri«* Sn»(, M.t.l.rminc n 1.8 ■mber faces “}on?- Dr. Alfred Woolcr, composer, Buffalo. 967i Love's Metaphor, W L. Ho- ability, My Old Kentucky Home rical dat stupid old most geniuses have to, would we be more •sihle for me to remember the counterpoint 9676 Rock of Ages, Sacred Duet ■mignt oy nia • L. Wilbur, A. A. G. for Soprano and Alto, F. s«ng was a great favorite with Christine and ?He uwho rfeads' 'lh°Sre.s‘th * ' ' ' ’ ' " CABINET ORGAN, if chemical combinations, but it o.. 50ft_ Ru th ' Exchange, Providence, R I Prison, as it has been with many later P*rt m the contest are^ furnished with man, away behind the times. You see, we are so beautifully provided In order to kill time he began to count for. ouf piano js new our practice room easy for me to identify flowers 9605 A Slav Madrigiil, ./." L. Oat- VIOLIN and ’CELLO braith . 4 swgcrs. For perfection of simple pathos Pcncds and PaPe ' f - the scales. This done he counted the SQ comfortaj,ic and warni, our practice w else in the botany class could mi.1:"sf'Y^ir Waltz Song, ? h« no equal. It has been translated down as many titles of songst as (NOm*. Op. 10. No. a. *0? into all thp'ui. 1 -fanslated recognize. The reader tells the spines and fins. Then he began to .draw tj willy-nilly and Mother so willing MtlUrr. Aadaau wrL-,o.1 .* Cual LTP?n a!K.‘ many As,at'" following story: a picture of the fish; he then noticed that tQ cuddlc us if Jwc -^n-t feel like tak. SONGS, MIXED VOICES. l>c cul- 50 miles from" PhilaM^ia^or^NMlr^York" th" wogrTd * f°Und 'tS Way ar° . ctory the fish had no eyelids. ing a Iesson to-day;” our teacher defers ng little sections and 10189 I’m a Pilgrim, J. P. Lade- ■ —- - buchl .. p , THE S o . He made the discovery that “the pencil to us because wc are “one of the best PIPE ORGAN lo impress them over 10188 O Lord. Rebuke Me Not. J. destr j Wr°te ■many tUnCS which he “0ne day last summer when 1 was .g thg best of eyes» The teacher re- families,” and so on. is it then any won- was able to achieve P. Ludebuehl.• and VIOLIN Nl ';i ..- K,SM " 'T,KV: 10181 Come. Holy Spirit (Venl whv Ilt,nie^'ate'y' ^P°n being asked traveling down in,-fThe leader turQe(j and after seeing what the pupil der that wc don’t even know how to read n the end. One plan liana ( ulturc. 40c; "Pianist’s First Creator), <7. N. Rockwell. Graded Studies,” 30e; "g e tor,e “P so many songs he said. at tbe pjano plays, Dixie) I met a beau- bad done £eb disappointed, and told him readily? Won’t some one make us work! right 10186 Bid Me to Live, To' Antbea, “ 30c; “Scales," 30c „ B. Stcanc. PutofUm ltuS j only way 1 can get them tiful young girl named,. to keep right on looking and maybe he Then again, would we do better if we difficult r cc. Learn, '• ,^ight ' Singing.”Singing;- 30e:i(le : 16191 Sun of My Soul. Thou Sav¬ Hervtu V I. s°nmhW K, 3»d make r°0m thefe f°r (plays. Annie Laurie) and a handsome would se(, something. had an automobile ride every day, a trip, Mania writ ' iour Dear. R. E. De Reef. Xadri lar, d then let 10206 Lift Up Your Heads. J. L. g ett8r' young fellow called,.(Robin Thjs made the y0Uth angry and he be- a concert ticket, or a new dress, would BSwh H opklns . 289 The Minuet. Voci Dance. HIS MOST FAMOUS melodies. Adair). Two charming acquaintances I . down littlc details that had these things really make us geniuses? F. .4. Challinor-- • • • • ~" ■ g^'ssrwsi.j.^ 10184 The Lord is My Shepherd. II. Smart .' ' * wuiLume^ 01 personal -**• ex- T? yOU- ,hW *T! SSLfnS' . r • him, ’?,0"„ione SR.' ne^''a1!!"«X,,H»lfh%hl:*et1p,^ ^ ,hl ! a" ' X' client method of ^.'Gor Talking Machine 6190 Song of the Village Church - °",com' of lnp our friend. ,be S'f(f °'°S f»“h"e“hole "I Mendetoota. had poo, eloihe,. par- t- - al dua '[’line 1 learned a new meas- Daw’booEit^(Oftv^ourhm„ v Interesting 3»i „ Bell. /?. Stcanc.. - • 4 CrlTT ,MaSSa in de Co,d- Cold were mUch interfteLC n t 'wasvas stillsun unsatished, _ L ^ rets to practice in and rickety old spinets 10214 Praise file Lord. A. Ban- ^'d- whiff; a darkey melody, was - --.- (Yankee Doodle) and as days he was kept ' ' 1 do not expect to acquire *ra,,‘ dc-ngcr . ■’ “ - . W°^, , ' to .play upon. They seldom heard good the ,^after bis lather’s death and echoes we turned down the street toward e • vtll ba conttcaad. ’ ’ 1 •de.1t? of John Stanley *'0rld is represented hTtw-emv'11 n,f,,opprat,c WOMEN’S VOICES. the end of that time tbe s u e - rnusic. and they got hard knocks and 10201 Greeting, Op. 63, No. ■ loneliness5 he felt at that time. Old edge of town we met him, o'\" knew something about the hsh and bet er disappointments and no ma.inee tickets F. Mendelssohn .. • ■ • D°9 Tray j 5 in memory of a favorite ------(Cornin’ Through the Aye). 101S7 Barcarolle. “Tales of Hoff- setter, : still, he had acquired the habit or knack and cbocoiate bon-bons, man.” Offenbach .••••••• ' 'n m;and My 0ld Kentucky Home is With a merry laugh and a hearty hand- of careful observation and perception in _\nd so you see it is in ourselves to be THEO. PRESSER CO. 10216 Father in Heaven. Ar" ” mtn! 0 Handel h.mself), hut.I do ««*»». as w"u as The law „ no 2.11 vVlctor Handel’s “Largo',’ ' ' ornincr tn raise. ----- Warhurst . Aentu-i, ls re'at>ve, Judge Rowan, of where they were going to raise, What a shortening of the way it would really truly artist with nothing much to' 10210 Caivarv /’. Rodney. j ky' ..(The Star Spangled Banner) ' • i t my needs. ndgmept adS great lme^^S.6 ^ wlth 10202 Pilgi'ims' Chorus manv be if we music students had the courage work with except a strong will, infinite P1.M* mention THE ETUDE wh ir 8 studl° work. ^ to the ®n*lc “Tannhaeuser,” R and .fill Fosterroster composed one hundred on the new flag pole,pole. Theremere w-c e um ith our mus:c! patience, and unfailing perseverance. TUDE Wh,n »Mte««lng onr advertisers Xty so«gs. They were on millions people at the celebration and all joined to do this THE ETUDE 73
of the vocal scale are similarly applied to definite notes. Thus In France or Italy a sonata in D would be called a sonato in “Re,” and a symphony in G would he named ANSWERS TO as being in “Sol. This is what is meant by a “fixed Do.” But we can also regard these syllables as relative merely calling the first QUESTIONS note of any.scale “Do,” its fifth note “Sol,” etc. That is what is meant by the “movable Do.” it is, to m.v mind, a great simplifica¬ Edited by LOUIS C ELSON tion of vocal reading to use tilts system and to think of the vocal syllables as relative merely. But there is such intense feeling upon this matter (the older musicians hold- that “Do, Re, Mi, Fa,” etc., ought to “"JJI mean fixed notes) that I scarcely dare to voice this opinion lest 1 should bring a hor¬ Sllve llnr-f li I r.l - I! II \ Smith and His Wife net’s nest about my ears. Wrlteforltnow. CORNISH PLAN -El Washington. New Jer Q. What is the real meaning of impresario f tfonrnb go. Established Over 60 Vi and Their Evenings (Night) and It is How does atw impresario differ from a concert “Night-piece.” Schumann uses the teri manager f—Contralto, “Nachtstueck” in this sense, i. e., a piece i How she helped cut out l. The - Overtime at the Office liected. But the earliest nocturnes scarce.y Therefore an “Impresario” literally _ did this. John Field, the Irish composer who one who undertakes some enterprise. This SCHOOL OF PIANO TUNING became so famous as a teacher and pianist makes a very good description of a manager REGULATING AND REPAIRING Young Mrs. Tom Smith thought her in Moscow, was the first to use the word who sometimes undertakes very l-isk.v enter- Thorough, practical individual instruction in repair “Nocturne.” Ilis nocturnes are not always prises. It is generally applied only to shop. Not a correspondence school, persona! atten¬ husband had to work entirely too hard. of a contemplative, serene character which Italian operatic managers, where the Italian tion required. Shcut course. Low terms, aoth year. reflects the peace of night. His twelfth noc- term has most fitting application. The term Diplomas granted. Prospectus lor stamp. It worried her. turne is probably the best of his pieces under can be properly applied to concert as well as Night after night, Tom had to go back this title. Chopin took the term and nsed It to operatic managers, ALEX. SCHEINERT graphically. But Field never could 2849 N. 11th Street Philadelphia, Pa. to his desk. Frequently on Sundays, too. Q. I was taught that a sextuple! should He was the “statistics man” of a small be played as three groups of two notes rather than as two triplets. Taking for instance, but growing company. And the eye¬ Q. Could the fine old Irish tune “St. Pat¬ the fourth page of the piano arrangement of rick’s Day be classed as a folk-song 1 How Wagner's “Tristan and Isolde Prelude,” this straining, brain-fagging work with figures would you decide whether a thing is a folk¬ can be done until the right hand has two six- and details was telling on him. song or nott. —K._... R. teenth notes against a sextuple! of thirty- a. I should certainly call St. Patrick's Day seconds in the left. Here inevitably the. bass Besides, he and she were cheated out a folk-tune. It is even more than that, it breaks into triplets. Should the rhythm hr Is the national anthem of Ireland. It can changed here or should all the sextuplcts be of their evenings together. be traced back to about A. D. 1700, and was played us triplets? I am often confronted Well, one day Mrs. Tom read in a played by the Irish pipers at the battle of with this difficulty and shall be glad of a Fontenoy. in 1745. A folk-song ought to re- rule to follow. It does not seem to me pos- magazine about a time-work-and-worry- flect the character and thought of the people sible to play a group of six notes without that It represents. Thus a Russian folk-song tending one way or the other■—S. II. I!, /~n Protect Front Panel, Fall Board, saving business machine. is often sad and dreamy and sometimes a. There are thousands of misprinted, or LutZlVeS Lock-Strip and Bottom Board from And straightway she saw it would cut wildly bacchanalian. An American folk-song wrongly written, sextolels in music. Bee- (as The Old Folks at Home, or My Old Ken- tlioven, Mozart, Brahms, and numerous other out the night work which was robbing tucky Home) would present the yearning famous composers, have written this group tenderness that fills much of the music of the carelessly. No artificial group is correct if Piano Tom of his rest and recreation. plantation. A Scottish folk-song would often the rhythm or the accompaniment divides it It seemed to her a wonderful machine. For it give the lilt of the Strathspey or Reel. And into two groups. Every such sextolet ought did work which she had supposed only man’s thus, in St. Patrick’s Day we find the rollick- to be written as two triplets. I am sorry to Ing insouciance and merriment of the Irish say that this rule Is more often violated than C. W. GRAVES, 417 Broadway, Logansport, Ind. brains could do. peasantry. It is one of the best signs of observed, It added, multiplied, subtracted and divided. modern music that some of the composers are “Tis a custom It printed .the figures in columns and added building upon the foundation of the folk¬ More honored In the breach than in the song. Tschaikowskv often has used the ICamarinskaia, a wild dance of the Moujiks observance.” Your Music is Torn! It added dollars and5,cents, or feet and inches. of Russia; Grieg has employed the Hailing. rr.hovtrflet is always canal to four of the a frenzied Norwegian dance, in which the of notes that it Is written In IT WILL TAKE ONE MINUTE participants try to kick the rafters of the £or thca*pgt one can state that it Is correct TO REPAIR IT BY USING It did this mechanical part of accounting work barn where they are dancing. Chadwick and ,f j(, .g fln undtvfded group of six notes, and in one-fourth the time required by even a "light¬ Dvorak have used the_Pja 11 taAt1i1t>"" i5! l? also if it divides into three groups of two ning calculator.” the scherzos Of symphonle notes each. It is incorrect when written MULTUM-1N-PARV0 BINDING TAPE ing a new life-blood *~h n!rCin,f,ItinnVS any other way. hut you must expect to find And it was mechanically impossible for the that. the folk-song. „ - be the foundation of jt -'s(f often. See Elson’s Mistakes and machine to make a mistake. large classical forms. Disputed Points of Music, Pages 84 and 85. Transparent Adhesive Mending Tissue It was the Burroughs Adding and Listing Machine. Q. Is the Sistine eh°JZ°!St. Petcris in 1r7l0 iras the flnt composer to mark 10 cents per package Rome famous lor its oreat musical achiaiCf peda{ indications in his works?—Mrsicus. If your music dealer does not carry it, send to Made in 86 different models—one to fit the THEO. PRESSERCO., Philadelphia, Pa. requirements of every kind of business. And sent to any office on free trial. (KFrESHSi sis”® uith the Sistine cnoii r i. mcij. organ gtops of the present, drawn out or Philadelphia, Pa. Mrs. Tom could hardly wait to tell Tom. A. Hie Sistine choir, U PnnUflfJa pushed back by the hand. About 1G70 a real He knew of the “Burroughs ” .but, said the sistsL of"32” choral'JingerS,'who. nrPare houSboused pedal wMwas invented,m worked^freedom thein foot^toplaying. husmess wasn’t “bigenough.” Besides, he haun’t Sriffsr5SAt% LV/ffr the f olfrth Sand‘fi^th ^enturjefL Stein, of Wrffjnvente^ th^ The Musical Leader ^rZppli^fhl^ed^s^y^m^r^s X PUBLISHED WEEKLY —■ .- connected with this choir. Many are the to-day. Mozart was among the first $2.50 a Year traditions and mysteries of this anient choir. peflal in a modern way. Boe “tturers for their book, "A Better Day’s Profits' Thcir work is always “A Cappella ’ that is Jade many experiments with the Ten weeks’ trial subscription, fifty cents -retting them to send it to Tom’s firm. The Recoynlzcd Authority on all Musical "ell, the book came, addressed to the compani sr^sssr-KrsA's&i Matters'for the Central and Western States. ->nd went to the Boss’s desk It wasn’t 1 earring—but a business book so unusual, so full o with the Sistine choir in the jcenturies of Its composers of the highest grade find In conjunction with ETUDE, advantageous CLUB OFFER: and profit producing ways of doing things existence. Its execution has been_ wonder itneceasaryto go to the piano for their % * set the gentleman thinking. fully artistic, the vocalists musical ideas or do they sit down and write MUSICAL LEADER, rnsulsr prlte 5 Club Price And ,he free> fair trU1 wh.ch p. t ,t up tQ ^ trnp08intonatk>nthein8tteadalof°fthe'e tempered TSm,^straight off?-B. T. E. wWleh i? lised as a compromise in our A. The great composer rarely goes to the j fo^'nom c ine to ma^e good, appealed to the bu sines scale which Is used as a compro plano wh,fe writing his works. Beethoven »cnse of the Boss. c i xi._ cy:„ t_4-i.„ Rvot olrofnlioa nf his Works in IllS Address THE MUSICAL LEADER McCormick Building, CHICAGO "Trfal ”'Vr0tC thC Burrough8 Pe°PIc asking for . And, the Burroughs ii SaSBaAffiffirS Hal mmiddle a century ago. SHhe nl$t"IfV'muMfcai_'thought__ac Into Tom and “the boys” are never behind with their the table by his XTit^alc ClRusic Cabinets ^y get their statement, and baiance. and No m * °n tlme_and always right. ^ more „,ght work in that office. “A Place for Every Piece, Every Piece in its Place” thencompoBltionnfo ^nothe?6 Passage-work is An orch(,stral score is never^ written often merely a set of modulations. “straight off,” but sketched out in its dif- File your music in small dust- , ^ ... ferent divisions (strings, woodwind and Q. Are pianos used in. orchestras 4«ch as ^ piecemeal. But even the great com- proof sliding trays that protect the Boston Symphony Oreh^rth Thomtu e poser will go to the piano frequently to play it and make it possible °f use the coupon. Chicago Orchestra, Oberhoffer’sOberhoffer s Minneapolis somethinggompthing that he has written at his any piece immediately. 0,f iVrWmlne^at V-questioner does not fesk^hear fairUTe' T ™Merhow may have a free, “^ri of the Burroughs. refer to the presence of the j’1*1greatest composer does not get the full Idea TINDALE certos. but inquires if it is used ’Jact.ia. of his musical thought unt 1 he has heard it orchestral instrument It is sonlctiraes but , ye(J that he cannot full£j"dS1®fr?^ CABINETS THIS COUPO rarely, so used. BerlKW has used the piano glght o{ the SPOre. Neverthe ess the as an orchestral tone-color, and sevei al of t e thorol,g|, composer does not actually in oak or mahogany Bh’RR0tiGHS ADDING MACHINE CO modem composers have r‘mJ?ll<;yeor nnv otlier at the piano, but at his desk or "ritIng¬ —various sizes and as they would a violin or a flute or any other ”ablc Slem„.!!p8hs Block’ D«™‘. Michigan regular orchestral instrument. It; :is. how designs from $15.00 over, seldom found as a member of the or //0!f goes one play such a passage “A Boric"Day-'^Profits ””* * COpy °f your book> chestral forces, but very frequently as an v fMowingt /s one supposed to hold up. Small monthly payments if desired. MrNamc. “obligato” or solo instrument. down the note means of the pedal, or Q. What is meant by “The movable Do” doe8 one hold the Send for free “Booklet No. /.” ""I The sv1lable°“Do”' originally meant the ,g ^ ^“counted* as a quarter-note hut sus- note C. In some countries this has never ta,ned as a dotted half, overiapping the changed. In Italy “Do" means C. and that othpr two It may sometimes slgnjf) that TINDALE CABINET CO., 1 WEST 34th STREET, NEW YORK > quarter-m sr asr swrua'.i dotted half. THE ETUDE 75 the etude 74 , Tevte Helen Stanley, Sir Frederick Bridge, organist of Wcst- tiriilsrly go?®, „ tm.- ])Ufiunnc, Mabel minster Abbey and a distinguished musical Rlccardb Martin, “' scott taking the prin- antiquarian has disclosed the fact that Klrnan an3n,:,I ,attcr made the hit of the Hamlet's soliloquy, beginuing "To be or not eljSl pw?' his unique impersonation of t0 be,” was set to music With a lute and evening his splendid diction. viol de gamba by some unknown composer PROFESSIONAL DIRECTORY TackleWn ana j within, at most, fifty years of Shakespeare's , «, i,0o occurred of Prof. Otis Bard- death. The death has occu^r ^ department of . .. u°lLnnr attd composition at ^/oiler- Undaunted by his own previous failure INSTRUCTION BY MAIL The World of Music eVfltnrv Baltimore. He wfs do:zplnzie and that of Oscar Hammerstein, Thomas ARTISTS ARB TEACHERS rffi In ,1844, and studied at Mpug Beecham is golng to make another attempt to All the necessary news of the musical 0der Moscheles. ^ BerUn^iindoV Ktfllak. He develop London as an operatic field He has ,„d Richter, and in »er > assistance of announced a six weeks season of German ATLANTIC CITY SHEPARDS world told concisely, pointedly and justly also enjoyed tne . harmony and com- o'pera and Russian ballet at Covent Garden. Liszt. Mr- vears in New York, but in The season will Include the first performance WRITTEN si position for mauy .» IIe returned to this in England of Strauss’ Rosenkavalier, as H. RAWLINS BAKER - 1888 went «> J? t 'assume his position at well as special performances of Salome, The world’8 greatest artists make SCHOOLS AND COLLEGES country in ponscrvatory. and has been in Elektra, Tristan und Isolde and Die Heister- records only for the Victor itai*3--"rgsrss BARTELS; Thp, r.POs.r Epmanno Wo!£-Ferratl, whose The world’s greatest artists! Caruso, Melba, Loots Pbrsinoer's dfbut with the Phil, Tetrazzini, and others who have for years charmed BECKER delphla Orchestra proved to he ol' , 1 sar « *«• »a sm S'a?cMSoS«'cS.“iST«s BEETHOVEN Fritz Kreisler, the famous violinist, Is passing Interest: Mr. I-ersinger is an Am-" daughters. has just completed a new opera founded on enthusiastic audiences, and whose names are known reposting Ills former successes In this coun- can violinist who has been winning e- „ ■ . Tvxir.T-.if. Hnnek MollSre's comedy, le Malade Imaginaire. He BOGERJ favor abroad but it remained for him THE reports of the death of Minnie Hauck a|so worklng on an opera entitled Bonny in every home. prove himself before his own countrvm™ The world’s greatest artists! New comers in the CAPITOL He passed through the ordeal with flvE have many happy memories salt qui mai y pense, the libretto of which BUVINGEREyg bert as “the greatest American composer eyei colors, and proved beyond doubt that h. s “aThc old-«meB operagoersT ShJ was born will be by Enrico GoUsclani. field of American opera —Titta Ruffo and Frieda born in Dublin and educated In Germany. entitled to a place among that select h.„7 w. New York, November 16th, 18.>2, but when DETROIT' , child was taken West Kansas at this time Gustave Ciiaiu-extieh, the composer of Hempel who have scored great successes abroad, and reputation!*11 Vl°Unlsts Wlth an lntCTaatio“i The biennial meeting of the National Fed¬ was still peopled bY JSS/anrpll5 ALouise has just completed an opera trio'logy whose voices were heard on Victor Records before CHASE^Ss eration of Musical Clubs will be held in were by no means settled. The family again Q whlch he has been working for years. dana's Chicago from April 1st to April 25th, 191o. mnvBri to ^ew Orleans, lhe vessel m wnicn The” firstfirCf part,nm*t entitledontitiori Amour-4 mo«r an Faubourg,Fauhourn. these artists ever appeared in America. moved was Owned by Minnie Hauck s . A _ rr.w,-hrt1y«vfl rill pintlin tl'lD will be produced this winter at the Optra The world’s greatest artists! Journet, Jadlow- DICKSON The organists officiating 'upon the occasl™ Comique in Paris. The two other parts of HAHN SCHOOL wera: t?' A', Baldwin, W. C. Hammond. II the triolgy are entitled Comediqnte and ker, and other? who will not return to America this Vsaye, the Belgian violinist, met with a C. MacDoiigall, and the Professor of Muslt Tragediante. Another work by the same- GILBERTSSS most cordial reception on his first appear¬ at Williams College, Snmner Salter. Thr composer, written twenty years ago, La Vie season; Michailowa, Battistini, Huguet, and Paoli, HAWTHORNE ance during his present American tour, at organ was built by Ernest M. Skinner It and innnda- du Poete, will also be produced this season. who have not yet appeared in America; and Sem- Carnegie Hall, New York. He has lost noth¬ contains several well-tested innovations- hui 4VU..S ~~ singing. She ing of his old power. four manuals and an echo organ. There are ma„c her first operatic appearance in New brich, Plangon, and Patti, who have retired from GOODRICH knox ira.r. I lea tier. IHreeto 4,680 pipes and 88 stops. The instrument i< York when she was twenty years old Sue- TlIB following is the extremely interesting .ml'fr.lnSr The Spanish prlma donna, Lucrezia Bori, enclosed In a magnificent case, and Is easlli ocss In London, Vienna and Berlin followed program given out bv the Music Teachers the operatic stage. „uLucrezia Borgia. Her success was emphat.c. has been more than equaled by his succea won in the older operas. She was particu- The present convention is the thirty-fourth to time on Victor Records, the living evidence of their greatness. MOULTON In New York. Few singers of late years hat( .larlv . successful- about twenty-five‘-‘ - — "“«'years■« i...c” I i,e held bv this organization, which was The world’s greatest artists—universally acknowledged the MARKS’ ’TSSSS LL^- When- Godowsky played in Philadelphia a created such a sensation. Fifteen years aw as Carmen, at the Academy of Music, Four- founded by Theodore Presser: NicHOLsr: delightful reception was tendered to him by this wonderful baritone was an Ironworker n-enth Street, New York j and also famous December 31st.—Formal opening of the foremost exponents of the operatic art—all brought to you on -fard Avrnse the South Broad Street Conservatory, under In Rome, earning forty cents a day. On a session. Address of Welcome on Behalf of the Victor to sing for you in your own home the masterpieces MORRISON the direction of Gilbert Raymond Combs. recent visit to the Baldwin Iron Works in ,— ... ------Vassal- College, President James M Taylor, from the stage and spends most of her time D D I L D . Greetings from the New York of the great composers. petersilea i"L.r“5a.i- Godowsky was formerly one of the regular Philadelphia, he gave a practical demonstra¬ Any Victor dealer in any city in the world will gladly play NEW HAVEN . taoanaa, sipio- teachers In the Institution. tion of the fact that he has not forgotten his in Europe, her husband being a native of siat'a Music Teachers’ Association, Walter L. it iirj «r mttno old trade. His present earnings are said In n«rTn»r,Tf Bogert, President; Greetings from the any music you wish to hear and demonstrate to you the won¬ STOCK. ,, an,i \ rni The first “novelty” at the New York Met- amount to $2,000 a night. On this basis, .1 Dutchess Countv Association of Musicians, derful Victor-Victrola. •rr. in radar ropollthn Opera has been a revival of Mozart's statistic crank in the New York World has John C. Griggs, President; Church Music and Victor-Victrolas ?1S to $200. Victors $10 to $100. Your NEW YORK • • Y-i.s. y- Magic Flute. A crowded audience showed figured that in Hamlet he uses- his voice In Abroad. the Gregorian System, Wallace J. Goodrich, , »ohuoi keen appreciation of the refreshing tuneful¬ solos, duets, etc., for a total of 11414 College Calls, Leonard B. McYlhood; Hlstoiy dealer will arrange terms to suit your convenience, if desired. ness of the music. minutes' a the rate of $17 a minute. It is said that Efrem Zimbalist, the well- 0f fhe American College of Musicians, Edward NORMAL.' Indlaaa. Ha. known violinist. Is writing a comic opera. m Bowman ; New Lights on Beethoven from Victor Talking Machine Co., Camden, N. J., U.S.A TRACY A movement Is on foot to erect a memorial The dfbut of Leopold Godowsky in hii His Conversation Books, Henry E Krehbicl: Berliner Gramophone Co., Montreal, Canadian Distributors. tablet to the late Siegfried Bebrens in the present tour of America was made at Car¬ The Socledad Beethoven, a remarkably Physics and Music, Clark Mells Chamberlain, northwestern:;: , Academy of Mnslc In Philadelphia, where Mr. negie Hall with the New York Philharmonic prop-csslve organization in Santiago de Ph.D.; The Singer and His Environme t, VEON Behrens ably conducted so many successful Orchestra, under the direction of Jose- < uba, gave a concert In memory of Massenet. M^^line Gardner Bartlett oerformanees. Stransky. Upon this occasion he played tli Oregon::: Brahms Concerto In B flat. Little may be paper by Frank E. Miller. M.D., of New- York vongrabill::: Padc. Default, the Canadian tenor, and said of Godowsky’s playing that has not There were 324 performances of Masse¬ City on “Vocal Art Science from the Stand; Eleanors de Cisneros have just returned from already been said—his exceptional mentality, s's operas given at the three subventioned point of Use and Abuse of the Voice. SOUTHERN- a tour in Australia-. They speak very highlv his limitless mechanical accomplishments and ipera houses in Paris last season. Organ Recital, Wallace J. Goodrich, Song of the remarkas.; interest In nusic which his emotional fire f— “■ - -"* Recital, Miss Carrie Bridewell. ... MORTIMER WlLSONj-^ the Australians cake, and of the cordial re- tributes of real The new opera of Mascagni, Parisina, is January 1st.—Theory Conference Harnilton VIRGIL abroad cxtendod t0 voting artists from Brahms’ Concerto Is rarely played because o' now complete. The text is by the well-known C. MacdougnU, Orlando A. Ma“»®eW; ‘'e°nVd Victor its innumerable complexities, and because It Italian poet d'Annunzio. B. McWhood. I’ublic School Conference. Os THEORY AND NORMAL COURSES is caviar to all but the mosti enthusiastic bourne McConathy ; Paper “Closer Relations VIRGILrr,! The Fifth Annual Convention and Music music lovers. However, a few living men w Victor records ore on sole ot oil dealers on the 28th of each n Aef^al.of tho K»nsas State Music Teachers’ can play Brahms In a way that will arouse DL George Hmschel has accepted the Scian^Mifs6'EtS*cSS«L P?esl- Association was held December 4th, 5th and great enthusiasm at a large concert, and jouductorship of the London Handel Society dent?8^Address. The Teacher and His Mate- BURROWES VONENDE1 «th at Manhattan, Kansas. Charles W. Lan- Godowsky is probably the foremost of them. n succession to the late Mr. Coleridge-Tay- r,|i George Coleman Gow. Annual Business don Is the president of this organization. l0r' Meeting. Open Meeting of the International Alvah Glover Salmon The dfbut of Dr. Kunwald as conductor ol • Musical Socfety. American Branch. Waldo S. PUMOrORIE INSTRUCTION Mr. William C. Carl recently gave his one the Cincinnati Symphony Orchestra r" DUNNING Lovers of Gilbert and Sullivan opera in Pratt. President ; “A Contribution to> tbe a ne 1. Left Hand Technic. 3. Hands Together. Fwros,‘r "'b««e works are so Tml Lemer Reception tendered by the Important to All Pianists and Students K3T0^ P°PUlar’ left an cstate valued at Dutchess™ minty Association of Musicians v"ow-So?mthr: fTV1S ‘?c,rcas« is remarkable In ture and the Eroica symphony, and the pre¬ January 2d.—Piano Conference. Mrs. Thos. STORER ~= I,,5. {“.]*? fact that other Items in the lude and liebestod from Wagner's rni>libl ?get h?ve been cut down. The Park und Isolde—surely enough to test any cm- r TaDDer This conference is to be a Kouna t OmmlSSlnnPP Is mil oh ,1„11 .7 "ll ductor’s virtuosity. His readings were sjUK Boots'^8 Cn-uti-EN-nER has been elected to Table on the subject “Present Day Neejta In and well balanced, unmarred by any won to Massenet's place in the Acadfimie Piano Teaching.” Leaders in the dlscussior ZABEL BROTHERS to capture public favor through sensational “5,®®“ ^ts. He is the composer of the will be the Chairman Mme Helen Hopeidrk THE NEW GRADUS ^(ll*known opera Louise. Miss O’Brien, Miss Ivate S. c.hitten5t5r„^?il means. Miss Lockwood. The Conservatory of Music. Wra OwlngTDiIC 53!* for The death of Siegfried Behrena, the w* J. Lawrence Erb; The Regeneration of Phil- to a!t>^'^ ^rr,t°J®®^f^ftansky^h'as beenUabfe known operatic conductor, has occasions wlih^w °Eera' VArabesca. by Monelone, istia, Leo, R. I.ewisj The Professional much regret in the musical world of Amerra- m»n J* to be Performed In Rome, is looked corn pains L, 'Charles Gilbert SprofiBi Modern AD PARNASSUM chestra.r SiffiSTJ* SSSfAS? ~ Winn.. work Breat Promise. It was the English Organ Playing “nd Writma Orlando MUSIC PRINTERS Mr. Behrens came over tof this country *“ • A Mansfield Demonstration of the .laques to his seventeenth year, nnd already p#vl£‘ <-f this kl a natlonal competition fox a work In Eight Books By ISIDOR PHILIPP Price, $1.00 each something of a reputation as a P'gnl"1- Jj. Dklcroze System Of Rhythmic Gymnastics, was born In Hamburg, Germany, 1839. r Miss Clara Brooke. AND FNPR a vrn c years before landing in New York be bad » reappeared In London Tn this unique work each separate department of technic is considered - p engravers ^ the honor of playing accompaniments 1 « hslf A,Ibert Hal'. after a year and The New York Commissioner of Correction bv itself all the studies bearing upon any particular technical point being Jenny Lind. lie soon entered the opet* made ih^V' ,,I1.bcr natlV(“ Australia, she was has asked for a small appropr ation to P«J classified together and arranged in logical and progressive order Proceeding field, and for many years was associated the orraaim'p of a unl,,,,e mcmewto of for teaching instrumental musle to the In inthis manner each subject is treated exhaustively in a separate part. The serv|ce°Tn d» a<*>a‘ the Anna Bishop Opera Company, the "Tcddv t.l - ?,h,‘ "as Presented with a mates of the reformatory. Music, no says, schalk-Carlotta Patti Concert Company. kangaroo six feet in height. “is extremely beneficial in the general scheme main points thus covered are: Caroline Richings English Opera Comps*; Ac of social reform, fox which this institution EASTER MUSIC the Parepn Rosa Co., and Clara Louise b 1 Left Hand Technic 3. Hands Together 5. Double Notes 7. The Trill logg’s English Grand Opera Company. ^ n*lBM K5n**-Mozart Las been erected at is established, and is necessary as part of flnee gf t? commemorate the perform- the special reform work there. . b, 2. Right Hand Technic 4. Arpeggios 6 Octaves and Chords 8. Various Difficulties ftlCLf0!lr,?g xCfW -19/3 f,Lub^ati°n*. we have a large latter years have been spent In PhllRddJ' il«SC£Ssg where he has long lx-en a favorite, r lh,‘ tiototch mc ttute’ Riven last season at The wisdom of such a I?lan mfisic The entire literature of educational piano music has been ransacked in order KlnTTwJf nl,, Tib UMC«r ,h.e Cbo,r.and Sunday School: 1906 until his death, he was conductor oru a C^lnme.pyramb,s- “ 'a the work of questioned. The refining Influence of amsl, sen™ n ofhopora win P* CblC**° scnlptor named Avere. both artistically and morally. Is so grea^the to select the best possible studies adapted to each of the above classifications. S^nd’for ?,henW’ Saro *’ Service* and Cantatas, Tet held In tha? city! m°8t 8ucc<'8*f"l remarkably efficient Philadelphia, Operw Tm- wonder is that it has not been used more itend for our complete catalogues and special Easter lists. Society. Ills successor will be Mr. «**. Monsieur I. Philipp, leading Professor of Pianoforte in the Paris Con- Leps. His memory of musical Pe®P‘c „r. Au^Jarlehin- by Geptge II. windy In social [^^^"kke'so mrm'h servftory.ls admirably equipped by knowledge, experience and natural talent ANTHEMS mewJd their DI?P?1 forces have com- musical facts was phenomenal, and hm lees to the art tff music in America uBtir inured SeAga?T,ta£ said nse^f muBlc1" NeUhex was it accidental that forthecompilation and preparation of a work of this type. BOHANNON. JEAN. “EASTER EVEN" . bf a Oermintn2l?t,8h composer comnilMioned the ancient Greeks^ gave music ^ta g b|g BRANDCR. A.U.. “ALLELUIA! ALLELUIA 1 •• * * * 15 and inestimable. Each classification will be published as a separate Part. STEANE. BRUCE. “ O LORD. MY GOD. I WILL F.YAI x txjvc .T * ’,S Goldmark’s Cricket on the "*, manager to compose an opera. human1* need!' SSd U when rightly WOLCOTT. J. TRUMAN. “CHRIST IS RTSEnT . * ,s presented at the 1‘hiladelphia MetroW*-, ADVANCE of publication offer Opera House by the Phlladelphia-Cbiw recently performed Mac- "’Thfintl-oductlon of^music in Pcn^ 'naH- SOLO Opera Company early In their sea®55'» ,tt We will sfend No. 2, Right Hand Technic, as soon as it appears on the STULTS. R. M.. “RESURRECTION SONG." HIGH VOICE aroused phenmnenal enthuslasm^ 86 8lnKto* work was finely given, and the stogu*. SSa,? public a°pC: effe^ct'ln Ttself, £ market for only 20 cents, postpaid, cash with order. An exceptional oppor- tag and “spectacle" left little to be dem»“1(((, Goldmnrk’s music Is extremely mejoo' ar u«u«] Uk«.l Dteeouau planUrt, Xtf?ra,?t0°* ‘^much-heralded even though it suggests an occasional ^ Inauguration of New * Voi-i? k place at the lection of Grieg, Wagner. Mozart, and room. .Pollan Hall jwwi concert Johann Strauss, Jr. This Is not to “ M, ^ occurred of Edgar Tinel, land workhouse, have c^ah^h^aegerafmany 1712 CHESTNUT STREET, THEODORE PRESSER CO., ^SSasgSatte and the new hall Won *h? P,°w Pianist that the master is a plagiarist, f°t n " , *bl> large audience 1 Ga1?tSn8t c anProvaI a character and style all his own. ** ^,11 d»st.0^ fo7wp« THEO. PRESSER CO. PHILADELPHIA Munich with a |,|» remit,,<;omes from who have hoard the Sakuntala overture ^ S evidently have njf 0,1 which he will know. The opera was given to KW”*"' pt ^"r^-d^nany tAml8f!>UfH^d hSs tariud^ng "musickl °lnstniriion mtgbt wd^ be while In this country. CUl1y ,n “attaining translation being by C. H. ®«r ““Stance. ny other works of considerable established in every such Institution. English pronunciation of the artists w Scherzo Please mention THE ETUDE when addressing our advertisers. THE ETUDE THE ETUDE 77
ARM TOUCH VERSUS FINGER MUSICAL POST CARDS TOUCH. Centralizing NEW YORK SCHOOLS WESTERN SCHOOLS Pupils’ Recitals BY KATHARINE BURROWES. School of Great Masters - I jhTl’resent Tendency in Michigan Conservatory of Music Modern Masters Great Piani,ts, Seria A 12 Music Voice Teaching Frederic L. Abel, Director Eminent Faculty of 50 Perhaps the most interesting technical NEW YORK SCHOOL OF MUSIC AND ARTS Russian Composers- G“ites.. Offers courges in Piano, Vocal, Vloliu, ViolouceUo, Organ, Cor¬ l>„„ils of JIrs. Randolph Hiller. it -on are interested in the voice send net, Sight Heading, Ensemble Playing, Public School Music point for discussion now before musicians 56-58 West 97th St., New York City Northern EuropeCom- Celebrated Violi„i«u . 6 and Drawing, Dramatic Art, Physical Culture and Expression. Shades of Autumn. A. E. Warren : TUe Renowned Violinists r (j ^ address and receive a copy of this lies in the question: Does arm touch or Music Box. 1’oldlni: Twilight on the Mot in French Composers - Progressive, Scientific and Practical RALFE LEECH STERNER, Director min'1 Heins; Silver Bella 'Veyt-= »‘Lor finger touch produce the best results in Opera Singers, Series azcp‘<:-‘ Lnltlet. Address Methods Bov s Dream. Le llaehe; Hying Doves (4 A-E. each - - ^.aclippinger districts. For catalog address Hugh Johnson, 1021 Woodward piano playing? At several recent con¬ FOR MANY YEARS NEW YORK CITY’S PRE-EMINENT MUSIC SCHOOL Modem Violinists, Series hds i Heins; The Chase. Bhelnberger; Master Violinists - A and B. each . . ( a,nK.mbal.Hall.Chlcaoo.Hl. Are., Detroit, Mich. Results Positive WarbUngs at Eve, Richards: Fifth Nocturne. Conductor ventions papers have been read upon it, Two connected buildings delightfully utuated between Central Park and the Hudaon River Levhaeh Sonata No. 4. Haydn; Rustic Dance and round table discussions devoted to it, SEND FOR ART BOOKLET No. 8 (G hds.). Itelnecke: Last Smile, Wollenhaupt: 8 per dozen postpaid ALL BRANCHES OF MUSIC AND THE ARTS TAUGHT FROM THE Marche Russe (4 hds.), Daune; Chasseurs a NEW SETS FOR 1913 and exponents of the different methods ANNA PARKER-SHUTTS. Secretary BEGINNING TO THE HICHEST ARTISTIC FINISH I'hevnl 14 hils.i. Adrian Smith: Hark I Hark! 'COLUMBIA SCHOOL OF MUSIC have played at the concerts so that every Suite 612 Fine Art* Bldg. CHIC, the Lark. Scbubert-Liszt: March Milttaire. Owiag to increasing birnnrw we have tecuted the building adjoining the school and cut through, Schubert : Rhapsodle Ilongroise No. 2 (4 V' CLARE OSBORNE REED, Director one could form an intelligent opinion on making it into one large building. This gijea us additional hds.). Liszt. „ , c p„niU mav enter any time. Piano, Voice, Violin, Theory. Public School the subject. It seemed to me, a listener, that two DORMITORIES AND STUDIOS Lupin of .1/1x8 Jennie Whitaker. 50 cents per dozen postpaid K More free advantages than any other music school. For catalogue, address Danse Modem? 12 pianosi. Dmnee : Aragon- widely differing styles of performance NORTHWESTERN UNIVERSITY Our Instructors Will Teach X®u Juat What You Need in Your Work nlse. Massenet; Serenade. Rohm; The Butter- HISTORICAL POST CARDS j B. HALL, Manager 509 S. Wabash Ave., Chicago LISZT—Si* Cards-The set. 15 cento. were produced, and that it will always be EVANSTON- CHICAGO Our Teachers' Diplomat Are Recognized Throughout America IIv, Lavallee; The Hayride, Marie Crosby: The Dancing Lesson. F. A. Franklin : WAGNER-Twelve Cards-The set. 30 cents largely a matter of taste which is pre¬ Echoes of the Monastery, Sabathil; Spinning BEETHOVEN—Twelve Cards-30 cents oei set SCHOOL OF MUSIC Song. Eimonreich; Village Musicians. Von GREAT COMPOSER POST CARDS-Fourth MRS.STACEY WILLIAMS ferred. To put it in a nutshell, the arm IVIlm; Hunting Song. Gurlitt; Reverie. ot the Great Composers. Printed in nine colon touch players were the stronger, more A University Professional School, for the with the composer's birthplace on each card, 35 Winter Normal The Eminent Teacher of Singing comprehensive study of practical and theo¬ Kosellen: For Elise, Beethoven; Will-o-thc- cents per set. By Pres. E. II. SCOTT forceful, and more brilliant. The finger VVIsp. .liingmann: Allemande. Bernhard Only Earnest, Serious Student' Accepted retical music, either as a profession or as an Wolff: Berceuse. Godard: Mazurka. Meyer OPERATIC POST CARDS £ WESTERN CONSERVATORY touch players displayed greater delicacy, element of culture. Located upon the shore of INTERNATIONAL MUSICAL llelmuml; Etude in A-Flat. Wollenhaupt: Reproductions of photographs of the Wagner Operas as . .. for teachers who cannot For terms and particulars, address greater purity of tone, and greater va¬ Lake Michigan, In Chicago's most attractive ...AND... The Gipsy Maiden (song). Henry Darker: New Opportunity spare time during summer MRS. STACEY WILLIAMS Waltz Caprice. Xowland; Melody in F (4 SPECIAL COURSE OF TEN WEEKS riety of shading. It seemed to me that unient is perfect and social ad- EDUCATIONAL AGENCY lids.), Rubinstein. Studios 405-406 Kimball Hall Chicago, Ill. The enviro Maestro FernandoTanara haeuser (9), The Ring (28). ’ Begun January 14th Mailers Bldg., Chicago, Ill. the arm touch players lacked these quali¬ vantages supt rior. Send for detailed descrip- Operas printed in^colors. ^Aida, Bohenie, srses and book of Eoanston Conductor at tha tamoua opera I'unils ol Sliaidan Hence Isaacs (Ensemble ties in a marked degree, while the finger houaaa ol tha world, Including Recital). -.r/Loh touch players were not by any means de¬ caancatc hsll. ncw vomk the Metropolitan Opera Houeat Sonata. Op. 27, No. 2 (Moonlight), (2 -_ers, Parsifal, The Rmg. __ P. C. LUTK1N, Dea Teacher and coach ol Caruao, pianos). Rrrthoven-Henselt; Rondo Brillante, cards, 23 cents. Cosmopolitan School of Music and Dramatic Art void of strength and brilliancy. Tamagno, Bonol, Slexak, Farrar, Op. 62 (2 pianos). Von Weber; Overture REWARD CARDS r MRS. W. S. BRiACKEN, President The question, however, does not alto¬ Cadakl, Cluck.Tlta Rulfo, Amato, "Iplilgenie in Auris” (4 pianos), Gluck: A act of fourteen carda. Portraits of the Great Com¬ Unsurpassed faculty of 60. Course of study based on best modern educational principles. Diplomas. gether hinge on a preference for certain HOME STUDY n, Criawold, Lucia dl Lammcrmoor (2 pianos), Donizetti- posers with their birthplaces, printed in nine colon. On Degrees and mar iy free advantages. D'Albert: Bolacca Brillante. Op. 72, (2 styles of playing. It is important to the the reverse is a short biography ol each master. With PIANO, VOICE, VIOLIN, DRAMATIC ART, PUBLIC SCHOOL MUSIC, ETC. pianos). Von Weber; Sous La Feuillee, Op. each set ia given free a Music Prize Card, a steelengrav- teachers; not so much on account of the SIXTY-SECOND YEAR WILL CONDUCT THE 20 (2 pianos!, Thome; Overture "Zampa" ing, with portraits;of eight composers, and blank for in¬ Auditorium Building, Chicago, Ill. 14 pianos), Herold. scribing name. The Price. 50 cents per set. Addr'rathe Registrar for catalog. Box 9 great artists who will work out their own Sent postpaid upon receipt of price salvation in their own way, but for the Lawrence Conservatory Operatic Department Pupils of Mrs. C. A. Grepory. Send for catalogue of Musical Pictures (A Department of Lawrence College I Processional March (4 hds.). Ringuet ; average students, who learn with more In amsoolatlon with HERR LUD- l'»rlllon, Trojelll; Slumber Song, Schumann ; Detroit or less effort; who’adopt and hold to the WIC HESS, tha tamoua Carman Bird's Morning Song, Streabbog; Forget-Me- Piano Teachers tanor, and MMC. ADRIENNE Not, Wldener; L’acrobat Polka, Streabbog; Conservatory method of their teacher, and whose play¬ Offers unusual opportunities for the REMENVI, tha eminent Frenoh Flower song, Dandelions. Chittenden: Chil¬ ing depends largely upon that. There¬ study of music Enjoys the intellectual dren a Waltz, Brounoff; The Rosebud. Rowe: of Music Do you know the helpful Musical and social life of Lawrence College MUSIC EDUCATION Waltz. Gurlitt; Valse Anlmato, Anthony: fore the question: Will the average pupil Faculty of noted specialists, Choral (nbaletta. Lack: Novelette. MacDowell: PRESERVE YOUR COPIES Compositions of do better work through using arm touch Society of 150 voices, Orchestra, Recit¬ •Valse' from “Faust," Gounod-Lange; Trau- OF THE ETUDE als by World’s Artists, Music Festival. ton ENDE SCHOOL OF MUSIC merel and Romance, Schumann ; Grand or finger touch, is in order. Faculty Concerts, Superior Public Marche’ De Concert, Wollenhaupt What qualities will render the average School Music Course, Normal Course 58 West 90th St., NEW YORK Mrs. Crosby Adams for Piano Teachers, Piano \ otce.VioUn, 3. CALVIN B. CADY. I piano pupil a pleasing and interesting Harmony. Dormitories for students. Piipiln of Wins Etta B. Schmid. They are quite generally used by a great Faust Waltz (4 hds). Gounod-Mero; “Du The Etude Binder player? Great strength and brilliancy? many teachers throughout the country Jwiui®. Ru|- Schubert-Liszt: Slumber Song. Or purity of tone, delicacy, and the abil¬ WILLIAM HARPER, Dean, Appleton. Wi. SjfjJJJ* • a Aerana, (TAMPKEHENSIVE COURSES MAKE THE dered by the finger touch player, and the same applies to the easier works of Grieg and Training School for Teachers «*.„ MINNEAPOLIS SCHOOL Of MUSIC Minneapolis, Blank Program Forms and most of the modern school. 204-205 Boston Store Bldg., OMAHA, NEB. Q WEEKS COURSES for Artists, Teachers and Advanced Students Eighth'st.. s. ORATORY AND DRAMATIC ART «*" There is no question that the arm ---— WITH OR WITHOUT BOARD______Purdls of F. A. Nelson. THE RECOGNIZED LEADING INSTITUTION OF THE WORTHWICBJ Pi-no.Org.n. Voice, Violin, Other Instruments, Elocution, Etc. FALL TERM OPENS SEPTEMBER Sd. 1918 SPECIAL TEACHER COUPES touch produces strong and thrilling ef¬ . x 6% inches, Couraea in all branches of Munir, Oratory and Dramatic Art, from Elementary to Post-Graduate, equal n siauu f fects, and for the rendition of much mod¬ Ueth..1, I ke , I’rtma'r v'Hlsri Put,Be Scbturi jlubirvta^Technie* Normal ts printed courses given in European Schools and Conservatories of first rank. Faculty of Forty-four. Each department uuucr Pennsylvania ■ wide reputation. Rental Hall seating 500. Two-manual pedal pipe organ.7 Fully equipped Btage for acting and opera. ern music it is doubtless the right solu¬ MARKS’ CONSERVATORY OF MUSIC, 2 We.t 12Ut St^t nIw York man: Good Night n(m0ofloiS?rlt? F°r- CONCERT Whore the Birdies ear8. Superior faculty. Every ate and country in North America patrom pages are left tor the program to be either nail wuh an orchestral concert a soloists every Wednesday night Pupils may enter at tone is less and less indicated by the Music Engravers and Printers Seng. Mendelssohn- Flm' v?tki mratin’-' printed or written. A small announce¬ lor trt-page catalogue blue book d historical sketch to WM. H. DANA, R.A.M., Prest. modern composers in their music, bu Practice Clavier ment of Thk Etude on the fourth page makes the price but 75c per hundred. , Scarlatti, Bach, and the other classical Estimates promptly fi Far superior in its latest construction fo any We cannot undertake to do the printing masters still need it, and as long as they RfiSS? and Ocuvo Muric, HIGH^RAdI other instrument for teaching and practice. Y. SoAuh. of the program itself. We shall be very much pleased to send samples. W O O D keep their place in our hearts and on WORK AT REASONABLE PRICES. Copyrights HER secured. Manuscripts revised and corrected. THEO. PRESSER CO. lano G Founded Wm* n‘! p ograms, the tone produced by the finger VIRGIL SCHOOL OF MUSIC 1712 Chestnut St,. Philadelphia °cal, Cyril Unight-E0'ka d“ Albert A. Stanley. Director pianos), Spindler. K of the Hussars 1QNC1NNAT1 CONSERVATORY of MUSIC established^ 1867. Dudley T. Limerick I One inch in diameter, each containing a por¬ Miss Clara Baur. Directress. trait of Beethoven, Mozart, Mendelwohm io Festival of four ~ —compel SONG PLATES-! Chopin, Schumann or Li.zt. A pm on the Faculty of ^rnationalRepataHon hack in order to fasten on the child’s dress or BURROWES COURSE Kindergarten ALL DEPARTMENTS OPEN JNfo. i o 8. Dicks Street, Philadelphia ( Market above Fifteenth ) .... .“H.„,e^a-s.uaaa,.„„-err rr-T r—™_o T„.fcm ^-. i«ee or Personal Instructionnstructia„pond ' Elocution-MUSIC - Languages KATHARINE BURROWES Tffk. ,M, -- " SPECIALLY LOW SUMMER RATES PUBLIC^C HOOrMUS.C Theo.Presser Co., ph^AdeIphiata Beethoven Conservatory -*'-'5£r££r 'm*m ”,7f7ht qldext and best Music Schools in the United State, N. W. Cor Tsylor and Olive Sts.. Si. Louis, Mo^ X.l.™ . Jo-usl... CINCINNATI^ Please mention THE ETUDE when addressing o, THE ETUDE 79 THE ETUDE BE FAIR. N our games we always remember the famous composers and de¬ boys and girls who don’t “play fair.” EASTERN SCHOOLS scriptive MUSIC. How quickly we call out, “That isn’t NEW YORK SCHOOLS M USICAL fair,” when some one cheats at school. Have you ever thought how you might HUGH A. CLARKE, Mus. Doc. MUSICAL INSTRUCTORS HISTORY carry this idea intp your music lessons, LESSONS BY MAIL Recommended to and help the teacher and your mother by “DECIDEDLY THE BEST” Though program music is a compara¬ In Harmony, Counterpoint and Composition Conservatories, Colleges, Public and Private Schools tively new idea it is really a development THE STANDARD HISTORY OF just “playing fair?” PHILADELPHIA MUSICAL AND LITERARY BUREAU NORMAL CORRESPONDENCE COURSE If you have a regular practice time it 1710 Chestnut Street, Philadelphia, Pa. of descriptive music, which is very much MUSIC 4632 Chester Ave., Philadelphia, Pa TEACHING TEACHERS HOW TO TEACH A First History for Students at all sn’t fair not to observe it; out in the Teachers send stamp for particulars and registration blank older. Indeed, if we seek for the begin¬ Modern Idea* of Touch, Technic, Pedal, Metronome and Hand By JAMES FRANCIS COOKE business world when men fail to meet ning of descriptive music, we must doubt¬ Culture, and How to Teach Them This series of forty story-lessons has h~„ appointments people learn to know them less return to the paleolithic age when remarkably successful because of ’™ o{ the ^lf1coW schocuahroeolln SSrbe un aCrSer8tood Address, JOHN ORTH, Steinert Hall, BOSTON characteristics possessed bv no other hit as undependable. man first emerged from the great dementi, ™hich are as follows : PEABODY CONSERVATORY OF MUSIC from their tit es, « “ ,! ,.The Chat- It -isn’t fair to waste time by watching known. The imitative faculty is strongly simplicity ‘and Sers^daW^1 ft* "The Mountain Ton A(.robatg „ of Baltimore, Mt. Vernon Place HAROLD RANDOLPH, Director rangement of, lessons to sui/ the( lQZ the clock or by fooling—better get right ENDOWED, tne conservatory offers every advantage for musical culture and mainta STUDY HARMONY embedded in the human being, and there f teachers ; fjr- .ta war.” "Visions.” "Autumn’ ■fid COMPOSITION Safari Nauaa II .tru a.. engaging £ "ts (3) Text down to it and play the game as hard as a Staff of 60 eminent European and American Masters, including : Otis B.^oise, Geo. is little to. wonder at if man found his entertaining F. Boyle, Ludwig Brietner, Adelin Fermin, Theodor Hemberger, Pietro Mine by MAIL iier, leading the reader RJ you can and get through with it than to Harold Phillips, J. C. Van Hulsteyn, Emmanuel Wad, Bart Wirtz. first musical expression imitating the roar •- ,1S. » text-book. (4) All f °reign and •£ssssi 2 technical terms self-pronounced am, Cit cheat; for your mother and teacher Scholarships, Diplomas, Teachers’ Certificates. Catalogues ma of thunder, floods, and wild beasts, or defined. 16) Abundant illustrations, mu¬ always know when you have done it; sical and pictorial. (6) Historical inform,, “rsf i! ™ for each hand, frequent the call of the lesser animals and the among business men they say of such a Atm* HDUOt. « tion regarding present-day pianists violin¬ ShS in the time values of groups singing of birds. Miss Georgina Man¬ ists and composers .of standard leadline " Chord and octave work. person, “He is not on the square.’ So Turn to Page 69 ning, in a recent prize essay in the Jour¬ Pi^es, matter not to be found in any other musical history. (7) Map of musical -Eu¬ be fair and square every time. and read announcement of the nal of the Incorporated Society of Mu¬ rope and musual chart. (8) Entire book ■romantic studies” It isn’t fair to be late to your music sicians, gave the following list of great prepared by a teacher who has based tbs SUPERVISORS OF MUSIC work upon actual teaching experience. By WILSON G. SMITH lesson; the late ones are the drones and' Thirty-Year Jubilee composers who have given us descriptive Few publications o' the kind have met idlers we see on park benches. They WANTED "CAN YOU SEND US COMPETENT TEACHERS?” vith more enthusiastic approval from the Op. S7, Price $1.25 Crado V music. It is a far cry from the swart, press and from professional musicians. These studies are of special musical have never been on time anywhere so Offer of The Etude •I mrtlH*UMK.iJm"st Scientific motbod of Instructing children Because of the fact that in nearly all Lions and Great Leviathens, etc., in The PIANOFORTE MUSIC THE WAY MASSENET COM¬ Teaches piano from the start, sight reading, ti Its History, with Biographical Sketches music the greater difficulties lie in the Creation and The Seasons. and Critical Estimates of its left hand, the composer has given a NORMAL COURSE ^ BY &^or Dunning System set of musical pieces constructed from POSED. In the symphonies of Beethoven Createst Masters the left-hand figures of standard and Massenet heard his music mentally, ng results. Write for particular*. , ^ora*1 (1770-1827) there are Thunder and Light¬ By JOHN C. FILLMORE classic pieces, thus furnishing the pupil e best one of its kind in English. study of practical value. The musical he needed no piano to assist him. It ^ il recoftilml as the br*i in u«c In'lt* line of teaching. ning. Bird Notes, and in one of his >s the composers of pianoforte mi_ qualities of these compositions make is said ’that he kept no piano in his Matm J •stwAiuia (U. 1 s kUia«Jml u y o« hettL^Foc f u m hsT i S * rT*TU> * ^ Oabrilovrilsch. Dr. waltzes a post-horn, etc. their works into their natural epochs, them worth the effort required for their defining these epochs according t " ’ mastery. country house nor in his Paris apart¬ num. carrr louisr dunning, n WhI jod! si^i/nw Virtaty Saint-Saens has Rattling Bones, a characteristics. It gives a lucid1 presents- •‘ Foi* Ought to See Our Pupils Smile” COMBS BROAD ST. _"**"*** training tU- for laachara la open In San DU,o. Cal.. Fab. 26th. tion of the principles on which t ment. Once when the librettist of one Crowing Cock in his Danse Macabre acteristics depend, and a clear am ETUDES ARABESQUES of his operas called to have the fin¬ CONSERVATORY TI yVU 7 ( Make Technic Fascinating ^ Schubert (1797-1828) in his songs has ing account of the lives of all the greatest On an Original Theme composers and their works. ished piece played we are told that HU W 1 Make Pupils “Concentrate Will give you iniicidual and careful attention. musically depicted numerous phases of _Price, SI.50 By WILSON C. SMITH Massenet was sorely tempted to try J Q | Minimize^“Getting out of Your needs arc considered and on entrance physical nature. He has the Bell, for in¬ A concise chronological history ol Op. 76, price SI.00 Grade VIII it over” on the village organ. ^ you are assigned to a teacher especially THE VIRGIL stance in the Young Nun, and the Winds This book of twenty-one short studies adapted ‘for deceloping the best in you. Daily Chief Musicians and Musical Events has met with marked success, being He usually memorized the text he are three among MANY VITAL POINTS not and Whistling Trees in the Erl King merely mentioned but SYSTEMATICALLY reports keep the Director in touch with the PIANO SCHOOL CO., From 1 380 to 1 904 used by the most progressive of was setting to music, and this enabled bestdes a Raven, a Quail, a Cuckoo, a -th introduction. History of Music ii leading teachers. Octave work . him to have it with him whenever and TAUGHT ih the entire School. Daily superoision shows you dominates, although there are chord, how to work. Four Recitals a week give 42 WEST 76th ST., NEW YORK • 'Khtmgale, and even a Hurdy-Gurdy in Nutshell. Reale and arpeggio passages. One n wherever he chose to work upon it. you ample opportunity for Public Per¬ various other songs. her is written with three notes in As he traveled about a great deal in Manufacturer, of hand against two in the other. Six oi formance. Mendelssohn (1809-1847) imitates Gal¬ the studies are made of interlocking order to see the mountings of his SHEPARD The “ Tek ” passages, and all furnish decidedly valu¬ YOU MUST SUCCEED loping Horses, a Spinning Wheel, and LESSONS IN MUSICAL HISTORY operas, he always carried his score able development material. for we give you a safe, sound, sure foun¬ The Bergman Clavier Moving Gondolas in his Lieder oh„e By JOHN COMFORT FILLMORE with him, and, like Verdi, he seldom PIANO SYSTEM The Bergman 2 and 4 Octave A comprehensive outline of musical his¬ dation. We develop your latent qualities. llorte, and the Braying of an Ass in his tory from the beginning of the Christian TWELVE MELODIC OCTAVE appeared without the inevitable and in¬ Think over vour hardest pupils. Would YOU Modem and scientific methods insure to instrument* for travelers U'dsumner Night’s Dream rausic. era to the present time; especially designed separable valise. like to almost unfailingly devc|op BRILLI ANCV, you economy of time, money, labor. Recipro¬ tor the use of .schools and literary institu- or substitute FREEDOM for RESTRAIN I l The Bergman Technic Table This list of examples, though not a STUOIES When “reading” a new opera to tne cal relations with the U. of Pa. Training (Raised Keys) The work has been adopted in most of For (he Middle Crada company who was to give it, Massenet professional, normal and Courses for Teachers, Public School £S5.“* iS m™- :he important sthools and conservatories. By CEZA HORVATH MAIL COURSES The Bergman Child’s Pedal Indispensable to every music pupil and sang it through to his own accompani¬ Music, Tuning Course. LADIES’ DOR¬ Op- 43 in Two Books, price SI.25 each •These three subjects arc discussed educationally MITORIES. A School of Inspiration, to everybody else who wishes to be intelli¬ Grades lll-IV ment with great gusto, but not muc pvbAsmms of gent about music. and in detail in our Free Booklet. Send form. Enthusiasm, Success and Loyally. “THE VIRCIL METHOD" Book. I ,nd II _Price, SI .50_ These studies furnish octave and wrist voice. Though it was possible for him uork for each hand in a great variety to work at any time and in any place, SHEPARD PIANO AND HARMONY GILBERT RAYNOLDS COMBS, Director gkorge folsom geanberry, d . Practical and useful forms, such as '•THE PIANO PEDALS." Y|„w. When end Whlre to'o ' ,K * * * “ ™™ CHRONOLOGY OF MUSICAL HISTORY in broken octaves. In motives contain- he liked best to be in an atmosphere SYSTEMS Orange, N. J. 1327-29-31 S. Broad St., - Philadelphia CHO,5E IMPOSITIONS. Gr.de. 2. 3. 4. 5. for Pi.„d * 125 not®s °f various time values, with TEACHERS- TRA'N.NC COURSES By DANIEL BLOOMFIELD suited to his work. n~ N~ Son,. to. Horn. .„d Conc.rt U... h, M„. A. M v, „ This useful work contains brief month wri . that are sometimes a necessary FAELTEN system in chronological order, of every event 0Lthe melody, and in other pas- When composing Thais he kept upon Liberal DiK.unl to T...b.„ S.nd CAK,““ hall, new YORK musical history, from the verv earliest times- they appear in the accompanl- his writing table a little image of Thais T‘ —‘11 form a useful adjunct, in the nature h™!- >n other studies In alternate ready ref,-mire book, i" an.' ""‘'ir:! ,™s and interlocking passages, and in presented to him by the sculptor Ge- history. It should be in the hands of ail « ®f the studies the hand soon has rome. The greater’part of M««on was The Fletcher Music Method College of Fine Arts — music students and teachers and a copy t through either a long note or a Pulse of silence. All have written in a chamber at The Hague Syracuse University should be found in every library. The book totten up eomparllv in' neat and sub-iao- marked musical Interest. (capital of Holland). That he might tial form. Dr. Lyman Abbott, Editor of The Outlook, writes as UNAPPROACHT.O have a perfect environment for the ADVANTAGES Price, 25 Cents 2•■udeauS 16may enteruBSSr=ust I™ “"'W- Special SELECTED OCTAVE STUDIES creation of Werther his publisher fitted follows of the Fletcher Method: lo«u. «„d full information^ For «*•- A COMPLETE HISTORY OF MUSIC or the Equal Development of Both Hands, and furnished a room for him at Ver¬ [Syracua. UaiReriitm. with Preparatory Studies <• she teaches children to think and express themselves in sailles in the fashion of the eighteenth By THEODORE PRESSER terms of music. She converts it from a blind mechanical copy¬ Contributed, chapters by teachers —■ century. . . -nf* 75C‘ Grade ,V When writing the scene in the au¬ ing into a vital self-expression. It seems to me more than a writers of experience and authority in suy" tton* are musical composl- connected with the history of music. Meh fr0,n standard composers. tumn wood with which Thcrcse begins, Method, it is a revolution and converts musical education from ie plan of the book centers attention Oct.,* . P for the development of an i the evolution of music, every gn technlc In a frequentlv-used Massenet went day after day to the a mere drill and drudgery into an inspiration and life. master being placed according to his contri¬ tach.o SI! rhythmic motive. Moreover, outskirts of Brussels to the woods, and bution to the art and his influence on sur” Uant s™y worth learning as a bril- Quent development. formiinre® mus'e tor public per- here on the cold October days he elab¬ Tt « hecause parents realize the truth of this statement of Dr. Pedagogic features of great value »“• mad. and the preparatory exercise Abbott s that the demand for Fletcher Method Teachers is becoming and j _ Arrangement in lessons of moderate len«t“* orated the scene. studv motive of its followinr Massenet had his whims and fancies, it the very itart. questions at the end of each lesson, review 'horoiuSTn®1^ facilitates the ease a helps, suggestions for independent work a*1 stwillts learning. There s but when most exacting he never tor- w»k to make it as nearly a reading, reference lists, pronouncing,in“"’ studies of from one to two pages 8r“'"e S Class'opens early in October. For full information apply to trtal of this new book is illustrations, paragraph headings. Prommc got to show his gratitude to those names, terms, etc., in large type. - piano instruction. concerned in the production of his MRS. EVELYN FLETCHER COPP, Pries, SI.75 work. He always remained the kind and Tt.^to,.P.wrCo.. 1712 Ch.»tnut S,.. PhiUd.lphu, P., •11 order, .ollelted n,i O 1 i-„„ Mans or P. O. Box 1336, Boston, Mass. __ ;^?!! ?9wman courteous gentleman, with encourage¬ 31 York Terrace, Brookline, Mass., or r. w ’ ment and a well-turned compliment THEO. PRESSER CO., - Philadelphia, P*-
